The I-position does not limit itself to the internal domain of the self. e.g. I am a piano player, I as a father. We extend our selves into society through (what looks like our roles) “my father”, “my enemy”, “my sister”, which are also I positions…” as the other person has the potential to function in the self as ‘another I’.”
Splitting of the Self
The Cartesian split between the body and self: the body belongs to the self. The Cartesian split between the other and self: the children belongs to the self.
“Thou-Art” : On recognizing the other
The central concept of Bakhtin: ‘For the author the hero is not “he”, and not “I” but a full-valued “thou”, that is another full-fledged “I” ’ (Bakhtin 1973: 51).
“This theoretical ‘upgrading’ of the other as another person in the self implies that the other is considered more than an extension of the Me on the object. This theoretical ‘upgrading’ of the other as another person in the self implies that the other is considered more than an extension of the Me on the object level but first of all an extension of I on the subject level. It allows the other, as part of the self, to develop an original perspective on the world, to tell a story about him- or herself, and to do so as a relatively autonomous position or voice with an own point of view. (p. 21)”
This part rings similar to Martin Buber’s concept of the I-thou relationship. In this I-thou relationship, the other becomes the subject and not merely an extension of the subject. The other is also free to be autonomous. Could this mean that part of the I-thou evolution is to be able to position the other as the hero? Does this correlate to unconditional positive regard?
“Drawing on Buber’s (1923/1958) distinction between the I–Thou and I–It attitude, Cooper proposed that intrapersonal relationships can take one of two forms: an I–I form, in which one I-position encounters and confirms another I-position in its uniqueness and wholeness; and an I–Me form, in which one I-position experiences another I-position in a detached and objectifying way. In his view, a key role for the therapeutic process is to assist clients to become more able to experience moments of an I–I intrapersonal encounter, which requires the therapist to confirm the client both as a whole and in terms of his or her different voices. (p.21)”
The Hero’s Arrival at the Truth
Dostoevsky’s interest is not the hero as an object. The object of interest is the hero’s discourse about himself and the world. The hero is not objectified. It is about how the hero sees himself and how he sees the world in which he is in.
The hero must ultimately arrive at the truth through clarifying events to himself.
“Dostoevsky’s creative method: the “truth” at which the hero must and indeed ultimately does arrive through clarifying the events to himself, can essentially be for Dostoevsky only the truth of the hero’s own consciousness. It cannot be neutral toward his self-consciousness. In the mouth of another person, a word or a definition identical in content would take on another meaning and tone, and would no longer be the truth. Only in the form of a confessional self-utterance, Dostoevsky maintained, could the final word about a person be given, a word truly adequate to him. (Bakhtin 1984/29 p. 41)
Hermans, H. J. (2004). The dialogical: Between exchange and power.
Bakhtin, M. (1984/29). Problems of Dostojevskij’s poetics: Theory and history of literature. (Vol. 8). Manchester, UK: Manchester University Press.