'I' and the 'me'

'I' and the 'me'

The 'I' and the 'me' are terms central to the social philosophy of George Herbert Mead, one of the key influences on the development of the branch of sociology called symbolic-interactionism. The terms refer to the psychology of the individual, where in Mead's understanding, the "me" is the socialized aspect of the person, the "I"is the active aspect of the person.

One might usefully 'compare Mead's "I" and "me", respectively, with Sartre's "choice" and "the situation". But Mead himself matched up the "me" with Freud's "censor", and the "I" with his "ego"; and this is psychologically apt'.[1]

Contents

Characteristics

The "Me" is what is learned in interaction with others and (more generally) with the environment: other people's attitudes, once internalized in the self, constitute the Me.[2] This includes both knowledge about that environment (including society), but also about who the person is: their sense of self. "What the individual is for himself is not something that he invented. It is what his significant others have come to ...treat him as being."[3] This is because people learns to see who they are (man or woman, old or young, etc.) by observing the responses of others themselves or their actions. If others respond to a person as (for instance) a woman, the person develops a sense of herself indeed as a woman.

At the same time, 'the "Me" disciplines the "I" by holding it back from breaking the law of the community'.[4] It is thus very close to the way in a man Freud's 'ego-censor, the conscience...arose from the critical influence of his parents (conveyed to him by the medium of the voice), to whom were added, as time went on, those who trained and taught him and the innumerable and indefinable host of all the other people in his environment - his fellow-men - and public opinion'.[5] It is 'the attitude of the other in one's own organism, as controlling the thing that he is going to do'.[6]

By contrast, 'the "I" is the response of the individual to the attitude of the community'.[7] The "I" acts creatively, though within the context of the me. Mead notes that "It is only after we have acted that we know what we have done...what we have said."[8] People, he argues, are not automations. They do not blindly follow rules. They construct a response on the basis of what they have learned, the "me". Mead highlighted accordingly those values that attach particularly to the "I" rather than to the me, "...which cannot be calculated and which involve a reconstruction of the society, and so of the 'me' which belongs to that society."[9] Taken together, the "I" and the "me" form the person or the self in Mead's social philosophy.

Fusion

Mead explored what he called 'the fusion of the "I" and the "me" in the attitudes of religion, patriotism, and team work', noting what he called the "peculiar sense of exaltation" that belongs[10] to them. He also considered that 'the idea of the fusion of the "I" and the "me" gives a very adequate explanation of this exaltation...in the aesthetic experience'.[11]

In everyday life, however, 'a complete fusion of the "I" and the "me" may not be a good thing...it is a dynamic sort of balance between the "I" and the "me" that is required'.[12]

Conventionality

When there is a predominance of the "me" in the personality, 'we speak of a person as a conventional individual; his ideas are exactly the same as those of his neighbours; he is hardly more than a "me" under the circumstances'[13] - "...the shallow, brittle, conformist kind of personality..." that is "all persona, with its excessive concern for what people think."[14] The alternative—and in many ways Mead's ideal—was the person who has a definite personality, who replies to the organized attitude in a way that makes a significant difference. With such a person, the I is the most important phase of the experience.[15]

Dissociation

Mead recognised that it is normal for an individual to have 'all sorts of selves answering to all sorts of different social reactions', but also that it was possible for 'a tendency to break up the personality' to appear: 'Two separate "me's" and "I's", two different selves, result...the phenomenon of dissociation of personality'.[16]

Literary examples

Walt Whitman 'marks off the impulsive "I", the natural, existential aspect of the self, from critical sanction. It is the cultured self, the "me", in Mead's terms, that needs re-mediation'.[17]

