Dialogical self
The dialogical self is a psychological concept which describes the mind's ability to imagine the different positions of participants in an internal dialogue, in close connection with external dialogue. The "dialogical self" is the central concept in the dialogical self theory, as created and developed by the Dutch psychologist Hubert Hermans since the 1990s.
Overview
Dialogical Self Theory weaves two concepts, self and dialogue, together in such a way that a more profound understanding of the interconnection of self and society is achieved. Usually, the concept of self refers to something "internal," something that takes place within the mind of the individual person, while dialogue is typically associated with something "external," that is, processes that take place between people involved in communication.The composite concept "dialogical self" goes beyond the self-other dichotomy by infusing the external to the internal and, in reverse, to introduce the internal into the external. As functioning as a "society of mind", the self is populated by a multiplicity of "self-positions" that have the possibility to entertain dialogical relationships with each other.
In Dialogical Self Theory the self is considered as "extended," that is, individuals and groups in the society at large are incorporated as positions in the mini-society of the self. As a result of this extension, the self does not only include internal positions, but also external positions.
Given the basic assumption of the extended self, the other is not simply outside the self but rather an intrinsic part of it. There is not only the actual other outside the self, but also the imagined other who is entrenched as the other-in-the-self. An important theoretical implication is that basic processes, like self-conflicts, self-criticism, self-agreements, and self-consultancy, are taking place in different domains in the self: within the internal domain ; between the internal and external domain and within the external domain.
As these examples show, there is not always a sharp separation between the inside of the self and the outside world, but rather a gradual transition. DST assumes that the self as a society of mind is populated by internal and external self-positions. When some positions in the self silence or suppress other positions, monological relationships prevail. When, in contrast, positions are recognized and accepted in their differences and alterity, dialogical relationships emerge with the possibility to further develop and renew the self and the other as central parts of the society at large.
Historical background
DST is inspired by two thinkers in particular, William James and Mikhail Bakhtin, who worked in different countries, in different disciplines, and in different theoretical traditions. As the composite term dialogical self suggests, the present theory finds itself not exclusively in one of these traditions but explicitly at their intersection. As a theory about the self it is inspired by William James, as a theory about dialogue it elaborates on some insights of Mikhail Bakhtin. The purpose of the present theory is to profit from the insights of founding fathers like William James, George Herbert Mead and Mikhail Bakhtin and, at the same time, to go beyond them.William James proposed a distinction between the I and the Me, which, according to Morris Rosenberg, is a classic distinction in the psychology of the self. According to James the I is equated with the self-as-knower and has three features: continuity, distinctness, and volition. The continuity of the self-as-knower is expressed in a sense of personal identity, that is, a sense of sameness through time. A feeling of distinctness from others, or individuality, is also characteristic of the self-as-knower. Finally, a sense of personal volition is reflected in the continuous appropriation and rejection of thoughts by which the self-as-knower manifests itself as an active processor of experience.
Of particular relevance to DST is James's view that the Me, equated with the self-as-known, is composed of the empirical elements considered as belonging to oneself. James was aware that there is a gradual transition between Me and mine and concluded that the empirical self is composed of all that the person can call his or her own, "not only his body and his psychic powers, but his clothes and his house, his wife and children, his ancestors and friends, his reputation and works, his lands and horses, and yacht and bank-account". According to this view, people and things in the environment belong to the self, as far as they are felt as "mine". This means that not only "my mother" belongs to the self but even "my enemy". In this way, James proposed a view in which the self is 'extended' to the environment. This proposal contrasts with a Cartesian view of the self which is based on a dualistic conception, not only between self and body but also between self and other. With his conception of the extended self, that defined as going beyond the skin, James has paved the way for later theoretical developments in which other people and groups, defined as "mine" are part of a dynamic multi-voiced self.
