How to compose a dialogue in Russian. How to correctly write direct speech and dialogue in a text? Retelling what the characters already know

This article answers the question: “What are dialogue and monologue?” It presents characteristics of these two forms of speech, definitions, varieties of each of them, punctuation and other features. We hope that our article will help you understand the differences between them in as much detail as possible and learn something new for yourself.

Dialogue: Definition

Conditions for dialogue to occur

For a dialogue to occur, on the one hand, an initial common base of information is needed that the participants will share, and on the other hand, it is necessary that there is a minimal difference in the knowledge of the participants in a given speech interaction. Otherwise, they will not be able to convey information to each other about the relevant subject of speech, which means that the dialogue will be unproductive. That is, lack of information negatively affects the productivity of this form of speech. A similar factor can appear not only when the conversation participants have low speech competence, but also when they lack the desire to start a dialogue or develop it.

A dialogue in which only one of the forms of speech etiquette, called etiquette forms, is present has a formal meaning, in other words, it is uninformative. In this case, the participants have no need or desire to receive information, however, the dialogue itself is formally generally accepted in some situations (for example, when meeting in public places):

Hello!

How are you doing?

OK, thank you. And you?

Everything is fine, I’m working slowly.

Well, bye, happy!

An indispensable condition for the emergence of a dialogue aimed at obtaining new information is the need for communication. This factor arises as a result of the potential gap in information and knowledge between its participants.

Types of dialogues

Based on the tasks and goals, roles of the interlocutors and the communication situation, the following types of dialogues are distinguished: business conversation, everyday dialogue and interview.

Distinctive features of everyday dialogue are possible deviations from the topic, unplannedness, lack of goals and need for any decision, variety of topics of discussion, personal expression, widespread use of non-verbal (non-verbal) means and methods of communication,

A business conversation is communication mainly between two participants in the conversation, which is therefore largely interpersonal in nature. In this case, various techniques and methods of verbal and non-verbal influence of participants on each other are used. Business conversation, although it always has a specific subject, is more personally oriented (unlike, for example, and occurs mainly between representatives of the same company.

An interview is a conversation between a member of the press and someone whose identity is of public interest. Its distinctive feature is bidirectionality, that is, the interviewer (the one who conducts the interview), when directly addressing the addressee, builds a special dramaturgy of the conversation, counting primarily on the peculiarities of its perception by future readers.

Punctuation marks in dialogue

Spelling dialogues in Russian is a very simple topic. If the speakers' remarks begin with a new paragraph, a dash is written before each of them, for example:

What are dialogue and monologue?

These are two forms of speech.

How are they different from each other?

Number of participants.

If the remarks are selected without indicating that they belong to a particular person, each of them is placed in quotation marks and separated from the next by a dash. For example: "What are dialogue and monologue?" - “Forms of speech.” - “Thanks for the tip!”

If the statement is followed by the words of the author, the dash is dropped before the next one: “How are you living?” - asked Maria Petrovna. “Nothing, slowly,” answered Igor Olegovich.

Knowing these simple rules and applying them in practice, you can always correctly compose a dialogue.

Monologue: definition

The monologue has a relative length in time (it consists of parts of different volumes, which are statements related in meaning and structure), and is also distinguished by the diversity and richness of its vocabulary. The themes of the monologue are very different, which can spontaneously change during its development.

Types of monologue

It is customary to distinguish two main types of monologue.

1. Monologue speech, which is a process of purposeful, conscious communication and appeal to the listener, is mainly used in the oral form of book speech: scientific oral speech (for example, a report or educational lecture), oral public and judicial speech. Monologue has received the greatest development in artistic speech.

2. Monologue as speech alone with oneself, that is, directed not to the direct listener, but to oneself. This type of speech is called "internal monologue." It is not intended to provoke a response from one person or another.

A monologue, of which there are numerous examples, can be either spontaneous, unprepared (most often it is used in colloquial speech), or pre-planned, prepared.

Types of monologue by purpose

According to the purpose pursued by the statement, there are three main types: informational speech, persuasive and motivating.

The main goal of information is the transfer of knowledge. The speaker in this case takes into account, first of all, the intellectual and perception of the text by the listeners.

A variety of informational monologues are various speeches, reports, lectures, reports, messages.

A persuasive monologue is aimed primarily at the emotions and feelings of the listener. The speaker first of all takes into account the latter’s receptivity. This type of speech includes: solemn, congratulatory, farewell.

