Journal articles: '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 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 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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Harvie, Jennifer, and Richard Paul Knowles. "Dialogic Monologue: A Dialogue." Theatre Research in Canada 15, no. 2 (January 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, we are interested in looking at how the dialogism of the character's monologue might destabilize subjectivity. Looking at monologues from a range of contemporary Canadian scripts and performances, we will consider how the dialogic configuration of subjectivity affects gender, race, and sexuality. And considering that dialogism may be (as Helene Keyssar has argued it was for Bakhtin) "key to the deprivileging of absolute, authoritarian discourses," we are interested in what specific "authoritarian discourses" contemporary Canadian dialogic monologue deprivileges.

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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 (December 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 against Rodney King (like the more recent murder of George Floyd) was recorded on video, the play’s monologic ethics also engage with, and sometimes against, technological evidence of institutional racism. Monologues, and especially soliloquies, function within larger dialogic plays as a mirror – a reflection of consciousness. These minor generic variations in dialogic plays here become Twilight’s primary organizing principle, thus transgressing traditional genre laws. Earlier twentieth-century monologic texts, by Beckett and others, resignified and problematized the soliloquy’s relationship to identity-formation. The paradigm of an isolated single subjectivity, such as Hamlet or even King Lear’s Edmund, is sedimented into classical form. Smith’s play, Twilight, like Shange’s monologic text, For Colored Girls, without one central protagonist, restructures and reframes the dramatic monologue to allow a closer look at the ethics of how we live with our own fragmented selves.

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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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Martens, Britta. "Dramatic Monologue, Detective Fiction, and the Search for Meaning." Nineteenth-Century Literature 66, no. 2 (September 1, 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 process of arriving at an apparently unambiguous truth. On a subtler analysis, however, detective fiction echoes and diversifies the dramatic monologue's questioning of stable meaning. Both genres explore questions of relativism, both invite their readers to engage in modes of investigative reasoning and a problematized process of “solving,” and both can be read as critiquing the literature of subjectivity and reflecting the transgression of norms in a society where key values are shifting. Considering the origins of both genres, the essay asks whether a further relationship might derive from the debt that their founding figures, Edgar Allan Poe and Robert Browning, owe to the Gothic and from their shared interest in the individual psyche.

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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]. Therefore, we analyze the terminological problem around the concept of «monologue». Moreover, we reflect on the dramatic structure in which the denunciation, self-recognition and negation of the discourse of the female character coexist in a paradox that opens the path to a consolidation of the feminist theater in Spain.

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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 (November 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’ and ‘content time and place’ into his analysis of lyric poetry. These concepts are used here as tools to consider and describe the communicative contexts established in lyric and dramatic poetry respectively. Ina Beth Sessions’ early, taxonomic approach to defining the dramatic monologue, in particular her idea of ‘action in the present’, is also found to be useful in the identification of the ‘dramatic’. The next section of the article is a close analysis of two poems from The World’s Wife, ‘Little Red Cap’ and ‘Mrs Sisyphus’. Other poems, and the communicative context evoked by the collection as a whole, are also considered in the light of Green, Sessions and the lyric and dramatic traditions in poetry. The work of Duffy examined here is found to be more clearly rooted in lyrical and narrative than dramatic traditions. It is suggested that the indexicalisation of the symbolic elements of deictic terms is essential to the building of the dramatically realised coding environment necessary for a Browningesque dramatic monologue. A call is made for further work to be carried out in identifying the ‘dramatic’ in poetry, and for a more meaningful employment of the term dramatic monologue.

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

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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 (March 27, 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 thoughts. The paper pays all the attention to main character’s language to answer the research’s question in which makes the paper a discourse analytic research. The main question that the paper raises is how Prufrock’s behavior explains the existence of dramatic monologue within himself. It is worth mentioning that the paper’s conclusion provides the findings of the research.

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Du, Lixia. "On the Tradition of dramatic monologue in English and American literature." International Academic Journal of Humanities and Social Sciences 1, no. 1 (May 28, 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 of dramatic soliloquy in British and American literature, so as to provide effective basis for modern literary creation.

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

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Hamdar, Abir. "The colour of scrambled eggs: a dramatic monologue." Medical Humanities 38, no. 1 (November 24, 2011): 63.2–64. http://dx.doi.org/10.1136/medhum-2011-010088.

