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Journal articles on the topic 'Dramatic monologue'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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

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2

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 (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 prob

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3

Segal, E. "The Dramatic Monologue." Poetics Today 22, no. 3 (2001): 703–4. http://dx.doi.org/10.1215/03335372-22-3-703.

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4

Wong, Stella. "Dramatic monologue as Clara Rockmore, and: dramatic monologue as Claire Rousay." Prairie Schooner 96, no. 3 (2022): 154–55. http://dx.doi.org/10.1353/psg.2022.a904599.

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5

Haltrin-Khalturina, Elena. "Revisiting the Brownings’ Poetry in the Pages of Neo-Victorian Novels and their Russian Translations." Izvestiia Rossiiskoi akademii nauk. Seriia literatury i iazyka 82, no. 5 (2023): 78. http://dx.doi.org/10.31857/s160578800028329-7.

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The neo-Victorian novels of our time (by A.S. Byatt, Maggie Power, Laura Fish, et.al) reverberate with echoes from English poetry of the 19th century, and not in the least, from famous dramatic monologues (the genre, which came into existence thanks to Robert Browning and Alfred Tennyson). According to the present-day scholarship, the term &quot;dramatic monologue&quot; denotes the versified speech of a character, who suffers from a mental disorder and tries to combine the frankness of confession with the art of argument and seduction. This monologue is usually addressed to another cha

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6

Shaw, W. David. "Lyric Displacement in the Victorian Monologue: Naturalizing the Vocative." Nineteenth-Century Literature 52, no. 3 (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 sile

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7

Tang, Ziqing. "The Thematic Interpretation of Robert Brownings Renaissance Dramatic Monologue." Communications in Humanities Research 19, no. 1 (2023): 141–47. http://dx.doi.org/10.54254/2753-7064/19/20231219.

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Robert Brownings dramatic monologue is a unique form in British Victorian literature. Its unique style reflects various characteristics of that time, and therefore, by analyzing Brownings dramatic monologues, various aspects of Victorian society and culture, as well as individual roles and struggles, can be deeply understood. Moreover, Brownings works provide rich materials and profound thinking for literary research, and hold an important position in the field of literature. In order to better explain the styles of his works, this article provides an in-depth analysis of Brownings two famous

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8

Stevens, Blake. "Monologue Conflicts: The Terms of Operatic Criticism in Pierre Estève and Jean-Jacques Rousseau." Journal of Musicology 29, no. 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 a

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9

Wiandari, Fadhillah. "DRAMATIC MONOLOGUE IN ROBERT BROWNING’S POEM “ANDREA DEL SARTO”." JL3T ( Journal of Linguistics, Literature and Language Teaching) 3, no. 1 (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 â€œdramatic monologueâ€ 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 characterâ€™s comments on his own story and the circumtances in which he speaks. It is through the single characterâ€™s speech that Browning present the plot, characters and scenes. It is through the words of Andrea that the

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10

Dewan, Motikala Subba. "Language of Dramatic Monologue in Poe’s “The Raven”." Journal of NELTA 26, no. 1-2 (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 speake

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11

Schad, J. "Queerest Book--A Dramatic Monologue." Literature and Theology 26, no. 1 (2011): 3–22. http://dx.doi.org/10.1093/litthe/frr044.

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12

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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13

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.

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14

Harvie, Jennifer, and Richard Paul Knowles. "Dialogic Monologue: A Dialogue." Theatre Research in Canada 15, no. 2 (1994): 136–63. http://dx.doi.org/10.3138/tric.15.2.136.

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Michael Sidnell has drawn attention to the potential for dramatic monologue to be dialogic in ways that dialogue in the theatre rarely is, and he has pointed to a recent proliferation of dialogic monologue in Canadian theatre. This essay will examine the potentially dialogic function of monologue in some contemporary Canadian plays. Questions central to this examination will be: when is monologue dialogic, and what are the effects of dialogic monologue? Considering that the actor often stands indexicallyfor an autonomous subject which is easily conflated with the character the actor is playing

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15

Tabor, Nicole. "Monologic ethics: The single speaker as discursive partner in Anna Deavere Smith’s Twilight: Los Angeles, 1992." Performing Ethos: An International Journal of Ethics in Theatre & Performance 10, no. 1 (2020): 123–26. http://dx.doi.org/10.1386/peet_00027_7.

