In this article, we develop a concept of stakeholder dialogue in responsible innovation (RI) processes. The problem with most concepts of communication is that they rely on ideals of openness, alignment and harmony, even while these ideals are rarely realized in practice. Based on the work of Burke, Habermas, Deetz and Levinas, we develop a concept of stakeholder dialogue that is able to deal with fundamentally different interests and value frames of actors involved in RI processes. We distinguish four main (...) characteristics of stakeholder dialogue. Dialogical responsiveness (1) enhances self-criticism, (2) is characterized by the constitution and the destruction of the self or identity of the actors involved, (3) consists only in the actual enactment of the dialogue and (4) is primarily responsive to the grand challenges of our time. Based on our findings, we provide a novel conceptualization of the central notion of responsiveness in the RI literature. (shrink)

Over the last few decades there has been a strong narrative turn within the humanities and social sciences in general and educational studies in particular. Especially Jerome Bruner’s theory of narrative as a specific ‘mode of knowing’ was very important for this growing body of work. To understand how the narrative mode works Bruner proposes to study narratives ‘at their far reach’—as an art form—and on several occasions he refers to the dramatistic pentad as an important method for ‘unpacking’ narratives. (...) The pentad proposed by Bruner to study narratives was developed by the American philosopher and rhetorician Kenneth Burke and is embedded in his general linguistic theory of dramatism. From an educational perspective Bruner’s reference to the work of Burke has not been elaborated upon thus far. In this paper we aim to take Bruner’s suggestion at hand and explore how his educational theory of narrative as a mode of knowing can indeed be enriched by Kenneth Burke’s theory and method of dramatism. We claim that specifically the rhetorical framework that is developed by dramatism offers an important perspective about perspectives for education in a context that is increasingly confronted with a plurality of interpretive frameworks. (shrink)

Rhetoricians usually consider Plato's Republic as a work dedicated to political philosophy. As such, it is ostensibly antidemocratic and thus antirhetorical. But if we focus on the reason for the political allegory—the investigation of justice in the soul—it is clear that Plato is interested in Burke's question: “What is involved, when we say what people are doing and why they are doing it?” Accordingly, this article employs the terms of Burke's pentad in order to articulate the rhetorical significance of Plato's (...) own drama of psychic motivation. Ultimately, I read the degenerating constitutions of the Republic as a rhetorical typography that not only identifies audience types and how to influence them, but also offers a map of psychic transformation that addresses Socrates's famous challenge to rhetoric in the Phaedrus. (shrink)

Theorists have long sought to repress or domesticate the shaggy, obscene, and transgressive satyr that ranges through satire’s long history, lurking in dark corners, and to make it into a model of a moral citizen.Unruly, wayward, frolicsome, critical, parasitic, at times perverse, malicious, cynical, scornful, unstable—it is at once pervasive yet recalcitrant, basic yet impenetrable. Satire is the stranger that lives in the basement.Instead of trying to resolve all the problems that arise from the particular of a given tragic dignification, (...) the dramatist in his satyrplay throws out tragic dignification per se. He thus gets freedom by a flat refusal to accept any of the norms that had caused the .. (shrink)