Sweet tension has strong overlap with complexity theory and the notion of boundaries horizons and edge of chaos sweet tension. Not to mention zone of proximal development, flow state, mastery motivational climate, etc. Did like the paper on sweet tension. Back half has some really salient points.
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This is lovely. Like the context — or the stage or the game itself — was something alive, and it was singing and playing and enacting itself, in and through and as us. You are commenting using your WordPress. You are commenting using your Google account. You are commenting using your Twitter account.
You are commenting using your Facebook account. Notify me of new comments via email. Notify me of new posts via email. September 19, May 3, emanciplaytion. Here is my alternative definition: In a dialogic relationship there are two sides, an inside and an outside, held in a relationship of tension in which they can reverse perspectives but not join. Figure 2: A possible reader? Share this: Twitter Facebook. Like this: Like Loading That was beautiful. I agree. The well-played game is like an organism.
It is alive.
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Silvia Grav. In the s, Nichiren Daishonin wrote some of his important writings in dialogue form, describing a meeting between two characters in order to present his argument and theory, such as in "Conversation between a Sage and an Unenlightened Man" The Writings of Nichiren Daishonin 1: pp. The sage or person answering the questions was understood as the author.
In the West, Plato c. Plato further simplified the form and reduced it to pure argumentative conversation, while leaving intact the amusing element of character -drawing. Following Plato, the dialogue became a major literary genre in antiquity, and several important works both in Latin and in Greek were written.
Soon after Plato, Xenophon wrote his own Symposium ; also, Aristotle is said to have written several philosophical dialogues in Plato's style of which only fragments survive. In English non-dramatic literature the dialogue did not see extensive use until Berkeley employed it, in , for his treatise, Three Dialogues between Hylas and Philonous. A prominent 19th-century example of literary dialogue was Landor 's Imaginary Conversations — In Germany, Wieland adopted this form for several important satirical works published between and Italian writers of collections of dialogues, following Plato's model, include Torquato Tasso , Galileo , Galiani , Leopardi , and a host of others.
In the 19th century, the French returned to the original application of dialogue. The inventions of " Gyp ", of Henri Lavedan , and of others, which tell a mundane anecdote wittily and maliciously in conversation, would probably present a close analogy to the lost mimes of the early Sicilian poets. English writers including Anstey Guthrie also adopted the form, but these dialogues seem to have found less of a popular following among the English than their counterparts written by French authors. The Platonic dialogue , as a distinct genre which features Socrates as a speaker and one or more interlocutors discussing some philosophical question, experienced something of a rebirth in the 20th century.
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Authors who have recently employed it include George Santayana , in his eminent Dialogues in Limbo , 2nd ed. Also Edith Stein and Iris Murdoch used the dialogue form. Stein imagined a dialogue between Edmund Husserl phenomenologist and Thomas Aquinas metaphysical realist. Murdoch included not only Socrates and Alcibiades as interlocutors in her work Acastos: Two Platonic Dialogues , but featured a young Plato himself as well. Martin Buber assigns dialogue a pivotal position in his theology. His most influential work is titled I and Thou.
Buber's thought centers on "true dialogue", which is characterized by openness, honesty, and mutual commitment. The Second Vatican Council placed a major emphasis on dialogue with the World. The physicist David Bohm originated a related form of dialogue where a group of people talk together in order to explore their assumptions of thinking, meaning, communication, and social effects. This group consists of ten to thirty people who meet for a few hours regularly or a few continuous days. In a Bohm dialogue , dialoguers agree to leave behind debate tactics that attempt to convince and, instead, talk from their own experience on subjects that are improvised on the spot.
In his influential works, Russian philosopher Mikhail Bakhtin provided a linguistic methodology to define the dialogue, its nature and meaning: . Dialogic relations have a specific nature: they can be reduced neither to the purely logical even if dialectical nor to the purely linguistic compositional - syntactic They are possible only between complete utterances of various speaking subjects Where there is no word and no language , there can be no dialogic relations; they cannot exist among objects or logical quantities concepts, judgments, and so forth.
Dialogic relations presuppose a language, but they do not reside within the system of language. They are impossible among elements of a language. The Brazilian educationalist Paulo Freire , known for developing popular education, advanced dialogue as a type of pedagogy. Freire held that dialogued communication allowed students and teachers to learn from one another in an environment characterized by respect and equality.
A great advocate for oppressed peoples, Freire was concerned with praxis—action that is informed and linked to people's values. Dialogued pedagogy was not only about deepening understanding; it was also about making positive changes in the world: to make it better.
Dialogue is used as a practice in a variety of settings, from education to business. Influential theorists of dialogal education include Paulo Freire and Ramon Flecha. In the United States, an early form of dialogic learning emerged in the Great Books movement of the early to midth century, which emphasized egalitarian dialogues in small classes as a way of understanding the foundational texts of the Western canon.
John's College in Annapolis and Santa Fe. Egalitarian dialogue is a concept in dialogic learning. It may be defined as a dialogue in which contributions are considered according to the validity of their reasoning, instead of according to the status or position of power of those who make them.