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This reflective article asserts that the monologue form helps audiences and readers ask ethical questions concerning the relationship(s) between subjectivity and communal identity formation. Twilight: Los Angeles, 1992, researched, written and originally performed by Anna Deavere Smith, serves as this article’s primary textual example of a monologic play. The play’s monologic form embodies ethical possibility through its attentiveness to multiple perspectives and intersubjective dialogue developed from Smith’s interviews following the aftermath of the Rodney King verdict. Because the violence

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16

Graham, Alan. "‘Repeat Play’: Repetition and Truth-telling in Play, Faith Healer, and Irish Monologic Theatre." Irish University Review 54, no. 2 (2024): 248–67. http://dx.doi.org/10.3366/iur.2024.0677.

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This essay argues that the critical consensus concerning Brian Friel’s Faith Healer (1979) as the origin play for an Irish tradition of monologue theatre overlooks the indebtedness of Friel’s first monologue drama to Samuel Beckett’s Play (1963) and, in so doing, obfuscates Beckett’s influence in the evolution of Irish monologic theatre. Tracing the reliance of Play and Faith Healer on musical structures of variation and recurrence, the essay discerns the reach of their interrogation of dramatic storytelling and argues that the subversion of truth-telling in these key plays has exercised a pro

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17

Tirtau, Svetlana. "Reflections on some defining aspects of the dramatic monologue." Studiul artelor şi culturologie: istorie, teorie, practică, no. 1(44) (February 2024): 31–36. http://dx.doi.org/10.55383/amtap.2023.1.06.

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The monologue was often perceived as an obstacle to drama. This „conflict” has been the subject of many reflections, of multiple and successive qualifications, which deal with the problem of the monologue starting with the 18th century. Here we are referring, first of all, to bourgeois drama, romantic drama, or symbolist drama, secondly – to modern drama, and more recently - to the post-dramatic theater, the new drama etc. The definition of the dramatic monologue also seems to obey a recurring pattern of successive oppositions, being approached only through approximations and various confronta

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18

Nazm, Us Saqib. "A Hidden Narrative: Examining the Emissary's Position in Browning's 'My Last Duchess'." Bodhi International Journal of Research in Humanities, Arts and Science 8, no. 4 (2024): 82–86. https://doi.org/10.5281/zenodo.14748434.

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Dramatic Monologue was a prominent poetic form in the Victorian age, characterised by a single speaker addressing an unknown, silent audience. Robert Browning, who experimented much with the form and wrote remarkable dramatic monologues, “My Last Duchess” stands out for masterful use of the form and compelling subject matter. The interesting part of the monologue for this paper is the silent listener, the emissary who listens to what the speaker, the Duke, has to say. It does not speak throughout the poem. The Duke talks to the emissary of his previous marriage and how his former w

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19

Gregory and Harrington. "Angry Women and the Dramatic Monologue." Victorian Studies 62, no. 2 (2020): 178. http://dx.doi.org/10.2979/victorianstudies.62.2.02.

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20

Lee-Jones, Jasmine. "Black pain redux: A dramatic monologue." Yale Review 111, no. 4 (2023): 171–84. http://dx.doi.org/10.1353/tyr.2023.a914450.

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21

Wang, Xiaomin. "Interweaving Power Discourse: An Analysis of Dynamic Interaction Between the Dramatic Monologue and Imago of Confinement in My Last Duchess and Andrea Del Sarto." Communications in Humanities Research 24, no. 1 (2024): 286–91. http://dx.doi.org/10.54254/2753-7064/24/20231816.

