Relevant bibliographies by topics / Dramatic monologue

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  1. Journal articles
  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Dramatic monologue'

Author: Grafiati
Published: 4 June 2021
Last updated: 22 February 2023

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Journal articles on the topic "Dramatic monologue"

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Booth, Marilyn, Nawal El Saadawi, and Sherif Hetata. "Dramatic Monologue." Women's Review of Books 20, no. 4 (January 2003): 11. http://dx.doi.org/10.2307/4024033.

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Qahtan Sulaiman, Maha. "Insanity and Murder in Robert Browning’ and Robert Lowell’s Dramatic Monologues." Arab World English Journal For Translation and Literary Studies 5, no. 1 (February 15, 2021): 201–9. http://dx.doi.org/10.24093/awejtls/vol5no1.14.

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The study aims at fathoming Robert Browning’ and Robert Lowell’s intentions of choosing the dramatic monologue as a means of exploring human psyche. Significantly, the themes of insanity and murder are not ideal from an esthetic perspective, but for Browning and Lowell it provides the key to probe into human character and fundamental motives. This study examines Browning’ and Lowell’s dramatic monologues that address crime and the psyche of abnormal men. Browning’ and Lowell’s poetry in this regard unravels complicated human motivations and delineates morbid psychologies. Their monologues probe deep down into the mind-sets of their characters and dissect their souls to the readers. The main character of each of Browning’s dramatic monologues, My Last Duchess and Porphyria’s Lover; discloses his true self, mental health, and moral values through his monologue in a critical situation. Ironically, each monologue invites the reader to detect the disparity between what the character believes the story to be and the reality of the situation detected through the poem. In Lowell’s The Mills of the Kavanaughs, the monologue is delivered by the victim herself. Yet, the fact that the poem reflects Lowell’s individual experience and trauma indicates that the monologue is delivered by the poet-victimizer as well
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Segal, E. "The Dramatic Monologue." Poetics Today 22, no. 3 (September 1, 2001): 703–4. http://dx.doi.org/10.1215/03335372-22-3-703.

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Shaw, W. David. "Lyric Displacement in the Victorian Monologue: Naturalizing the Vocative." Nineteenth-Century Literature 52, no. 3 (December 1, 1997): 302–25. http://dx.doi.org/10.2307/2933997.

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Though a venerable lyric tradition of apostrophizing the breeze, the dawn, or the nightingale celebrates the Romantic poet's words of power, only inmates of mental hospitals actually talk to birds, trees, or doors-much less to holes in a wall, as Pound's speaker does in "Marvoil." This essay shows how Victorian dramatic monologues substitute human auditors for nonhuman ones in an effort to naturalize a convention that nineteenth-century poets find increasingly obsolete and archaic. Instead of talking to the dawn, Tennyson's Tithonus addresses a beautiful woman, the goddess who becomes the silent auditor of his dramatic monologue. Like Coleridge's conversation poems, Browning's and Tennyson's monologues are poems of one-sided conversation in which a speaker's address to a silent auditor replaces Shelley's vocatives of direct address to the west wind or Keat's apostrophes to autumn. In recuperating an archaic convention of lyric apostrophe by humanizing the object addressed, the Victorian dramatic monologue illustrates John Keble's theory of the mechanisms by which genres are disturbed, displaced, and transformed. The dramatic monologue becomes an ascendant genre in post-Romantic literature partly because it is better equipped than lyric poetry to oppose the dogmas of a secular and scientific age in which an antiquated belief in "doing-by-saying" (including a belief in oracles, prophecies, and knowledge as divination) is in rapid and widespread retreat.
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Stevens, Blake. "Monologue Conflicts: The Terms of Operatic Criticism in Pierre Estève and Jean-Jacques Rousseau." Journal of Musicology 29, no. 1 (January 1, 2012): 1–43. http://dx.doi.org/10.1525/jm.2012.29.1.1.

