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Michael Holquist (1990), one of the commentators on Mikhail Bakhtin’s monumental work, stated flatly that “human existence is dialogue,” and Ivana Markova (2003) declared that “dialogism is the ontology of humanity.” Bakhtin (1985;1986) himself said that such dialogues are conducted by using “speech genres.” From another angle Kenneth Burke asked, “What is involved when we say what people are doing and why they are doing it?” and claimed – and showed – that this question can be best answered by using what he called the “grammar of motives,” which consisted of a hexad of terms: act, attitude, scene, agent, agency, and purpose. In this chapter, I examine, by using various examples, how the Burkean grammar is used in the construction of one speech genre or the other to achieve rhetorically effective dialogic communication.

We examine the work undertaken by salespersons in the menswear department of a well-known department store in New York City that sells specialized “luxury” clothing by using the theoretical perspective developed by Kenneth Burke, the philosopher of language and communication. He has argued that the most comprehensive way to describe human conduct is to examine what was done, what attitude did it manifest, where was it done, who did it, and how was it done. Burke summarized these questions as act, attitude, scene, agent, agency, and purpose. With these terms comprising a “hexad,” a great deal of complexity can be captured within an organizational context. Indeed, Burke refers to these terms as “the grammar of motives” – that is, the motives of human conduct (1969a, 1968). In the carefully staged menswear environment we find salesmen who negotiate the goals and purposes of the store as well as their individual motives through implicitly defined sequences of acts on the selling floor.

Human agents are constantly using “symbols,” according to G. H. Mead, or “signs,” as C. S. Peirce called them, to engage in what Mikhail Bakhtin has called “dialogues” with each other or with the environment. Such vehicles of communication are not freestanding ones but are drawn from specific and demarcated discursive formations. So drawn, these vehicles are then put to use, as Kenneth Burke has shown in his dramatistic perspective on human social life, as agencies used by human agents to construct acts, in defined situations or scenes – that is social situations and physical locations – to display given attitudes, in order to fulfill one purpose or another. Every human move that an individual makes has these Burkean features. Such moves are used to engage in either convivial dramas or confrontational ones.

This paper explores how consumers use the media products of mass culture to co-create the meanings of popular culture. Specifically, we examine both why and how Harry Potter fans utilize the primary texts written by J. K. Rowling to co-create their own fan fiction. Towards this end, we utilize Kenneth Burke's dramatistic method to explore the pattern of literary elements in both the original texts and the fan fiction. We argue that the primary impetus for consumers to engage in the co-creation of these texts is found in their ability to emphasize different ratios of literary elements in order to express their individual and collective desires. Through this process, fans utilize and contribute to the meta-textual meaning surrounding these primary focal texts and propel the original products of mass culture to the cultural texts of popular culture.

This study extends work from home (WFH) literature by recasting WFH performances that emphasise agents’ manipulation of scene. Drawing on the dramatist paradigm, the study uses Burke’s pentadic criticism to code the social media application Pinterest’s ‘work from home’ and ‘home office’ pinboards for act, agent, agency, scene, and purpose. Pinterest is a social media application that users post pins (images with verbal tags and link to external sites, especially blog sites) and collect pins by subject on an electronic pinboard, which other users can like, follow, and share. Analysis of WFH pins reveals that the agent–scene ratio saturates pins emphasising the agency of WFH agents to control their scenes or home office spaces. The idealism of the agent–scene ratio in pins further demonstrates an unrealistic approach to popular culture’s shift to WFH and a romanticisation of WFH as idyllic working conditions. Scripts for employees and employers are explored to equip them with the rhetorical resources to more closely align their agent–scene ideals with the scene–agent realities.

Gregory P. Stone (1921–1981) made original contributions to the fields of urban sociology, social psychology, sociology of sport, and sociological theory. His work gave rise to a set of empirically grounded concepts including nonranked status aggregates, personalization, universes of appearance, and personal and collective identity. These concepts developed over time, were based on quantitative research, and provide continuity to Stone’s work. This essay will elaborate on these concepts in order to consolidate and interpret Stone’s contribution to sociology.

Fernandez knew, as did Kenneth Burke to whom Fernandez owed so much, that the fundamental human problem of maintaining what he elsewhere called the “inchoate sense of wholeness” was critically linked to the never-ending dilemma of “the degree to which men can feel the aptness of each other’s metaphors.” And since the publication of “Persuasions and Performances” nearly 30 years ago, a great deal of anthropological, sociological and historical work on “power and resistance,” “hegemony,” and “cultural reproduction and change” can be usefully framed as particular responses to a number of fundamental questions implicit in Fernandez’ quote – When, and under what types of conditions, does any particular “metaphor” or “trope” serve to promote cooperation and social integration? When, and under what types of conditions, does it serve to promote conflict and social disintegration? When and how is the “aptness” of any given “metaphor” or “trope” lost? We believe these to be among the most central, enduring questions in the Human Sciences.

Individuals develop and perform and process their identities in relationships with others as well as with the environment in which they find themselves, Many of these relationships with others are characterized by fundamental inequalities. In finding their identities, the subordinate in the relationship develops an identity that typically take steps – by vocal and non-vocal gestures – to perform this particularized identity. The identification of self is not only related to the others, with eachindividual in reflective communication, but also reflections characterized by inequality. In continuing to do so, he or she will experience a certain powerlessness, indeed what Marx called alienation.