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

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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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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 received acclaim at the time for (among other qualities) reading the unifying images in Browning's poems. But the work from that period that has had staying power, Robert Langbaum's The Poetry of Experience, is one that hardly fit the critical temper of the time. In retrospect, we may say that its power derived especially from its refusal to let New Critical dogmas circumscribe the kinds of critical approaches applied to the odd form of the dramatic monologue. Langbaum's concept of experience was (is) attractive; his historical stories of the relation between Romanticism, nineteenth-century preference in drama for character over action, and the dramatic monologue were extremely interesting ones. But what was and remains most influential was a strategy for approaching the dramatic monologue, the famous one in which the poem commands a balance of judgment and sympathy. Langbaum's readings of the Duke and the rest have been much debated and often battered. The terms he laid down for the debate have proved hearty and persistent.

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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 itself."

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

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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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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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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 condition and enable their respective utterances. Furthermore, it will be argued that the speakers‟ attempts to assert and/or construct their identities involves a complex, tense process of subjection and simultaneous resistance to restraining definitions inherent to the discourse of Hellenism that have persisted throughout the latter‟s long history, such as its self- constitutive, inexorable, division between Greek and barbarian.

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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 (May 2001): 293–305. http://dx.doi.org/10.1207/s15326950dp31-3_4.

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Freer, Scott. "Remediating ‘Prufrock’." Arts 9, no. 4 (October 15, 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 and the photographic spatial montage. Together, they demonstrate the dialogic and multi-directional nature of remediation and articulate via inter-media strategies various literary properties and themes (e.g., character, setting, visual motifs, paralysis) of ‘Prufrock’.

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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 (December 1, 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 stammering body that challenges broader Victorian assumptions about the relationship between speech, voice and elocutionary practices. Throughout this article, G.K. Chesterton’s claim that Browning’s critique of spiritualist practices is paradoxically a ‘warm and sympathetic thing’ becomes the keystone for understanding the monologue’s contributions to modern thought about the pleasures and vitality of dysfluent speech. Fundamentally, Browning’s exploration of the spiritualist’s deceptions and conjuring of the voices of the dead reflects broader medical analogies beginning in the 1840s that linked the causes of dysfluent speech to invasive and contagious voicings.

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Sabry Abdel-Hamid Ahmed Helwa, hasnaa. "Using Dramatic Monologue for Developing EFL Speaking Skills among Prospective Teachers." مجلة کلية التربية. بنها 31, no. 3 (January 1, 2020): 1–44. http://dx.doi.org/10.21608/jfeb.2020.122179.

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Ravizza, Eleonora Natalia. "Poetic hospitality: dramatic monologue as a neo-Victorian, post-modern genre." European Journal of English Studies 24, no. 3 (September 1, 2020): 268–82. http://dx.doi.org/10.1080/13825577.2020.1876610.

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Roche-Jacques, Shelley. "The Contemporary Dramatic Monologue in Britain and Ireland by Annika Merk." Modern Language Review 115, no. 3 (2020): 716–17. http://dx.doi.org/10.1353/mlr.2020.0209.

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ChoHeejeong. "From the Conversation Poem to the Dramatic Monologue: Robert Browning's Pauline." Journal of English Cultural Studies 11, no. 1 (April 2018): 259–84. http://dx.doi.org/10.15732/jecs.11.1.201804.259.

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Goode, Ian. "The Quality of Intimacy: Revelation and Disguise in the Dramatic Monologue." Journal of British Cinema and Television 3, no. 1 (May 2006): 107–14. http://dx.doi.org/10.3366/jbctv.2006.3.1.107.

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Gray, Erik. "Tennyson's Rapture: Transformation in the Victorian Dramatic Monologue, by Cornelia Pearsall." Victorian Studies 50, no. 3 (April 2008): 541–42. http://dx.doi.org/10.2979/vic.2008.50.3.541.

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Nerstad, Erin. "Decomposing but to Recompose: Browning, Biblical Hermeneutics, and the Dramatic Monologue." Victorian Poetry 50, no. 4 (2012): 543–61. http://dx.doi.org/10.1353/vp.2012.0041.

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Gurung, Gol Man. "Dramatic Technique in Frost's Poetry." Interdisciplinary Journal of Management and Social Sciences 2, no. 2 (December 31, 2021): 27–31. http://dx.doi.org/10.3126/ijmss.v2i2.42596.