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Jean-Jacques Rousseau's entry for “monologue” in his Dictionnaire de musique (1767) marks the first appearance of the term in French musical lexicography. This definition, which would exert an influence on later discussion of the form, synthesizes principles drawn from poetics and dramaturgy with stylistic arguments developed during the Querelle des Bouffons. The entry powerfully and succinctly conveys an Italianate conception of the form by promoting an idiom (récitatif obligé) associated with Italian practice as the exemplary realization of monologic discourse. This essay places Rousseau's account in the context of French criticism from Le Cerf de la Viéville, writing early in the eigtheenth century, to Pierre Estève, writing in the early 1750s. Treatment of the monologue at mid-century attests not only to a critical interest in exemplary scenes, particularly the famous monologue from Armide, “Enfin il est en ma puissance,” but also to readings of monologues as markers of national musical style. Against Rousseau's identification of monologue with récitatif obligé stands the more pluralistic model of Estève, who described a range of vocal idioms linked to dramatic context and meaning. Moreover, Estève attempted to account not only for newer works of Rameau but also for revivals of the tragédies en musique of Lully and Campra. Consideration of Estève's examples of characteristic scenes illustrates a tendency to equate monologic discourse with effects of interruption and the suspension of dialogue, even when other characters are present onstage.
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Wiandari, Fadhillah. "DRAMATIC MONOLOGUE IN ROBERT BROWNING’S POEM “ANDREA DEL SARTO”." JL3T ( Journal of Linguistics, Literature and Language Teaching) 3, no. 1 (January 12, 2018): 1–10. http://dx.doi.org/10.32505/jl3t.v3i1.326.

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Robert browning and the form of poetry known as “dramatic monologue” inevitably go togather. It is already made known that dramatic monologue is esssentially a narrative spoken by a single character. We are to imagine that it is being listened to but never answered; it is a dialogue of which we are to hear only one side. It gains added effect and dimensions through the character’s comments on his own story and the circumtances in which he speaks. It is through the single character’s speech that Browning present the plot, characters and scenes. It is through the words of Andrea that the reader can feel the presence of the plot, characters and scenes. This article tries to describe how Robert Browning handles his three objects in writing dramatic monologue through his poem entitled Andrea Del Sarto.
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Schad, J. "Queerest Book--A Dramatic Monologue." Literature and Theology 26, no. 1 (October 23, 2011): 3–22. http://dx.doi.org/10.1093/litthe/frr044.

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Gregory. "Race and the Dramatic Monologue." Victorian Studies 62, no. 2 (2020): 213. http://dx.doi.org/10.2979/victorianstudies.62.2.08.

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Dewan, Motikala Subba. "Language of Dramatic Monologue in Poe’s “The Raven”." Journal of NELTA 26, no. 1-2 (December 31, 2021): 28–39. http://dx.doi.org/10.3126/nelta.v26i1-2.45193.

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Dramatic monologue had been used as a powerful tool to express emotions and feelings through the characters in the ancient Greek drama. It received the proper recognition in the Victorian era as a new form of literary device when the various poets and writers started using it in their works. Edgar Allan Poe was not an exceptional. This article explores the language of dramatic monologue in Edgar Allan Poe’s poem “The Raven”. It aims to look at the poem through the three perceptible features of the dramatic monologue: speaker/narrator, audience/listener, and occasion. It examines how the speaker’s soliloquy speech–moaning for the loss of his wife–changes into a powerful dramatic monologue. Obsessed with pain and agony, the speaker’s dramatic monologue escalates finding a listener, ebony raven inside the room. Throughout the poem, the occasion of the cold December becomes the vital point to bestow cryptic feelings to readers. In addition, the article provides an analysis of poetic structures through figurative languages which have made the poem pedagogically rich and their impact has taken the speaker’s dramatic monologue in different level.
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Moulavi Nafchi, Asghar, Mitra Mirzayee, and Morteza Sobhani Zadeh. "Robert Browning: A Dramatic Monologue Marvel." International Letters of Social and Humanistic Sciences 63 (November 2015): 225–32. http://dx.doi.org/10.18052/www.scipress.com/ilshs.63.225.