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Robert Browning, based on a story and a painting, reconstructed the inner voices of the story's protagonist and the figures in the painting within his poetry. His skillful use of "dramatic monologue" provided a stage for the characters' inner activities, and the image of confinement set the stage for conflicts between the characters and the flow of power discourse. This interactive and intertwined "dual stage" enhances the power of narrative and dramatic elements in Browning's poetry. The purpose of this paper is to find out the closed imagery employed by Robert Browning in My Last Duchess and

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22

Martens, Britta. "Dramatic Monologue, Detective Fiction, and the Search for Meaning." Nineteenth-Century Literature 66, no. 2 (2011): 195–218. http://dx.doi.org/10.1525/ncl.2011.66.2.195.

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Abstract This essay compares the genres of the dramatic monologue and detective fiction in terms of their contemporaneous development and respective reading processes. Drawing on narratological categories, it examines the emphasis in both genres on the withholding of information and the stimulation of the reader's desire to establish meaning and exert judgment. Despite these similarities in the reading process, the genres’ epistemologies seem opposed: the relativist dramatic monologue clearly challenges the belief in absolute meaning, while the classic detective formula depicts the problematic

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23

Coello Hernández, Alejandro. "El monólogo como práctica dramatúrgica feminista en los años ochenta: el ejemplo de Maribel Lázaro (La fosa y La defensa)." Clepsydra. Revista de Estudios de Género y Teoría Feminista, no. 19 (2020): 43–61. http://dx.doi.org/10.25145/j.clepsydra.2020.19.03.

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The visibility and recognition of Women playwrights in Spanish theater did not occur until the eighties after the conquests of feminist movements. For that reason, women playwrights explore in their works new ways of thinking about subjectivity. The monologue provides them with a way of exploring themselves and with a form of engaged theater. This textual corpus is studied in this article in a global way in order to contextualize feminist dramaturgies and in particular the dramatic proposals of Maribel Lázaro, who in 1986 wrote two monologues La fosa [The pit] and La defensa [The defense]. The

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24

Roche-Jacques, Shelley. "‘Out of the forest I come’: Lyric and dramatic tension in The World’s Wife." Language and Literature: International Journal of Stylistics 25, no. 4 (2016): 363–75. http://dx.doi.org/10.1177/0963947016663585.

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This article looks at lyric and dramatic modes of poetic expression in Carol Ann Duffy’s collection The World’s Wife. The book is of particular interest because it is Duffy’s only volume devoted entirely to the dramatic monologue. In the opening sections of this article, lyric and dramatic modes are defined and discussed, and the work of Keith Green on deixis and the poetic persona is considered in relation to the dramatic monologue. Of particular use is Green’s elaboration on the traditional deictic categories of ‘time’ and ‘place’. Green incorporates the concepts of ‘coding time and place’ a

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25

Ingersoll, Earl G. "Considerations of Gender in the Dramatic Monologue." Modern Language Review 86, no. 3 (1991): 545. http://dx.doi.org/10.2307/3731002.

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26

Karo, Hasan. "Dramatic Monologue in T. S. Eliot’s The Love Song of J. Alfred Prufrock." Humanities Journal of University of Zakho 10, no. 1 (2022): 245–47. http://dx.doi.org/10.26436/hjuoz.2022.10.1.831.

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This paper discusses the use of ‘dramatic monologue’ and ‘stream of consciousness’ in T. S. Eliot’s “The Love Song of J. Alfred Prufrock”. It highlights the history of the two terms with references to certain lines of the poem. It unveils the effect of using such a technique by Eliot. The paper investigates how the speaker ‘J. Alfred Prufrock’ is trying to communicate with the reader in dramatic monologue. Furthermore, it examines how J. Alfred Prufrock’s brain and process of thoughts is working through the use of stream of consciousness and interior monologue to achieve such process of though

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27

Jose, Annu. "Exploring the Construction of Self: An Ironic Gaze Towards Robert Browning’s My Last Duchess." International Journal of English Literature and Social Sciences 8, no. 1 (2023): 253–55. http://dx.doi.org/10.22161/ijels.81.32.