See also

References

  1. ^ Victorino Tejera, Semiotics from Pierce to Barthes (2001) p. 59
  2. ^ Paolo Inghilleri, From Subjective Experience to Cultural Change (1999) p. 26
  3. ^ Erving Goffman, Relations in Public (Penguin 1972) p. 327
  4. ^ Greg Marc Nielson, The Norms of Answerability (2002) p. 135
  5. ^ Sigmund Freud, On Metapsychology (PFL 11) p. 92 and p. 90
  6. ^ Charles W. Morris ed., George Herbert Mead, Mind, Self and Society, (Chicago 1967) p. 196
  7. ^ Mead, p. 196
  8. ^ Mead, p. 196
  9. ^ Mead, p. 214
  10. ^ Mead, p. 273
  11. ^ Mead, p. 280
  12. ^ Tejera, p. 62
  13. ^ Mead, p. 200
  14. ^ Anthony Stevens, On Jung (London 1990) p. 43
  15. ^ Mead, p. 200
  16. ^ Mead, p. 143-4
  17. ^ Stephen John Mark, The Pragmatic Whitman (2002) p.144

Wikimedia Foundation. 2010.

Игры ⚽ Нужно сделать НИР?

Look at other dictionaries:

  • The End of History and the Last Man — is a 1992 book by Francis Fukuyama, expanding on his 1989 essay The End of History? , published in the international affairs journal The National Interest . In the book, Fukuyama argues that the advent of Western liberal democracy may signal the… …   Wikipedia

  • and the like — {n. phr.} Things of a similar nature. * /I like McDonald s, Wendy s, Kentucky Fried Chicken, and the like./ * /When I go out to the beach flake towels, a mat, suntan lotion, and the like./ …   Dictionary of American idioms

  • and the like — {n. phr.} Things of a similar nature. * /I like McDonald s, Wendy s, Kentucky Fried Chicken, and the like./ * /When I go out to the beach flake towels, a mat, suntan lotion, and the like./ …   Dictionary of American idioms

  • The Good, the Bad and the Ugly — Infobox Film name = The Good, the Bad and the Ugly (Il Buono, il Brutto, il Cattivo) caption = Original American movie poster director = Sergio Leone producer = Alberto Grimaldi writer = Story: Sergio Leone Luciano Vincenzoni Screenplay: Age… …   Wikipedia

  • The Pit and the Pendulum — Infobox Book | name = The Pit and the Pendulum title orig = translator = image caption = Illustration by Harry Clarke, 1919. author = Edgar Allan Poe country = flagicon|USA United States language = English series = genre = Horror short story… …   Wikipedia

  • The Rise and Fall of Ziggy Stardust and the Spiders from Mars — Infobox Album Name = The Rise and Fall of Ziggy Stardust and the Spiders from Mars Type = studio Artist = David Bowie Released = Start date|1972|6|6|df=yes Recorded = Trident Studios, London, start date|1971|9|7|df=yes, November 1971, start… …   Wikipedia

  • The Old Man and the Sea — For other uses, see The Old Man and the Sea (disambiguation). The Old Man and the Sea   …   Wikipedia

  • The Bad and the Beautiful — Infobox Film | name =The Bad and the Beautiful caption = Promotional movie poster for the film director = Vincente Minnelli producer = John Houseman writer =George Bradshaw (story Tribute to a Badman ) Charles Schnee starring =Lana Turner Kirk… …   Wikipedia

  • The Cathedral and the Bazaar — infobox book name = The Cathedral and the Bazaar author = Eric S. Raymond image caption = Cover of the paperback compendium edition publisher = O Reilly Media pub date = 1999 followed by = Homesteading the Noosphere isbn = ISBN 1 56592 724 9 The… …   Wikipedia

  • The Mind and the Matter — Infobox Television episode Title = The Mind and the Matter Series = The Twilight Zone Caption = Shelley Berman in The Mind and the Matter Season = 2 Episode = 63 Airdate =May 12, 1961 Production = 173 3659 Writer =Rod Serling Director =Buzz Kulik …   Wikipedia

  • The long and the short — Short Short, n. 1. A summary account. [1913 Webster] The short and the long is, our play is preferred. Shak. [1913 Webster] 2. pl. The part of milled grain sifted out which is next finer than the bran. [1913 Webster] The first remove above bran… …   The Collaborative International Dictionary of English

Share the article and excerpts

Direct link
Do a right-click on the link above
and select “Copy Link”