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One of the most effective literary devices within different didactic and aesthetic forms is the dramatic monologue. The dramatic monologue distinguishes the speaker’s character from that of the poet’s. The double meaning that lies at the heart of the dramatic monologue, conveys the speaker’s version or variety of meaning and intentions. The Dramatic monologue has been practiced for a very long time, but it was Robert browning who invested it with a deeper level of meaning giving it frequency in an attempt to support preexisting aesthetic values in favor of a poem that valued form over content. Although such a dialogue is called dramatic, it is not a theatrical device, proper. The speaker of the poem delivers such comments on the slice of life at disposal that would leave us with a deep emotional experience. By listening to the words pouring out of the speaker’s mind, the reader/listener obtains a psychoanalytic view of the speaker. The current article aims to study Robert browning, the prominent Victorian poet, by putting on the pedestal his essential role in investing the dramatic monologue in English literature with an essential poetic significance and role by reviewing a number of his major poems.
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Dissertations / Theses on the topic "Dramatic monologue"

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Painter, Megan G. "The dramatic monologue aesthetic and the reader experience /." free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9901268.

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Capp, Laura. "Dramatic audition: listeners, readers, and women's dramatic monologues, 1844-1916." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/3438.

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The "dramatic monologue" is curiously named, given that poems of this genre often feature characters not only listening to the speakers but responding to them. While "silent auditors," as such inscribed characters are imperfectly called, are not a universal feature of the genre, their appearance is crucial when it occurs, as it turns monologue into dialogue. The scholarly attention given to such figures has focused almost exclusively upon dramatic monologues by Robert Browning, Alfred Tennyson, and other male poets and has consequently never illustrated how gender influences the attitudes toward and outcomes of communication as they play out in dramatic monologues. My dissertation thus explores how Victorian and modernist female poets of the dramatic monologue like Elizabeth Barrett Browning, Augusta Webster, Amy Levy, and Charlotte Mew stage the relationships between the female speakers they animate and the silent auditors who listen to their desperate utterances. Given the historical tensions that surrounded any woman's speech, let alone marginalized women, the poets perform a remarkably empathetic act in embodying primarily female characters on the fringes of their social worlds--a runaway slave, a prostitute, and a modern-day Mary Magdalene, to name a few--but the dramatic monologues themselves end, overwhelmingly, in failures of communication that question the ability of dialogue to generate empathetic connections between individuals with radically different backgrounds. Silent auditors often bear the scholarly blame for such breakdowns, but I argue that the speakers reject their auditors at pivotal moments, ultimately participating in their own marginalization. The distrust these poems exhibit toward the efficacy of speaking to others, however, need not extend to the reader. Rather, the genre of the dramatic monologue offers the poets a way to sidestep dialogue altogether: by inducing the reader to inhabit the female speaker's first-person voice--the "mobile I," in Èmile Benveniste's terms--these dramatic monologues convey experience through role-play rather than speech, as speaker and reader momentarily collapse into one body and one voice. Such a move foregrounds sympathetic identification as a more powerful means of conveying experience than empathetic identification and the distance between bodies and voices it necessitates.
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Garrett, Jennifer. "Reconceptualising the dramatic monologue : the interlocutory dynamics of Carol Ann Duffy's poetry." Thesis, Lancaster University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414957.

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Roche-Jacques, Shelley J. "Time, space and action in the dramatic monologue : men, women and mice." Thesis, Sheffield Hallam University, 2013. http://shura.shu.ac.uk/20287/.