In the above quotation from William James, we see a constellation of characters which he sees as belonging to the Me/mine: my wife and children, my ancestors and friends. Such characters are more explicitly elaborated in Mikhail Bakhtin's metaphor of the polyphonic novel, which became a source of inspiration for later dialogical approaches to the self. In proposing this metaphor, he draws on the idea that in Dostoevsky's works there is not a single author at work—Dostoevsky himself—but several authors or thinkers, portrayed as characters such as Ivan Karamazov, Myshkin, Raskolnikov, Stavrogin, and the Grand Inquisitor.
These characters are not presented as obedient slaves in the service of one author-thinker, Dostoevsky, but treated as independent thinkers, each with their own view of the world. Each hero is put forward as the author of his own ideology, and not as the object of Dostoevsky's finalizing artistic vision. Rather than a multiplicity of characters within a unified world, there is a plurality of consciousnesses located in different worlds. As in a polyphonic musical composition, multiple voices accompany and oppose one another in dialogical ways. In bringing together different characters in a polyphonic construction, Dostoevsky creates a multiplicity of perspectives, portraying characters conversing with the Devil, with their alter egos, and even with caricatures of themselves.
Inspired by the original ideas of William James and Mikhail Bakhtin, Hubert Hermans, Harry Kempen and Rens van Loon wrote the first psychological publication on the "dialogical self" in which they conceptualized the self in terms of a dynamic multiplicity of relatively autonomous I-positions in the landscape of the mind. In this conception, the I has the possibility to move from one spatial position to another in accordance with changes in situation and time. The I fluctuates among different and even opposed positions, and has the capacity to imaginatively endow each position with a voice so that dialogical relations between positions can be established. The voices function like interacting characters in a story, involved in processes of question and answer, agreement and disagreement. Each of them have a story to tell about their own experiences from their own stance. As different voices, these characters exchange information about their respective Me's and mines, resulting in a complex, narratively structured self.
Construction of assessment and research procedures
The theory has led to the construction of different assessment and research procedures for investigating central aspects of the dialogical self. Hubert Hermans has constructed the Personal Position Repertoire method, an idiographic procedure for assessing the internal and external domains of the self in terms of an organized position repertoire.This is done by offering the participant a list of internal and external self-positions. The participants mark those positions that they feel as relevant in their lives. They are allowed to add extra internal and external positions to the list and phrase them in their own terms. The relationship between internal and external positions is then established by inviting the participants to fill out a matrix with the rows representing the internal positions and the columns the external positions. In the entries of the matrix, the participant fills in, on a scale from 0 to 5 the extent to which an internal position is prominent in the relation to an external position. The scores in the matrix allow for the calculation of a number of indices, such as sum scores representing the overall prominence of particular internal or external positions and correlations showing the extent to which internal positions have similar profiles. On the basis of the results of the quantitative analysis, some positions can be selected, by the client or assessor, for closer examination.
From the selected positions the client can tell a story that reflects the specific experiences associated with that position and, moreover, assessor and client can explore which positions can be considered as a dialogical response to one or more other positions. In this way, the method combines both qualitative and quantitative analyses.
Psychometric aspects of the PPR method
The psychometric aspects of the PPR method was refined a procedure proposed by A. Kluger, Nir, & Y. Kluger. The authors analyze clients' Personal Position Repertoires by creating a bi-plot of the factors underlying their internal and external positions. A bi-plot provides a clear and comprehensible visual map of the relations between all the meaningful internal and external positions within the self in such a way that both types of positions are simultaneously visible. Through this procedure clusters of internal and external positions and dominant patterns can be easily observed and analyzed.The method allows researchers or practitioners to study the general deep structures of the self. There are multiple bi-plots technologies available today. The simplest approach, however, is to perform a standard principal component analysis. To obtain a bi-plot, a PCA is once performed on the external positions and once on the internal positions, with the number of components in both PCA's restricted to two. Next, a scatter of the two PCAs is plotted on the same plane, where results of the first components are projected to the X-axis and of the second components to Y-axis. In this way, an overview of the organization of the internal and external positions together is realized.