An inciting monologue (examples of which are political speeches that are very popular in our time) primarily aims to motivate listeners to various actions. It includes: protest speech, political speech, call to action speech.

Compositional form of monologue

A human monologue in its structure represents a compositional form, depending either on the functional-semantic or on the genre-stylistic affiliation. The types of genre-stylistic monologue are the following: oratory, official business and artistic monologue in the Russian language, as well as other types. Functional-semantic ones include narration, description, and reasoning.

Monologues vary in degree of formality and preparedness. For example, an oratorical speech is always a pre-planned and prepared monologue, which is certainly pronounced in an official setting. But to some extent it represents an artificial form of speech, always striving to become a dialogue. Therefore, any monologue has various means of dialogization. These include, for example, rhetorical questions, appeals, question-and-answer form of speech, etc. In other words, this is everything that speaks of the desire of the speaker to increase the speech activity of his addressee-interlocutor, to provoke his reaction.

In a monologue, there is an introduction (in which the subject of the speech is defined by the speaker), the main part and a conclusion (in which the speaker sums up his speech).

Conclusion

Thus, it can be noted that monologue and dialogue are two main forms of speech, differing from each other in the number of subjects participating in communication. Dialogue is a primary and natural form, as a way of exchanging opinions and thoughts between its participants, and a monologue is an extended statement in which only one person is the narrator. Both monologue and dialogic speech exist in both oral and written form, although the latter is always based on and dialogical speech is based on the oral form.

Dialogue is one of four possible ways of including someone else's speech in the author's text. We talked about the first three ways of transmitting someone else's speech in.

Someone else's sentences written in this way completely retain both form and content. Direct or indirect speech is used by the authors when it is necessary to reproduce a phrase belonging to any one character, and dialogue (from the Greek dialogos - conversation) is used in cases where it is necessary to convey several replicas of characters talking to each other.

We will talk about the punctuation of dialogical speech.

In the above text, you can easily distinguish the words of the author and the characters’ remarks: the first and last sentences represent the author’s speech, within which there are two lines belonging to different characters. But one important difference between dialogue and direct and indirect speech is that the dialogue may not contain the words of the author at all. Read the following dialogue.

In order to remember how punctuation marks are placed when recording dialogue lines, you can compare this form of recording someone else’s speech with direct speech that is already familiar to us. The design of dialogue differs from the design of direct speech in that the remarks are not enclosed in quotation marks, but begin on a new line and with a dash. In the following examples, the same words are written in two ways. For the design of dialogue, as well as for recording direct speech, there are four rules, each of which corresponds to the diagram in the illustration.

Legend:

R– a replica starting with a capital letter;
R– a replica starting with a lowercase letter;
A– author’s words starting with a capital letter;
A– words of the author starting with a lowercase letter.

–Do you need dead souls? – Sobakevich asked simply, without the slightest surprise...(Gogol)

"Do you need dead souls?" – Sobakevich asked simply, without the slightest surprise...

He said:

- Hello! - and went to the window...(Dragunsky)

He said: “Hello!” – and went to the window.

Exercise No. 1

Good evening_ _ _ said the Little Prince just in case.

Good evening_ _ _ replied the snake.

What planet did I end up on?_

To Earth, _ _ said the snake. _To Africa_.

Here's how. Are there no people on Earth?_

This is a desert. Nobody lives in deserts. But the Earth is big.

(Antoine de Saint-Exupery)

Exercise No. 2

Can I ask for the artist Woland? _ _ asked Varenukha okay.

“They’re busy,” the receiver answered in a rattling voice, “and who’s asking?

Administrator of Variety Varenukha.

Ivan Savelyevich? _ _ the receiver screamed angrily. _ I’m terribly glad to hear your voice! How is your health?

Mercy, _ Varenukha answered in amazement, _ _ Who am I talking to?

Assistant, his assistant and translator Koroviev, _ _ the receiver said, _ _ am at your service, dear Ivan Savelyevich! Dispose of me as you please.

(Bulgakov)

Exercise No. 3

I said_

So how?

Monstrous! _ _ praised Boris Sergeevich.

Good song, right? _ _ I asked.

“Good,” Boris Sergeevich said and covered his eyes with a handkerchief.

It’s just a pity that you played very quietly, Boris Sergeevich, _ _ I said, _ _ could have been even louder.

Okay, I’ll take it into account,” said Boris Sergeevich. _ _ didn’t you notice that I played one thing, and you sang a little differently?