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This thesis combines critical and creative writing in an inquiry into the presentation of time, space and action in the dramatic monologue, positing that the conventions surrounding the presentation of time and space in lyric poetry affect the interpretation of the communicative context of dramatic monologue. A critical discussion and analysis in five chapters is followed by a collection of original poetry, the production of which informed the critical investigation. The first chapter gives an overview of the critical field and is concerned with definitions of the genre. A definition of the Browningesque dramatic monologue is offered, one which places the idea of 'action in the present' at the centre. Chapter two outlines the methodology of the project; primarily that of deictic analysis. Keith Green's work on the occurrence and behaviour of deixis in lyric poetry (in particular his concepts of 'coding' and 'content' time and place) is used as a starting point to consider how deictic elements might operate differently in the context of the dramatic monologue. The third and fourth chapters apply this methodology to specific texts. Chapter three provides original readings of Robert Browning's 'Soliloquy of the Spanish Cloister' and 'A Grammarian's Funeral'. These serve to highlight Browning's 'dramatic' approach. Chapter four offers new readings of poems from 'The World's Wife' by Carol Ann Duffy, revealing a lyric, rather than dramatic, employment of time and space. Finally, a reading of Julia Copus' poem 'The Particella of Franz Xaver Sussmayr' enables further examination of dramatic devices and their effects in the context of contemporary poetry. The fifth chapter offers an analysis of Men, Women and Mice, the accompanying volume of poetry. It is therefore suggested that the collection of poetry is read between chapters four and five. The collection of poetry and chapter five jointly address issues such as the status of the addressee, the border between the lyric and the dramatic, and problems surrounding the signalling of the dramatic in contemporary poetry. The discussion of these practice-related issues enables further conclusions to be reached regarding the operation and employment of deixis in the Browningesque dramatic monologue.
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Halbert, Steven Joseph Keirstead Christopher M. ""And yet God has not said a word" the dramatic monologue as inverted and secularized prayer /." Auburn, Ala, 2008. http://repo.lib.auburn.edu/EtdRoot/2008/SPRING/English/Thesis/Halbert_Steven_51.pdf.

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Thesis (M.A.)--Auburn University, 2008.
Abstract. Vita. Includes pictures of the Institut Catholique de Paris, a seminary which was formerly the monastery where Brother Lawrence lived and wrote. Includes bibliographical references.
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Walter, Lauren. "Anything Else." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/honors_theses/47.

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My honors senior thesis, a creative project entitled Anything Else, is a collection of fourteen poems that reflects on trauma, loss, interpersonal relationships, and nature. Many of the poems are dramatic monologues, allowing me to portray a range of extreme voices, including a survivor of the bombing of Hiroshima, a U.S. veteran of the Iraq War, and murderer Perry Smith. Although I consider myself a free verse writer, preferring to work without regular meter or rhyme, one of the poems is written in iambic pentameter. In addition, I took material from the Yahoo! Answers website and composed it as a found poem, adding to the diversity of the manuscript. A number of questions are explored across the variety of speakers, themes, and forms of poems included here, often coming back to the question of whether or not there is anything else.
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Walter, Lauren. "New Rust." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2205.

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A poetry thesis exploring issues of loss, death, creation, imagination, family, interpersonal relationships, nature, sexuality, and writing. The manuscript includes a preface that discusses literary influences such as Ai, H.D., and Sharon Olds, as well as writing in forms such as the dramatic monologue, imagistic poem, and confessional poem. Three main sections organize the manuscript's poems.
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King, Cynthia Marie. "Ascensionist." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212179833.

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Pavani, Monica <1968&gt. "In the skin of another : Anne Michaels', Sujata Bhatt's and Adrienne Rich's dramatic monologues as embodiments of painter Paula Modersohn-Becker." Doctoral thesis, Università Ca' Foscari Venezia, 2012. http://hdl.handle.net/10579/1159.

