The article contains the information about urgency of an issue of communication standards formation of the future lawyers for modern legal and pedagogical theory and practice. It is caused by insufficient career guidance of higher legal education institutions and professional distinctiveness, a low level of moral and ethical sphere of a future lawyer. The detailed characteristics of required pedagogical conditions for communication standards formation of the future lawyers are given. In particular, it is focused on the importance of using the humanity subjects on basis of intersubject communications committing to the pedagogical principles. On the basis of scientific literature the analysis applicability of raised issue is elaborated, background information of Communication Studies is shortly outlined. The importance of communication culture development for each future lawyer is emphasized; the necessity of using acquired skills in their further career is mentioned. The particular focus is put on the characteristics of different communication styles as psychic atmosphere, emotional well being of lawyer’s personality; the necessity of shaping the ability to use different forms and communication styles in further jurisprudential activity. The description of the most common communication styles is given. The conclusion is drawn that a lack of necessary communication practices has negative impact on lawyer’s coming in contact with a client. Practicability of supporting proper psychological microclimate by humanitarian teachers within the student’s group for an effective formation of communication culture, making the process of interpersonal cooperation correction of relations between teenagers by the experienced teachers is proved. The dominants of legal professions are emphasized. The importance of special lawyer’s features development is shown. The definitions of the concepts «communication culture» as a constituent of behavioral philosophy together with its functional characteristic as an integral dynamic personality formation that provides adaptation and personal fulfilment of professional lawyer in modern society and «communication cultural pattern» as an underlying form of organization of the value system are presented. The professional growth reflects having knowledge and skills and certain personal qualities necessary for official to do the job successfully.
The author presents a rhetorical analysis of selected scenes from the film Dyrygent (Conductor, 1979), in which Andrzej Wajda painted contrasting portraits of two conductors: Adam Pietrzyk and John Lasocki, showing them in a dialogue with the orchestra and in two different styles of verbal and non-verbal communication. In Wajda’s work the orchestra is a metaphor for society, the nation; the conductor is a type of leader, while conducting is a metaphor for exercising power, exerting influence, gaining obedience and enforcing actions. Like conductors, different leaders have different styles of leading. Having studied the actio of the two conductors, the author has defined their leadership styles as authoritarian and democratic, respectively. In addition, Adam Pietrzyk is described as a formal (institutional) leader, officially designated acting director of the orchestra; John Lasocki is shown as an informal (natural) leader, exerting influence on the ensemble thanks to qualities that are important for the achievement of a common goal. While Adam is a mediocre leader, the Master is a leader who is charismatic, who attracts attention with his style of speech, movement, appearance and his entire personality; he is characterised by high social intelligence and he knows how to treat people on an individual basis, accurately reading people’s reactions. The analysis enables us to recognise the message of Wajda’s Conductor: society may create or do a work together, if the leader acknowledges and respects the community as a collection of different people, whose rights are based on equality, yet do not arise from the equality, but rather from the uniqueness and — in the personalist sense — incommunicability of every participant. Every person in the orchestra — or: in society, nation, in a given time in history — brings to the overall consonance his or her own tone and own interpretation of sound.
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