No, _ _ I said, _ _ didn't notice this! Yes, it doesn’t matter. I just needed to play louder.

Well, _ _ said Boris Sergeevich, _ _ since you didn’t notice anything, we’ll give you a C for now. For diligence.

Dialogue

Dialogue

DIALOGUE (Greek dialogos - original meaning - conversation between two persons) - verbal exchange between two, three or more interlocutors. The opportunity that such a comparison opens up in a conversation between several people has long forced writers to turn to D. as a special form of development of philosophical or generally abstract themes (moralistic, etc.) in their broad significance. Thus, the philosophical teaching of Plato is known to us from his dialogues (Plato has 28 D. - “Symposium”, “Phaedo”, “Phaedrus”, etc.), and Lucian’s “Conversation of Hetaera” represents already in ancient times an example of typological, satirically generalized dialogues based on specific everyday material. In the new Europe, this genre especially flourished during periods of intense ideological struggle among various social groups, promoting the development of eloquence. The dialogical genre owes its origin to a large extent to the latter. In Germany, for example, during the era of the Reformation, a rich dialogic literature grew up. Especially many dialogues appeared in 1524-1525 (at the same time, 30 D. falls on 1524 alone). It is characteristic that the wave of D., which subsided after the Reformation, rose again in the 18th century, in the era of the so-called. Enlightenment (here one can, for example, name Klopstock with his moralistic D., Herder - “Gesprach zwischen einem Rabbi und einem Christen” (Conversation between a rabbi and a Christian) regarding Klopstock’s “Messiad”, Lessing - “Freimaurergesprache” (Conversations of free masons ), Wiland - “Gottergesprache” (Conversations of the Gods), etc.). In the period following the Enlightenment, philosophy as a genre gave way in Germany to fictitious philosophical correspondence (for example, Schiller's Philosophical Letters). We encounter almost a similar phenomenon in France. Thus, in part of his “Lettres provinciales” (Provincial Letters), which were of enormous importance in the struggle of the Jansenists with the Jesuits, Pascal resorts to D.; Fenelon in the famous “Dialogues des morts” (Dialogues of the Dead), forcing a number of historical characters to speak, uses dialogue as a means of moralistic education in the spirit of Catholicism; there is D. in such writers as Montesquieu, and later Renan (“Dialogues philosophiques” - “Philosophical Dialogues”), in our days - especially in P. Valery, etc.
In Russia, D. are often found in magazines of the 18th century. (“All sorts of things”, “There were fables”, etc.) during the period of “liberal” trends of Catherine II. Later, Belinsky, advocating for a new literary school (“natural”), which corresponded to the “motives of modernity,” used literature as a weapon in the fight against his literary enemies (for example, “A conversation overheard in a bookstore”); a little earlier, in Pushkin’s brightly polemical “Thoughts on the Road” we encounter a sketch of “A Conversation with an Englishman about Russian Peasants”, Pushkin also owns a highly lyrical D. - “Conversation of a Bookseller with a Poet”, a work significant for one of the first stages of the professionalization of literary labor, when the bookseller begins to confront the “free poet”. Of the larger dialogues of later times, we can mention “Three Conversations” by Vladimir Solovyov, then “Dialogue about Art” by A. V. Lunacharsky. A. V. Lunacharsky's preface to his D. can serve as a starting point for assessing D. as a genre. “Dialogue makes it possible,” writes Lunacharsky in the aforementioned preface, “to objectively present a series of opinions that mutually elevate and complement one another, to build a ladder of views and lead to a complete idea.” The most important compositional principles of the dialogue are very correctly noted here - the clearly noticeable dynamism of thematic development and the individual stages of this thematic development, to which the participants in the dialogue should introduce variety. The artistry of drama is determined by the extent to which the interlocutors complement each other in the sense of dynamic modification of the theme, that is, how exactly they are “needed” in a particular drama. As a defining component of dramatic works, drama differs significantly from drama as a genre. In the dialogical genre, there is an emphasis on the strength and persuasiveness of the statement, on the completeness and diversity of the development of the topic; dialogue in drama is a means of struggle between certain individuals placed in a certain position of self-defense and attack. It is important for the playwright to show not the convincing vitality of a certain structure of thought as the author of a dialogical genre, but the subjective use of some truth by a certain hero for defense or attack. The interlocutors in the drama are established not simply for the joint disclosure of a certain thought, but are related to one another either as enemies or as accomplices. In drama, through the lines spoken by the participants in the drama, we must grasp the dramatic tension and state of mind, but in the dialogic genre, interlocutors are needed only as a tool for the development of thought. Therefore, schematic “anonymous” A, B, C can participate in drama, while in drama only individuals characterized and “named” in one way or another can participate. In those cases when D. in drama is abstract reasoning, it violates its effectiveness and becomes, as it were, a foreign body. A distinctive feature of D. in drama, in addition, is the heterogeneity of the interlocutors’ language. True, it must be noted that in ancient and classical French drama all the characters speak almost the same language. The language of D. reaches its greatest individualization in Shakespeare, and in Russian literature in Ostrovsky.