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Robert Frost’s poetry is consolidation of theme, content, form, technique, and prosody. When words are forced into a strict prosody without apprehension of connotation, they become forced obstinate and merely clinking sounds. The combination of form, content, and music generate beauty in verse. By means of the use of dialogue and monologue, he gives genuine treatment to realistic situation in his poems. Three poems: "The Death of the Hired Man", "Stopping by Woods on a Snowy Evening" and "West Running Brook" present brilliance, vivacity, and a sense of exhilaration due to the dramatic techniques of presentation. The speaker in these poems should not be taken literally to represent Frost, rather a character who replies in typical ways to the world around him. The speaker is independent, lonely, and sensitive and he often yearns for acquaintance. The magnitude of his verse lies in its handling of man in relation to nature through dramatic technique.

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Medvedšek, Mojca, and Blažka Müller Pograjc. "Semantic and Pragmatic Analysis of the Future Tense in the Tragedy A Castro." Verba Hispanica 26, no. 1 (January 18, 2019): 233–46. http://dx.doi.org/10.4312/vh.26.1.233-246.

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This article aims to present the characteristics and functioning of the illocutionary acts in the tragedy A Castro by António Ferreira (1528-1569), which are marked as a series of decisions, expressed as predictions of the speaker (the protagonist, Pedro Infante) belonging to the sphere of the future. This future is known, historically proven and represents one of the most astonishing chapters of Portuguese history as well as of literary production. The study focuses on the final monologue of the Act V of the tragedy, which presents a strong dramatic potential, analysing the two sequences of the monologue and highlighting different types of illocutionary acts (Searle, 1979; Gouveia, 1996; Atienza, 2005). The authors pay special attention to the relation of the speaker towards the propositional content and the pragmatic features of the linguistic means, used to persuade the receiver that the speaker’s intentions are firm, certain, and orientated to the future, although not realized within the dramatic time of tragedy.

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Castagno, Paul C. "Varieties of Monologic Strategy: the Dramaturgy of Len Jenkin and Mac Wellman." New Theatre Quarterly 9, no. 34 (May 1993): 134–46. http://dx.doi.org/10.1017/s0266464x00007727.

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Playwrights, directors, and theatre teachers interested in understanding the theatrical possibilities and functions of monologue soon discover that critical analysis in this area is limited alike in extent and depth. In the following analysis of contemporary dramatic monologue, Paul C. Castagno therefore begins by exploring its more expected or traditional uses, and proceeds to examine its present expanded function with particular reference to the plays of two contemporary American playwrights, Len Jenkin and Mac Wellman – both multiple Obie Award-winning writers, whose dramaturgic techniques have been highly influential yet who remain largely overlooked in the critical arena. He concludes that monologue in the new dramaturgy is actually moving in various and often complex ways back towards a kind of dialogism. Paul C. Castagno, who is himself a practising playwright, is director and dramaturg of the New Playwrights' Program at the University of Alabama, where he has developed a number of new playscripts for award-winning productions. He has published articles in the Journal of Dramatic Theory and Criticism, Text and Presentation, Theatre History Studies, and Theatre Topics, among others, and will shortly be taking on the editorship of the journal Theatre Symposium. His study The Early Commedia dell'Arte, 1550–1621: the Mannerist Context is due for publication by Peter Lang in 1993, and he is is currently preparing a playwriting text that explores elements of the new dramaturgy.

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DeVinney, Karen. "Monologue as Dramatic Action in Brian Friel's Faith Healer and Molly Sweeney." Twentieth Century Literature 45, no. 1 (1999): 110. http://dx.doi.org/10.2307/441667.

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Shaw, W. David (William David). "Masks of the Unconscious: Bad Faith and Casuistry in the Dramatic Monologue." ELH 66, no. 2 (1999): 439–60. http://dx.doi.org/10.1353/elh.1999.0019.

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Gregory, Melissa Valiska. "Augusta Webster Writing Motherhood in the Dramatic Monologue and the Sonnet Sequence." Victorian Poetry 49, no. 1 (2011): 27–51. http://dx.doi.org/10.1353/vp.2011.0005.

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Pauw, D. A. "Die term dramaties: terug na Aristoteles." Literator 15, no. 1 (May 2, 1994): 125–44. http://dx.doi.org/10.4102/lit.v15i1.655.