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Dramatic monologue can be considered as a lyrical- dramatic narrative hybrid and the flagship genre of Victorian poetry. It is the most significant poetic innovation of the Victorian era that helped to increase the dignity of Victorian poetry and especially the poems of Robert Browning to a very sophisticated level in the genre of literature. The lengthy speech delivered by the speaker expresses his/her private thoughts intentionally or not. It leads to the uncovering of the intentions and emotions deep within the self of a person. A dramatic monologue reveals the speaker’s temperament and cha

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28

Du, Lixia. "On the Tradition of dramatic monologue in English and American literature." International Academic Journal of Humanities and Social Sciences 1, no. 1 (2022): 15. http://dx.doi.org/10.56028/iajhss.1.1.15.

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In British and American literary works, dramatic monologue, as a unique form of literary and artistic expression, is mainly used to distinguish the poet from the first person, and will deeply depict and shape the inner world of the characters. In the continuous development of social economy, dramatic monologue not only has a profound impact on British and American literature, but also expands the development space of literary works in the continuous study. Therefore, after understanding the definition and characteristics of dramatic soliloquy, this paper briefly understands three common forms

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29

Wazzan, Suzanne A. "Dramatic Monologue in Bidart’s Work “Half-Light” (2017)." Al-Adab Journal 1, no. 144 (2023): 97–116. http://dx.doi.org/10.31973/aj.v1i144.3957.

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This paper aims at investigating dramatic monologue in Frank Bidart’s poems. It discusses the way Bidart was affected by certain poets in terms of the implication of the dramatic monologue device and the power that affected his implementation and his application of this particular genre. Bidart proposes that a poet has a lot of inner consciousness. He receives various voices so he can visualize how to begin from varied places and keep a certain distance from the voice that expresses out of its sense, agony, or annoyance. Bidart has to examine the reasons for definite feelings at a particular p

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30

Hee-Jung Sun. "Browning’s Dramatic Monologue and Mulvey’s Feminist Film Theory." English & American Cultural Studies 17, no. 2 (2017): 1–28. http://dx.doi.org/10.15839/eacs.17.2.201705.1.

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31

Hamdar, Abir. "The colour of scrambled eggs: a dramatic monologue." Medical Humanities 38, no. 1 (2011): 63.2–64. http://dx.doi.org/10.1136/medhum-2011-010088.

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32

Yoon, Hyonyung. "Robert Frost’s The Pasture as a Dramatic Monologue." Journal of Modern British & American Language & Literature 41, no. 1 (2023): 79–101. http://dx.doi.org/10.21084/jmball.2023.02.41.1.79.

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33

Morton, John. "Tennyson's Rapture: Transformation in the Victorian Dramatic Monologue." English Studies 91, no. 7 (2010): 796–98. http://dx.doi.org/10.1080/0013838x.2010.517238.

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34

Taft, Joshua. "Skepticism and the Dramatic Monologue: Webster against Browning." Victorian Poetry 53, no. 4 (2015): 401–21. http://dx.doi.org/10.1353/vp.2015.0026.

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35

Maynard, John. "Speaker, Listener, and Overhearer: The Reader in the Dramatic Poem." Browning Institute Studies 15 (1987): 105–12. http://dx.doi.org/10.1017/s0092472500001863.

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Robert Browning's poetry showed a special resistance to the text-oriented, aestheticizing tendencies of the New Criticism. It was easy, almost too easy, to find ways to talk about the speaker and his tone of voice; but difficulties arose the moment one tried to move from these statements, as one would in a poem by Keats or Frost, to statements about the poem. Something about the nature of the dramatic monologue itself seems to have been especially unreceptive to organic, unifying conceptions of art. It is not surprising that Roma King's broadly New Critical, The Bow and the Lyre, should have r

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36

Wilmer, Clive. "Language as Experience in “Gerontion” and The Waste Land." Revista Canaria de Estudios Ingleses, no. 85 (2022): 51–65. http://dx.doi.org/10.25145/j.recaesin.2022.85.04.