Drama, in turn, is completely different from dramatic drama as a component of an epic work. Actually, from a theoretical point of view, introducing dialogue into an epic work destroys the pure epic tone: the essence of an epic is that everything communicated is perceived as a narration by a certain person - the author; the latter is supposed to stand outside or above events; Of what he knows, he may reveal only a part; he is a purely objective person. Of course, such objectivity is a fiction, but the perception of an epic work is possible only if this fiction is assumed. Therefore, in an epic, drama can play either a primarily characterological or plot role. By forcing certain heroes to talk to each other, instead of conveying their conversation from himself, the author can introduce appropriate shades into such a D. By theme and manner of speech, he characterizes his heroes from the mental, everyday and class side. It is known that a person’s mental makeup is reflected in the nature of his speech: “A person lives in words,” said Leskov, a master of epic dialogue, “and you need to know at what moments of psychological life which of us will have what words.”
Each class has its own vocabulary, its own images (one vocabulary for the peasant, another for the worker, the bourgeois). Speech e.g. Dostoevsky's heroes (decadent intellectuals) - uneven, clumsy, sometimes too verbose, as if searching and not finding the right word and phrase, sometimes abrupt and so short that the thought does not fit in the words (Pereverzev). The language of Turgenev's heroes is elegant and polished, which is typical for educated people of his class. It should only be noted that the lack of characterological integrity of an epic dialogue can be successfully compensated for by the author’s comments about the conditions in which the conversation takes place, about the gestures made by the interlocutors, etc. Such - relatively speaking - epic remarks, of course, differ significantly from the remarks that make up for the dramatic D., where they are only a pointer for the director or artist, but do not play an independent role. In an epic work, they are full-fledged components of the artistic whole, as if restoring the balance between epic and extra-epic tonality, disturbed by D.’s input. Such a violation manifests itself, for example, in the sudden, seemingly unmotivated introduction of D. into the narrative (for example, in Dostoevsky, in contrast to the classical epic of Homer, in whom D. is sometimes introduced according to the following scheme: “and so-and-so said, answering.. ."). The author finds himself overwhelmed by the events he narrates about, instead of confronting them. Here we move on to the second function of the epic story - plot. Developing the plot partly narratively and partly dialogically, the epic singles out individual plot nodes from the whole, thereby highlighting certain stages of plot development, noting the special significance of the plot functions of certain characters. Plot drama requires a lot of “fullness,” the simultaneous participation of several characters: this is its difference from characterological drama, where the task of characterizing a certain person forces him to come to the fore. Compositionally important for an epic poem is the very place where it is set: whether at the beginning, at the end, in a neutral descriptive environment, etc. For example, in the works of the Russian natural school, as he points out in his book “Studies on Gogol’s Style” V. Vinogradov (Academia publication, Leningrad, 1926), dialogue is the key to the plot, that is, there is a desire to begin the plot development dialogically; the same example can serve as an illustration of the combination of characterological (with the goal of creating a “type”) and plot functions of dialogue, which in general can be completely separated only purely theoretically. Bibliography:
The literature on dialogue - especially epic dialogue - is extremely scarce. This can be called: individual comments in the article by V. Gippius, On the composition of Turgenev’s novels, in collection. “Wreath for Turgenev”, Odessa, 1919; Volkenshtein V., Dramaturgy, M., 1923; ed. 2nd, 1929; Yakubinsky L.P., On dialogical speech, in collection. Edited by Shcherba L.V., “Russian Speech”, Leningrad, 1923; Balukhaty S. D., Problems of dramatic analysis, Leningrad, 1927; Gabel M. O., Form of dialogue in epics, “Naukovі notes of the Scientific Research Categories of the History of Ukrainian Culture,” 1927, No. 6; Wolf H., Dialogues and monologues, N.-Y., 1929.

