Dialogical self
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 (extended) 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.
Discursive complex
The notion of the discursive complex was developed by Ian Parker to tackle the twofold nature of psychoanalysis in Western culture. In his 1997 book Psychoanalytic Culture, Parker defines the 'discursive complex' as a 'methodological device. The term 'complex' is used quite deliberately to evoke the peculiarly Freudian and post-Freudian nature of the subjectivity people in the West live so much of the time. On the one hand the concepts that psychoanalytic texts employ are relayed through culture as components of a discourse, as objects that are circumscribed by definitions in academic and professional writing and used in advertising (Parker, 1995). In this sense, the discourse constitutes places for subjects to come to be, whether as a child with problems separating from the mother, as a teenager filled with frustration and resentment at authority, or as an older adult reflecting on an unfulfilled life and needs. The discourse thus positions the subject who is addressed by or who is employing the discourse to understand themselves or their troubling relationships. On the other hand, the discourse touches an already existing shape of subjectivity for those who write and speak about themselves and others, whether that is in the form of autobiography or in an advice column, in a television interview or on the couch with a therapist. It chimes with a theory of self that the subject has been invited to elaborate for themselves in this culture, and so it reconfigures each time some of the emotions that are available to them.