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"This essay attempts some answers to the question, “How do we read The Waste Land?” It is a poem of many fragments and many voices, but the experiencing consciousness is one, symbolized by the impotent prophet Tiresias. The dramatic method, with its limited viewpoints and fragmented identities, derives from the Victorian dramatic monologue, filtered through the ironies of Jules Laforgue and the innovative versification of the Jacobean playwrights. This way of reading the poem is demonstrated through readings, first, of the monologue “Gerontion,” and then of key passages in The Waste Land itsel

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ანთია, თამარ. "მონოლოგური და დიალოგური დისკურსი და მიმართვის ფორმები პიერ კორნელის „ჰორაციუსის“, „ცინას“ და „პომპეუსის სიკვდილის“ მიხედვით". Literary Researches 44 (27 листопада 2024): 195–207. https://doi.org/10.62119/lr.44.2024.8237.

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In Pierre Corneille's "Roman Tragedies"-“Horace”, “Cinna” and “The Death of Pompey” the types of dramatic discourse – dialogues and monologues – occupy an important place. Dialogues and monologues have the function of self-expression of the characters. Monologue is one of the best ways to illustrate the characters' thoughts and inner feelings. According to the poetics of classicism, when the character is alone on stage, the principle of persuasiveness requires that he express his thoughts, which he often expresses in the form of a dialogue with himself, which he or she does not want anyone t

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38

Sifaki, Evgenia. "Self-Fashioning in C. P. Cavafy‟s “Going back Home from Greece” and “Philhellene”." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 5 (May 1, 2013): 29. http://dx.doi.org/10.12681/syn.17430.

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C. P. Cavafy‟s dramatic monologues “Going Back Home from Greece” and “Philhellene” are approached by way of their form: the genre of the dramatic monologue that the Greek poet adopted and adapted from Victorian sources, which delimits and historicises the poetic utterance by staging it in a dramatic frame. Drawing on a theory of Michel Foucault, the two texts‟ discursive context of Hellenism is construed as part of their speakers‟ binding situation, the social and historical environment (i.e. the literary representation of the Hellenistic and early Roman periods) that is shown to both conditio

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Blyudov, Daniil V. "Dramatic monologue as a material for group speech training." Sphere of culture 6, no. 1 (2025): 107–19. https://doi.org/10.48164/2713-301x_2025_19_107.

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The use of dramatic material in group voice-speech training has certain special features. The article analyzes the peculiarities of the poetics of monologues and replicas from the plays by W. Shakespeare, J.B. Moliere and O. Wilde, as well as the methodological ways of mastering such material. Using the examples from his pedagogical practice, the author has proven that training based on dramatic material provides effective solution of educational and creative problems, teaches students to act in words and brings the process of speech education closer to real theatrical practice.

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40

Temelini, Sofia. "My Barbie Monologue." Girlhood Studies 17, no. 2 (2024): 147–51. http://dx.doi.org/10.3167/ghs.2024.170212.

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For my final assignment in a university course called “Arts Education: Pedagogical Theory and Practical Applications in the Teaching of Developmental Drama, Dramatic Forms, Improvisation and Theatre Art”1 I had to do a four-minute monologue performance. I chose to perform Gloria's (America Ferrera) monologue from Barbie (2023)2 because it constitutes a message about how women and girls in society are stressed by thinking about, and aiming for, perfection as well as by finding ways to please everyone in their work, school, and home environment. The monologue articulates the struggles that women

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41

Germoni, Karine. "From Joyce to Beckett: The Beckettian Dramatic Interior Monologue." Journal of Beckett Studies 13, no. 2 (2004): 137–49. http://dx.doi.org/10.3366/jobs.2004.13.2.11.

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42

Sider, Justin. "Dramatic Monologue, Public Address, and the Ends of Character." ELH 83, no. 4 (2016): 1135–58. http://dx.doi.org/10.1353/elh.2016.0042.