Literary encyclopedia. - At 11 t.; M.: Publishing House of the Communist Academy, Soviet Encyclopedia, Fiction. Edited by V. M. Fritsche, A. V. Lunacharsky. 1929-1939 .

Dialogue

(from Greek dialogos - conversation), type of oral speech, conversation, conversation between two (or more) persons in which the participants change roles author And addressee(Unlike monologue, where everyone plays only one role). Fragments of speech from each participant in the dialogue are called replicas. In everyday speech, dialogue consists of short remarks with the active use of gestures and facial expressions. In various types of dialogue (scientific debate, business negotiations, etc.), remarks can be lengthy speeches. Correspondence is an epistolary dialogue, where the response is a letter. A dramatic text is a dialogue between characters. A monologue text is a dialogue between characters. A monologue text can be constructed with elements of dialogue (dialogized), for example. with questions to the addressee: And what would you think, dear listeners?
In fiction it is used as one of the elements of a work, most often it is a fragment of a prose work; dramatic works consist almost entirely of dialogue; in poetry it is less common, although it is also possible. Dialogue adds drama to the story, allows you to reveal the character of the hero through his remarks, and shows the ideological and moral position of the heroes and the author. As an independent literary work, dialogue is one of the genres of philosophical prose, in which the author’s thought is presented in the form of a conversation with several persons, during which the author (or the hero expressing his point of view) convinces everyone of the correctness of his opinion. The first philosophical dialogues were written Plato, based on the tradition of oral “Socratic dialogue” invented by Socrates.

Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Edited by prof. Gorkina A.P. 2006 .

Dialogue

DIALOGUE . In a broad sense, any interview is called dialogue; in particular, the exchange of thoughts (“Dialogue” by Plato). Dramatic dialogue - the exchange of dramatic remarks - has a special content. The word in drama is effective. Every scene in the drama is a scene of struggle - a “duel”, in the words of Julius the Bab; replica and counter-replica are a blow and a counter-blow (parrying a blow). The strong-willed core of a dramatic remark can be covered with a lyrical exclamation; the remark can take the form of an abstract thought, maxim or syllogism; however, both lyrics and reasoning have an instrumental purpose in dramatic dialogue - all the speeches of the characters in a dramatic scene are directed towards a specific goal. The strong-willed nature of the dramatic replica is clearly manifested in plays with stormy and rapid action - in dramas of the Shakespearean school, for example, in small plays - tragic sketches by Pushkin. On the contrary, in plays with sluggish action, as, for example, in Chekhov, volitional striving is very often masked by lyrical exclamations or reasoning, as if irrelevant to the matter. However, if Chekhov's dialogues were devoid of strong-willed dynamics, they could not be reproduced on stage. When Trigorin says to Nina Zarechnaya: “When people praise it, it’s nice... The plot for a short story,” etc., he is courting her with these words. In other words, Chekhov's dialogue is often allegorical. One can give many examples of dramatic dialogue in the form of theoretical reasoning, pursuing a very specific, practical goal. When Guildenstern and Rosencrantz talk with Hamlet about Denmark, about ambition, etc., they, through a secular exchange of aphorisms, try to figure out whether Hamlet is really crazy or not; Hamlet, for his part, understands their intention and tries to completely confuse them, mocking them contemptuously. Since abstract thought in a dramatic dialogue is a weapon of struggle, the dramatic hero cannot be taken at his word; his language is the language of passion, this is his truth and his lies. In order to understand the character’s remarks, you need to unravel his conscious or unconscious desire. In dramas where the hero is carried away by self-sufficient abstract reasoning, the action instantly ends - and the play becomes boring. So, for example, in some remarkable German playwrights, for example, in Hebbel, we find an overload of dialogue with abstract thoughts, no longer caused by the conditions and situation of dramatic struggle. In Goethe's Torquato Tasso, the minor characters keep spouting excellent aphorisms, which is inappropriate and tiresome. Shakespeare's dialogue is magnificent: the sharpness of thought in it is a manifestation of strong and spiritual passion. But in Shakespeare we sometimes find aimless reasoning that falls outside the plan of the dramatic struggle (such as, for example, Juliet’s monologue: “Oh, fire-footed horses”... etc.). Dramatic dialogue is structured as an exchange of speeches that influence the partner, sometimes this is a direct influence, a direct order, request or question; such a remark can be called effective par excellence. Where a dramatic remark takes on the character of persuasive speech, rich, for the purpose of persuasiveness, with images, comparisons and maxims, it is rhetorical speech. In the fight against the solemn rhetoric of the French classics, romantic and subsequently realistic criticism denied rhetoric in drama, demanding a more direct dialogue. However, since any persuasive speech inevitably resorts to rhetorical figures, Ostrovsky’s dialogue can also be considered rhetorical - rhetorical in a somewhat expanded sense.