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This research aims at exploring the reasons for a multiple fascination: why does German painter Paula Modersohn-Becker (1876-1907) after her death haunt Rainer Maria Rilke (1875-1926) as a ghost that can find no peace in the hereafter? and, what is more, why does her experience as a woman artist go on haunting three women poets of the present time – Canadian Anne Michaels (1958), Indian Sujata Bhatt (1956) and American Adrienne Rich (1929) – who have written dramatic monologues giving voice to her? The reasons for an obsession cannot be grasped in rational terms. The three poets let Becker speak in the first person so as to explore her life devoted to painting but constantly undermined by a sense of failure. Through the use of different devices but urged by a similar need, their poetry courts a form of ‘embodiment,’ aimed at finding a new way of seeing and of giving voice to Paula’s deepest yearnings at a time when to be a woman and an artist represented an inner conflict far from easy to resolve.
Questa ricerca intende indagare le ragioni di una fascinazione multipla: perché la pittrice tedesca Paula Modersohn-Becker (1876-1907) dopo la sua morte perseguita Rainer Maria Rilke (1875-1926) come un fantasma che non trova pace nell’aldilà? E ancora, perché la sua esperienza di artista continua a perseguitare tre poetesse contemporanee – la canadese Anne Michaels (1958), l’indiana Sujata Bhatt (1956) e l’americana Adrienne Rich (1929) – che hanno scritto dei monologhi drammatici per darle voce? Le ragioni di un’ossessione non si possono afferrare razionalmente. Le tre poetesse fanno parlare la Becker in prima persona per esplorare la sua vita dedicata alla pittura ma continuamente minata da un senso di fallimento. Con l’utilizzo di diverse strategie ma mossa da simile urgenza, la loro poesia persegue una forma di ‘incarnazione’, nel tentativo di trovare un nuovo modo di vedere e di dare voce ai desideri più profondi di Paula, in un’epoca in cui essere donna e artista rappresentava un conflitto interiore di non facile soluzione.
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Anderson, Crystal Lee. "The Coagulate, and, 'Not simply a case' : Frank Bidart's post-confessional framing of mental illness, typography, the dramatic monologue and feint in 'Herbert White' and 'Ellen West'." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/the-coagulateandnot-simply-a-case-frank-bidarts-postconfessional-framing-of-mental-illness-typography-the-dramatic-monologue-and-feint-in-herbert-white-and-ellen-west(2408f29d-e56f-46fe-8301-0f10a463f901).html.

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This doctoral thesis involves two components, a book length collection of poems and a critical study of ‘Herbert White’ and ‘Ellen West’ by Frank Bidart. The collection of poems, The Coagulate, consists of four parts: 1) Semi-personal poems focusing on nature both in a general sense and in specific reference to the natural British landscape. 2) Poems that explore the nature-based myths and contemporary social idiosyncrasies of Japan.3) Poems that explore the social perception of mental illness and the individual voices that exist in spite psychological classification.4) Poems by an alter-ego and pseudonym named Lee Cole, a completely foreign perspective to my own. These poems were written with the intent to adhere to Frank Bidart’s concept of Herbert White as ‘all that I was not.’ However, unlike Bidart, these poems attempt to remove the presence of the poet and forgo the use of a feint. The collection is organised with contexture in mind rather than chronology. Poems build upon one another and one section flows into the next causing the book to have a fluid quality. The critical component examines Bidart’s treatment of two mentally ill characters in respect to the establishment of the form, style, and voice that would become a hallmark of his poetry. Chapter 1 looks at the first poem of Bidart’s first book, ‘Herbert White.’ This chapter examines how Bidart’s unique use of typography, voice, Freudian theory, and the sharing of the poet’s history contributed to the crafting of a mentally ill character and the contexture of Golden State. It suggests that the inclusion of the poet, a stable presence in comparison to White, allows the reader to recognise certain universal human personality traits in a character that seems inhuman. Chapter 2 examines how Bidart crafted ‘Ellen West,’ a character just as unlike Bidart as ‘Herbert White.’ Central to this analysis is the examination of how to construct a character struggling with identity. It also examines the use of dramatic monologues and how ‘Ellen West’ fits into a form with a flexible definition. As with Chapter 1, Chapter 2 examines how Bidart uses the poet’s self to add to a fictional narrative and how that reflects upon his personal poetry, indicating that Bidart’s use of the self is a redirection from how the Confessional poets used first-person.
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Books on the topic "Dramatic monologue"

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Dramatic monologue. London: Routledge, 2003.

