psuedo and semi dialogic discourse

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Pseudo-dialogic and Semi-dialogic Discourse

Dr. B.V. Rama Prasad

Reader

Dept. of English

Kuvempu University

In Discourse Analysis generally discourse is divided into monologue and dialogue

(see Crystal, 1994: 294-297). This paper tries to argue that we can talk about four types

of discourse, pseudo-dialogic and semi-dialogic being the other two. For the purposes of

this paper, discourse can be defined as language in use(see Brown and Yule 1983: 1). We

will also argue that this framework can be used as an useful tool to talk about the

connections between the use of language and the inequalities in society.

Let us first try to look each of the four types of discourse. We will assume that

discourse will have two or two sets of participants, A and B. Of these, let us say A

is the producer(s) of the text of the discourse and B is the interpreter(s) of the text of

the discourse. A and B need not be persons. They can represent institutions,

organizations or even the state. Monologic discourse has the following features-

1. We have no overlap between the roles of A and B. A produces and

B interprets.

2. B has no direct role in the production of the text.

3. The text generally exists before the discourse takes place and is

relatively more stable.

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Typical examples for monologic discourse are sermon, poetry, a seminar paper

etc. It is true that all these may have been indirectly influenced by the concept of the

interpreter (congregation, reader, audience), but we have a very clear distinction between

the producer and the interpreter. We will also ignore for the purposes of this paper the

fact that in the preparation of the text in each case, a lot of dialogue may have taken

place. The point is that these dialogues are not between A and B as defined earlier.

This brings us to the question of co-authored texts. Are these to be considered

dialogic? The dialogue in such texts is not between A and B as defined in this paper,

but both (or more of) the authors are part of A. A truly dialogic text is one in which

both A and B contribute on equal footing to the creation of the text. Thus in a

dialogic text, the roles of the producer and the interpreter are not fixed. All the

participants have equal rights to contribute. Gossip is as near as one can come to a truly

dialogic discourse in real life.

Then there are situations where A and B appear to be having a dialogue, but

in reality both together are addressing some other person(s) C. For example, we can

look at the conversation between the lawyer and his client in the courtroom. Let us say

the lawyer is A and his client is B. The lawyer may ask a series of questions to his

client who is in the witness box. Thus both A and B seem to be constructing the text

(though of course the lawyer is controlling the discourse). But here A and B are not

actually speaking to each other. Their dialogue is meant to be interpreted by the judge

(who may of course contribute to the discourse). Such a discourse where there is a

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pretense of dialogue between A and B, but where the intended interpreter is someone

other than A or B can be called pseudo-dialogic discourse.

Drama provides many interesting instances of pseudo-dialogic discourse. Let us

take the example of Macbeth. Look at the following dialogue-

Macbeth: My dearest love, / Duncan comes here tonight.

Lady Macbeth: And when goes hence?

Macbeth: To-morrow, as he purposes.

First of all, let us think of a stage production of Macbeth. We have two actors

playing the role of Macbeth and Lady Macbeth (our A and B?). A makes a

statement and B responds by asking a question to which A answers. Apparently, A

and B are talking. But both the actors will have known the lines beforehand so that no

aspect of discourse is a real communication between A and B. The interpreter is the

audience (C?). But the situation is more complex here. Who is the producer of the

text here- the characters, the actors, the director or the playwright? Similarly, even the

audience may know the lines already before they are actually uttered on the stage, so

even C may not get any new information. Thus there are many layers at which we can

analyze literary dialogues (which include dialogues in novels as well as in narrative or

dramatic poetry), but at a basic level we can say that this is another case of pseudo-

dialogue.

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Sometime, pseudo-dialogue can be used as a rhetorical device. In many news

papers we can find articles ostensibly addressed to a public figure (a politician, a famous

writer, or any public figure). We can have sentences like, Tell us dear Chief Minister

or Why did you not protest then? This is a very unfair trick because the poor B here

has no way of responding to questions or criticism raised by A! Sometimes B is very

unlikely to even ever read the article, (say Manmohan Singh or George Bush).

But the most relevant type of discourse for us keeping in mind the relationship

between language and society is the semi-dialogic discourse. Here, though B

contributes to the discourse, his/her contribution is severely controlled by A. B seems

to be an equal partner, but he/she is not. Let us remember here that A and B are not

necessarily individuals. They are possibly limited by their identity in the society. Thus

Bs inferior role in contributing to the discourse may be institutionalized in the discourse

situation.

Some examples of semi-dialogic discourse are the classroom dialogue between a

teacher and pupils, the court room dialogue between the prosecution lawyer and the

defendant, or a dialogue between the doctor and the patient (or between an authoritative

father and his son or daughter). In all these cases, the general case is that Bs responses

are just that-responses. B can not decide on what his/her contribution should be, or on

what the topic of discourse can be, or even the length of his/her contribution. The turn-

taking is controlled by A. The point of interest for us should be the various sources and

means through which this control is exercised.

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It is not the purpose of this paper to analyze the various sources of authority that

allow A to control the discourse. We just point out some possible sources of authority.

Sometimes the personality or the position of A in society can be source of authority.

Sometimes there can be conventions attached to the particular discourse situation, as in a

seminar where the chairperson decides when to stop a presentation. But often the semi-

dialogic discourse reflects the unequal power relations within a group. In most of these

cases B is at disadvantage because he/she is not allowed to contribute the discourse.

The point is that though language is tool for communication, not everyone involved has

equal authority to use this tool. What we can do is to try make all our discourses as truly

dialogic as possible. Here we any have to move to a broader definition of discourse as

Language in use relative to social, political and cultural formations-it is language

reflecting social order but also language shaping social order, and shaping individuals

interaction with society(Jaworski and Coupland 1999: 3).

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Works Cited

Crystal, David The Cambridge Encyclopedia of English Language BCA London 1994

Jaworski, Adam and Nikolas Coupland The Discourse Reader(ed) Routledge London

and New York 1999.

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