V. Volkenshtein. Literary encyclopedia: Dictionary of literary terms: In 2 volumes / Edited by N. Brodsky, A. Lavretsky, E. Lunin, V. Lvov-Rogachevsky, M. Rozanov, V. Cheshikhin-Vetrinsky. - M.; L.: Publishing house L. D. Frenkel, 1925

See what “Dialogue” is in other dictionaries:

dialogue- a, m. dialogue lat. dialogus gr. dialogos. 1. Literary genre in the form of a conversation between two or more characters. Sl. 18. Theodorite in the first dialosis... this says. Sob. 42. // Sl. 18 6 124. A dialogue in French is being sent to you, which ... Historical Dictionary of Gallicisms of the Russian Language

A form of speech, a conversation, in which the spirit of the whole arises and makes its way through the differences of replicas. D. can be a form of poetic development. concept (especially in drama, where it is opposed to monologue and mass stage); form of education: then... ... Encyclopedia of Cultural Studies

the most important quality of the therapist-client relationship and the ideal of interpersonal relationships. Closely related to the concept of the I-Thou relationship, introduced by the philosopher M. Buber. R. Resnik describes the characteristics of the dialogical relationship between the therapist and the client: “The therapist demonstrates presence - that is, the therapist’s own experience and phenomenology are applicable. Then there is inclusion - the therapist includes himself in the client's experience and phenomenology. Thirdly, there is an invitation to dialogue - to allow the magic to manifest itself, which can spread in the “space” of meeting people” [Reznik (23), p. 10]. Literature:

Dialogue

Greek di?logos - conversation, conversation] - alternating exchange of remarks (in a broad sense, a response in the form of an action, gesture, silence is also considered a response) of two or more people. D. was a common form of philosophical and scientific works in antiquity and in modern times (Xenophon, Plato, G. Galileo, N. Malebranche, D. Diderot, etc.). In psychology, D.'s research related to the analysis of social mechanisms of the psyche began in the twentieth century. (cultural-historical theory of L.S. Vygotsky, interactionism, psychoanalysis, theory of J. Piaget, works of M.M. Batkhin, etc.). A special area that has been actively developed since the 70s is the psychological problems of human interaction with a computer. The significance of speech for psychology lies in the fact that in a child speech (speech caused by an adult, addressed to an adult and directly related to an action) is a structurally-genetically initial, and then - throughout a person’s life - a universal component of speech communication. Each D. replica (statement) - a unit of speech of an individual - has a subject-related reference (a replica about something) and a social character (addressed to a partner and regulated by microsocial relations between partners). D., ontogenetically preceding inner speech, leaves an imprint on its structure and functioning, and thereby on consciousness as a whole. L.A. Radzikhovsky

DIALOGUE

from Greek dialogos) - alternating exchange of remarks, a conversation between two or more persons. During a conflict, D. is characterized by verbal opposition, high emotional intensity, a rigid orientation towards the subject of the conflict, and dependence on the state of interpersonal relationships.

Dialogue

Greek dia – once..., re...; logos – speech) – 1. conversation between two or more persons. It involves mastering a number of speech skills (for example, taking turns in a conversation, listening skills, using clarifying, leading and other questions, and many others. Ortega I Gasset (1883 - 19550 argues that human speech is essentially dialogical. With some mental disorders, the ability to conduct a dialogue can be significantly impaired or completely lost; 2. negotiations, a free exchange of opinions between two parties, Inner speech can also be constructed in the form of a dialogue; 2. in psychopathology - speech constructed according to the dialogue model, but addressed to an imaginary interlocutor, personified in a verbal hallucination, imagined in a dream by an interlocutor during sleep talk, etc. See also Dialogolalia.