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43

O'Neil. "Creating Canada: Emily Pauline Johnson and the Dramatic Monologue." Victorian Studies 62, no. 2 (2020): 208. http://dx.doi.org/10.2979/victorianstudies.62.2.07.

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44

Nichols, Ashton. "Dialogism in the Dramatic Monologue: Suppressed Voices in Browning." Victorians Institute Journal 18 (April 1, 1990): 29–52. http://dx.doi.org/10.5325/victinstj.18.1990.0029.

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45

Salah, Trish. "What’s All the Yap? Reading Mirha-Soleil Ross’s Performance of Activist Pedagogy." Canadian Theatre Review 130 (March 2007): 64–71. http://dx.doi.org/10.3138/ctr.130.011.

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Mirha-Soleil Ross is not the most well known transsexual artist out there, but she is certainly one of the hardest working. A Toronto-based performance artist, film- and video-maker and activist on a wide range of issues, Ross is also the chief architect of Counting Past 2, the first festival of transsexual and transgender art and performance in North America.1 In this paper, I look at Ross’s most ambitious and professionally successful performance work to date, Yapping Out Loud: Contagious Thoughts of an Unrepentant Whore, a sequence of performance monologues in which Ross brings together her

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Freer, Scott. "Remediating ‘Prufrock’." Arts 9, no. 4 (2020): 104. http://dx.doi.org/10.3390/arts9040104.

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This article examines remediated examples of T.S. Eliot’s ‘The Love Song of J. Alfred Prufrock’ (1915). Eliot’s innovative dramatic monologue has sustained an enduring inter-media afterlife, mainly because visual artists generally capitalized on the poem’s residual Victorian painterly and semi-narrative qualities. Here I look at a wider range of visual forms from old and new media that, for both pedagogic and artistic purposes, remediate the poem’s ekphrastic, semi-narrative and modernist aesthetics: the comic strip, the animated film, the dramatic monologue film, the split-screen video poem a

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Jeong, Sin-u. "Robert Browning's Dramatic Monologue and W. B. Yeats's Mask Theory." Yeats Journal of Korea 22 (December 31, 2004): 121–42. http://dx.doi.org/10.14354/yjk.2004.22.121.

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Scott, Christina L., Richard Jackson Harris, and Alicia R. Rothe. "Embodied Cognition Through Improvisation Improves Memory for a Dramatic Monologue." Discourse Processes 31, no. 3 (2001): 293–305. http://dx.doi.org/10.1207/s15326950dp31-3_4.

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Martin, Daniel. "A warm and sympathetic thing: Voice and dysfluency in Robert Browning’s ‘Mr Sludge, “The Medium”’." Journal of Interdisciplinary Voice Studies 5, no. 2 (2020): 163–78. http://dx.doi.org/10.1386/jivs_00023_1.

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This article takes a dysfluency studies approach to representations and expressions of voice and dysfluent speech in Robert Browning’s minor dramatic monologue ‘Mr Sludge, “The Medium”’ (1864). Browning’s speaker, an American spiritualist medium named Sludge, is vile and repugnant in his casuistry and sophistry as he defends his deceptions after being caught as a cheat during one of his séances. While Browning’s contemporaries recognized ‘Mr Sludge’ as a mockery of the real-life American medium Daniel Dunglass Home, the monologue relies on one central metaphor of the medium’s stuttering and st

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Martens, Britta. "From the Execution Ballad to the Dramatic Monologue: Criminal Confession Reconfigured." Victorian Poetry 62, no. 1-2 (2024): 76–108. https://doi.org/10.1353/vp.2024.a948526.

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Abstract: Victorian dramatic monologues about murder, including such prominent examples as Robert Browning's "Porphyria's Lover," "My Last Duchess," and The Ring and the Book , as well as Dante Gabriel Rossetti's "A Last Confession," often rely upon readers' familiarity with the popular genre of the execution ballad. Subverting the straightforward plotline and deterrent social function of the primarily didactic ballad, these monologues shift readers' horizon of expectation toward greater psychological sophistication and moral ambiguity, obliging them to contemplate a world in which crime may g

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