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The word dramatic: Back to AristotleExpressions such as dramatic portrayal, dramatic action or dramatic scene frequently occur in works discussing drama. What is, however, meant by the word dramatic? Do we fully appreciate its meaning as it was meant to be understood by Aristotle in his Ars Poetica? Commencing from Aristotle's definition of tragedy and his ensuing discussion of its elements, the wide spectrum of meaning of the word dramatic is illustrated. The aspects touched upon are the following: the functionality of information, conflict, complication, suspense, turning point, tragic flaw, catharsis and pathos. The identification with protagonist and antagonist is discussed, as well as the relevance of character portrayal for the action. Graphic, exciting and moving descriptions form part of dramatic portrayal, and so do the monologue, the speech and dialogue, finally, the word dramatic may he defined in terms of emotions evoked, while dramatic action mostly comprises a timeless universal truth.

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Alkhayal, Ieman Abdulrahman. "Monodrama and Self- Reconstruction: Exploration of Form in Selected Arab Plays." World Journal of English Language 12, no. 7 (December 12, 2022): 303. http://dx.doi.org/10.5430/wjel.v12n7p303.

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This research attempts to explore the importance of monodrama as an extended monologue that opens a discovery journey of a man’s solitary existence in the twenty-first century. The form offers subsequent polyvocal variations, which explores a set of questions inherent in estrangement, isolationism, and failure to articulate one’s thoughts. Hence, those themes are usually projected in, seemingly, fragmented forms. Dramatic episodes characterized by fragmentation, yet ironically laden with symbolic meanings, draw on mythical, historical and imaginary figures. The resulting combination demonstrates more than just a private experience, but a universal dilemma of alienation and confusion. Inspired by Hamlet’s debate of man’s inner struggle between “What the flesh is heir to” and “of what we suffer” internally, the paper attempts to investigate the selected Arab dramatist’s use of monodrama. The inner struggle in each monologue resembles core thematic trends, which extend to the twenty-first century, performed by actors who open a series of multi-roles that reflect on life, history, culture and other identity factors. Therefore, the paper will be paying extra attention to the weaving of multi-voices and consciousness within a monologue of a single character that embodies all. The main goal is to convey an internal conflict, or a journey to self-discovery, representing the ‘everyman’ reflection on his use of theatrical devices. By intermixing reality and the subconscious, the performer and the audience become pulled into inner realms of the unconscious, giving self- evaluation a more interesting dimension. This will further help reveal the monologue’s significance in treating psychological and social complexities through a concentrated dose of self-reflection in a dream-like framework.

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Rodríguez Fernández, María Gracia. "Ironía y distanciamiento: el monólogo dramático en Jaime Gil de Biedma y Wystan Hugh Auden." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 25 (December 16, 2015): 299. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2016251195.

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Este artículo estudia el modo en que Wystan Hugh Auden y Jaime Gil de Biedma conciben la técnica del monólogo dramático. Para el autor angloamericano, los monólogos dramáticos consisten en la adopción de la personalidad de algún personaje, a través del cual expresa todos aquellos asuntos que le preocupan, mientras que el poeta catalán se inventa un personaje, al que llama Jaime Gil de Biedma, cuya identidad le sirve para tratar con todos los otros que habitan en el “yo” del poeta. Asimismo, existe similitud entre los dos autores, a pesar de las diferencias, porque el planteamiento del monólogo dramático en los ejemplos mostrados es distinto, pero la intención de los autores es la misma: distanciarse de ellos mismos para adquirir una perspectiva lo suficientemente crítica que les proporcione la ajenidad que buscan. This article studies the way in which Wystan Hugh Auden and Jaime Gil de Biedma conceive the technique of the dramatic monologue. For the Anglo-American author, the dramatic monologues consist of taking the personality of some character, by means of that he expresses the matters that he worries, whereas the Catalan poet invents a character called Jaime Gil de Biedma, whose identity is used for addressing all the others who live in the “self” of the poet. Likewise, there is a similarity between these two authors, in spite of their differences, because the proposal of the dramatic monologues in the examples given is different, but the intention of the author is the same: to distance from themselves to acquire a critical enough perspective which provide them the otherness they are looking for.

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Kyung Sim Chung. "T. S. Eliot’s Poetry of the First Voice:A Revision of the Dramatic Monologue." Jungang Journal of English Language and Literature 50, no. 1 (March 2008): 297–313. http://dx.doi.org/10.18853/jjell.2008.50.1.015.

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Journal articles on the topic 'Dramatic monologue'

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