Dialogue

exchange of remarks, thoughts and judgments interconnected in content between 2 or more people (the latter case is sometimes called polylogue). D.'s research is being carried out in various fields. branches of knowledge (philosophy, cultural studies, pedagogy), in line with various. directions - in the cultural and historical school of L. S. Vygotsky, the symbolic interactionism of J. G. Mead, the psychoanalysis of S. Freud, in the works of J. Piaget, M. M. Bakhtin, L. P. Yakubinsky and others. In D. as complex speech complex, which includes chains of intertwining and parallel replicas, we can distinguish external. D., when real interlocutors exchange remarks, and internal. D., when remarks are exchanged with some absent or imaginary partners. D. have different character: phatic, informational, discussion, confessional (A.V. Mudrik). Phatic speech - the exchange of verbal statements solely to maintain contact - was described by the English ethnographer B. Malinovsky, who noted that in some archaic cultures, phatic speech has the character of a ritual, because it creates for the individual a feeling of belonging to his fellow tribesmen. Phatic D. is also very common in modernized societies, performing the function of maintaining a person’s prosperous sense of self in relationships with others, allowing people to exchange emotional values, etc. level, using a minimum of lexical units and not communicating any information to each other other than the message “I am with you” and “we are with you.” Phatic D. is especially important for adolescents and older adolescents. Phatic D. can also be external. and internal In the latter case, in quality. The partner is, as a rule, a real person, O. with Crimea is impossible due to its spatial remoteness or because of the existing relationship with him. Information D. - exchange of information of various types. properties, drawn from a variety of sources, which occurs between people. Information D. is also inherent in both external and internal. A. In the latter case, a person “informs” himself, other selves, an imaginary or real partner who is absent at the moment, about his actions, intentions, experiences or something else. Discussion D. arises when there is a collision of different. t.z., in the case when differences appear in the interpretation of certain facts, events, etc. Discussion D. accompanies O. in all spheres of life, because interaction in each of them usually requires coordination of the individual efforts of partners, which, usually occurs during the discussion. Quite often, controversial D. arises in the internal. O. Int. a person conducts discussions both with other selves and with imaginary or real persons. Int. Discussion D. gives a person the opportunity to take the position of a researcher in relation to another character, to his actions and thoughts. Confessional D. occurs in a confidential O. with friends, with loved ones, with a spouse, when a person tries to be extremely frank, strives to share his feelings and experiences with the interlocutor. Confessional D. int. O. occurs when in solitude a person loses many. roles that are inaccessible to him in real life, communicates with fictional or real, but inaccessible to him, partners, or even with invented fantasy partners. Int. Confessional D. is realized in fantasies, daydream games and daydreams. Each person at different stages of socialization participates in dialogues of all types; each subsequent type of D. can be recognized as deeper in content and emotionality. Lit.: Bakhtin M. M. Problems of Dostoevsky’s poetics. M. 1989; Mudrik A.V. Communication as a factor in the education of schoolchildren. M., 1983; Sokovnin V. M. Intracommunicative aspects of personality socialization / Problems of formation of sociogenic needs. Tbilisi, 1974; Yakubinsky L.P. About dialogical speech // Russian speech. St. Petersburg, 1923. A. V. Mudrik