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Howe, Elisabeth A. The dramatic monologue. New York: Twayne Publishers, 1996.

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Christmas, John. Inishbofin: A dramatic monologue. Hagerstown, Md: Tri-State Printing, 2004.

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Langbaum, Robert Woodrow. The poetry of experience: The dramatic monologue in modern literary tradition. Chicago: University of Chicago Press, 1985.

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Painter, Megan Gribskov. The aesthetic of the Victorian dramatic monologue. Lewiston, N.Y: Edwin Mellen Press, 2000.

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Stewart, Nancy Branner. Angel of the Shenandoah: A dramatic monologue. Broadway, VA: New Market History, 1993.

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The case of Katherine Mansfield: A dramatic monologue. Wellington, N.Z: Women's Play Press, 1995.

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Pearsall, Cornelia D. J. Tennyson's rapture: Transformation in the Victorian dramatic monologue. New York: Oxford University Press, 2007.

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L, Blevins James, ed. Dramatic monologues: Making the Bible live. Nashville, Tenn: Broadman Press, 1990.

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Langbaum, Robert. The poetry ofexperience: The dramatic monologue in modern literary tradition. Chicago: University of Chicago Press, 1985.

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Book chapters on the topic "Dramatic monologue"

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Slinn, E. Warwick. "Dramatic Monologue." In A Companion to Victorian Poetry, 80–98. Oxford, UK: Blackwell Publishers Ltd, 2008. http://dx.doi.org/10.1002/9780470693537.ch4.

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Tucker, Herbert F. "Dramatic Monologue." In The Palgrave Encyclopedia of Victorian Women's Writing, 1–4. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-02721-6_84-1.

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Tucker, Herbert F. "Dramatic Monologue." In The Palgrave Encyclopedia of Victorian Women’s Writing, 428–32. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78318-1_84.

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Smith, Barbara. "Dramatic Monologue." In The Portable Poetry Workshop, 131–36. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-60596-2_19.

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Hartvig, Gabriella. "The Dramatic Monologue." In An Introduction to Poetic Forms, 114–22. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003244004-13.

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Biagini, Enza. "L’io nello sguardo dell’altra. L’arte del monologo di Claudio Magris." In Biblioteca di Studi di Filologia Moderna, 211–52. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-338-3.20.

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The current essay aims to highlighting a few aspects of the fine ‘art of the monologue’ practiced by Claudio Magris in his remarkable theatrical achievements (three dramatic monologues and two choral plays), in particular, on his most compelling play, Lei dunque capirà (2006). On one hand, the play highlights his masterly use of the stylistic/dialogic capacity of the monologue on stage and, on the other, it offers an unprecedented and extraordinary (parodic) re-actualization of the myth of Orpheus.
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Martens, Britta. "The Dramatic Monologue: Causes and Context." In The Poetry of Robert Browning, 67–81. London: Macmillan Education UK, 2016. http://dx.doi.org/10.1007/978-1-349-92874-3_5.

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Martens, Britta. "The Dramatic Monologue: Form and the Reader." In The Poetry of Robert Browning, 41–66. London: Macmillan Education UK, 2016. http://dx.doi.org/10.1007/978-1-349-92874-3_4.

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Wang, Bo, and Yuanyi Ma. "Re-presenting textual meaning in dramatic monologue 1." In Lao She’s Teahouse and Its Two English Translations, 53–75. London; New York : Routledge, 2020. | Series: Routledge studies in Chinese translation: Routledge, 2020. http://dx.doi.org/10.4324/9780429291920-3.

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Pypeć, Magdalena. "“Outlaw Emotions”: Carol Ann Duffy’s “Eurydice”, Dramatic Monologue and Victorian Women Poets." In Second Language Learning and Teaching, 95–104. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-21994-8_9.

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