1. Dialogue - DIALOGUE (Greek dialogos - original meaning - conversation between two persons) - verbal exchange between two, three or more interlocutors. Literary encyclopedia
2. DIALOGUE - DIALOGUE (Greek dialogos) - 1) a form of oral speech, a conversation between two or more persons; speech communication through exchange of remarks. As part of the literary text, it dominates drama and is present in epic works. Large encyclopedic dictionary
3. dialogue - dialogue Form with emphasis on the last syllable of borrowings. from French dialogue or German Dialog; others, possibly, through Polish. dialog from Lat. dialogus from Greek. διάλογος. Etymological Dictionary of Max Vasmer
4. DIALOGUE - DIALOGUE (Greek dialogos - conversation) - informative and existential interaction between communicating parties, through which understanding occurs. The latest philosophical dictionary
5. Dialogue - (Greek) - actual conversation, a conversation between two or more persons, also a literary work in the form of a conversation. Philosophers of ancient and modern times and the fathers of the church especially readily used D. D. Socrates and Plato are remarkable. That's the name. Encyclopedic Dictionary of Brockhaus and Efron
6. dialogue - DIALOGUE (from the Greek dialogos - conversation, conversation; literally - speech through) - linguistic communication between two or more persons. Dialogue as a literary genre and as a method of philosophizing has a long tradition, usually traced back to the school of Socrates. Encyclopedia of Epistemology and Philosophy of Science
7. dialogue - noun, p., used. compare often (not) what? dialogue, why? dialogue, (see) what? dialogue, what? dialogue, about what? about dialogue; pl. What? dialogues, (no) what? dialogues, what? dialogues, (see) what? dialogues, what? dialogues, about what? about dialogues... Dmitriev's Explanatory Dictionary
8. dialogue - Dialogue/. Morphemic-spelling dictionary
9. Dialogue - DIALOGUE. In a broad sense, any interview is called dialogue; in particular, the exchange of thoughts (“Dialogue” by Plato). Dramatic dialogue - the exchange of dramatic remarks - has a special content. The word in drama is effective. Dictionary of literary terms
10. dialogue - spelling dialogue, -a Lopatin's spelling dictionary
11. Dialogue - Musical (from the Greek dialogos - conversation, conversation) - a type of musical presentation that reproduces the features of spoken dialogue. 1) Vocal dialogue arose in the process of music. embodiment of texts containing elements of colloquial... Music Encyclopedia
12. dialogue - DIALOGUE, a, m. 1. Conversation between two persons, exchange of remarks. Scenic building 2. trans. Negotiations, contacts between the two countries, parties. Political village. Constructive village. | adj. dialogical, aya, oe (to 1 meaning) and dialogical, aya, oe (to 1 meaning; special). Ozhegov's Explanatory Dictionary
13. Dialogue - (from the Greek diálogos - conversation, conversation) dialogical speech, 1) a type of speech characterized by situationality (depending on the situation of the conversation), contextuality (dependence on previous statements)... Great Soviet Encyclopedia
14. dialogue - (Greek dialogos - conversation). A form of speech in which there is a direct exchange of statements between two or more persons. Rosenthal Dictionary of Linguistic Terms
15. dialogue - A form of speech that is characterized by a change in the utterances of two or more speakers and a direct connection between the utterances and the situation. Explanatory Dictionary of Translation Studies / L.L. Nelyubin. - 3rd ed., revised. - M.: Flinta: Science, 2003 Explanatory translation dictionary
16. dialogue - Conversation Wed. And will you tell me your entire dialogue? and describe what kind of face this scalded cat will make? K.M. Stanyukovich. Frank. 1, 19. Wed. Dialogue. Wed. διάλογος (δια - once, λόγος - word) - conversation. Mikhelson's Phraseological Dictionary
17. dialogue - see >> conversation Abramov's dictionary of synonyms
18. dialogue - noun, number of synonyms: 9 audio dialogue 1 conversation 30 negotiations 8 radio dialogue 1 conversation 53 interview 7 meeting 25 television dialogue 1 faedon 1 Dictionary of Russian synonyms
19. dialogue - And dialogue, -a, m. Conversation between two or more persons. [Tagilsky] left ---. A minute-long dialogue in the hallway somewhat calmed Samghin’s anxiety. M. Gorky, The Life of Klim Samgin. Small academic dictionary
20. dialogue - DIALOG -a; m. [Greek dialogos] 1. A conversation between two or more persons. Lively d. It took place, started the d. News d. D. broke off mid-sentence. D. between ambassadors, rivals. Kuznetsov's Explanatory Dictionary
21. dialogue - Dialogue, dialogues, dialogue, dialogues, dialogue, dialogues, dialogue, dialogues, dialogue, dialogues, dialogue, dialogues Zaliznyak's Grammar Dictionary
22. Dialogue - A form of speech, a conversation, in which the spirit of the whole arises and makes its way through the differences in remarks. D. can be a form of poetic development. Dictionary of cultural studies
23. dialogue - DIAL'OG, dialogue, male. (Greek: dialogos). 1. A conversation between two or more persons. | A part of a literary work consisting of conversations. The actors carried out the final dialogue well. 2. A literary work written in the form of a conversation (lit.). Dialogues of Plato. Ushakov's Explanatory Dictionary
24. dialogue - Dialogue, m. [Greek. dialogos]. 1. A conversation between two or more persons. || A part of a literary work consisting of conversations. The actors carried out the final dialogue well. 2. A literary work written in the form of a conversation (lit.). Dialogues of Plato. Large dictionary of foreign words
25. - 1) A form of oral speech, a conversation between two or more persons; speech communication through the exchange of words, phrases according to k.-l. topic; 2) negotiations, free exchange of opinions; 3) a literary work or part thereof, written in the form of a conversation... Dictionary of linguistic terms Zherebilo
26. dialogue - DIALOGUE a, m. dialogue<�лат. dialogus <�гр. dialogos. 1. Литературный жанр в форме беседы двух или более персонажей. Сл. 18. Феодорит в первом диалозе.. сия сказует. Соб. 42. // Сл. 18 6 124. Dictionary of Gallicisms of the Russian language