Relevant bibliographies by topics / Dramatic monologues

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Dramatic monologues'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Dramatic monologues"

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Chaemsaithong, Krisda. "Dramatic monologues." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 24, no. 4 (December 1, 2014): 757–83. http://dx.doi.org/10.1075/prag.24.4.04cha.

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This investigation examines different speaking roles that lawyers may shift into, and depart from, in the monologic genre of the opening statement in three American trials, incorporating Goffman’s concept of Footing (1981) into an analysis of three high-profile trials. The findings reveal that lawyers take on three distinct discursive roles: The storyteller, the interlocutor, and the animator. In addition, indexical resources commonly associated with each role are explored which serve to contextualize such role shifts. In effect, the lawyers can subtly make the discourse argumentative and suggestive of inferences. Such discursive practices appear to stand in direct contradiction to the purpose of the opening statement.
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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 "dramatic monologue" 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 character – a silent interlocutor, in front of whom the speaker, in a burst of eloquence, reveals the unsightly sides of his perverted doings or his character. In Victorian England, dramatic monologues featured the same marginal characters, which figured in sensation fiction. The article dwells on the ways dramatic monologues are employed in “Possession” (1990) by A.S. Byatt and “Strange Music” (2008) by Laura Fish. The writers not only include extensive quotes from R. Browning and E. Barret-Browning, but also create their own variations of dramatic monologues in verse and prose. Of particular interest are Victorian and neo-Victorian artistic approaches to the criteria of ‘normality’, to the rhetoric of justification, to the methods of argumentation.
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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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Tang, Ziqing. "The Thematic Interpretation of Robert Brownings Renaissance Dramatic Monologue." Communications in Humanities Research 19, no. 1 (December 7, 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 poems, My Last Duchess and The Bishop Orders His Tomb at Saint Praxeds Church. These current article examine characters, themes, and historical backgrounds, showcasing Brownings unique approach to Renaissance content. In addition, this study compared Brownings Renaissance dramatic monologues with three Renaissance poets: Shakespeare , John Milton and William Wordsworth , this comparative analysis highlights the uniqueness of Brownings perspective, the differences in understanding the Renaissance compared to his predecessors, and his contribution to the genre of dramatic monologues. In summary, this study aims to reveal Robert Brownings artistic views and the subtle differences in themes in his Renaissance dramatic monologues. It provides an understanding of Brownings unique position in literary schools and his contributions to the literary world.
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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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Raham Dil Khan and Dr. Khan Sardaraz. "Socio-literary Study of Robert Browning and Darwesh Durrani’s Dramatic Monologues: A Comparative Literary Approach." sjesr 2, no. 2 (April 4, 2020): 125–43. http://dx.doi.org/10.36902/sjesr-vol2-iss2-2019(125-143).

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Previous literature is laden with research on Browning’s dramatic monologues from various perspectives. This paper will compare Browning’s dramatic monologues with Derwesh Durrani’s poetry from socio-literary perspective. Literary theories of analogy and variation will be used to find out similarities and differences in their poetry. Two poems from each poet have been selected for analysis through close reading technique on the model of theories of variation and analogy. Stratified sampling technique was used for taking the representative sample from the data. The findings reveals that Darwesh’s poetry exhibits most of the dramatic features of Browning’s dramatic monologues, but his poetry is more poetic, while Browning’s poetry is more dramatic; Browning invigorates the past, Darwesh recreates the present. In addition, Browning’s poems deals with domestic issues like gender violence, love and marriage, Darwesh’s poetry deals with social issues and patriotism, and contrary to Browning, he stands for women’s rights and sensibilities. This paper suggests further studies purely from socio-cultural perspective of Darwesh’s dramatic monologues, which will contribute to the existing literature on dramatic monologues.
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Candy, Julia. "Two Dramatic Monologues for Palm Sunday." Expository Times 127, no. 5 (February 2016): 241–42. http://dx.doi.org/10.1177/0014524615615305.

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de L. Ryals, Clyde, and Loy D. Martin. "Browning's Dramatic Monologues and the Post-Romantic Subject." Modern Language Review 83, no. 3 (July 1988): 690. http://dx.doi.org/10.2307/3731321.

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Gillen, Jay, and Loy D. Martin. "Browning's Dramatic Monologues and the Post-Romantic Subject." MLN 102, no. 5 (December 1987): 1228. http://dx.doi.org/10.2307/2905328.

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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 (January 3, 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 Andrea del Sarto combined with Foucault's concept of "power discourse" to analyze how they interact and the change of "power discourse" in protagonist within the dramatic monologues, and further explore "transgression" within two poems. The author finds that the dramatic monologue offers a "big stage" for the conflict. Still, reading Browning's poetry needs to pay more attention to the "small stage" provided by the closed imagery, where the speaker who holds the power of speech changes his identity with the closed imagery and achieves the "transgression" through it.
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Dissertations / Theses on the topic "Dramatic monologues"

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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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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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Haines, Dorothy Ina. "Rhetorical strategies in Old English prose, a study of three dramatic monologues." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0007/NQ35171.pdf.

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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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Ratcliffe, Sophie. "'Goodly creatures' : ideas of sympathy and theology in dramatic monologues by Browning, Auden, and Beckett." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419106.

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Sines, Benjamin P. "Letters of a Ruined House." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2007.

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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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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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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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Books on the topic "Dramatic monologues"

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Browning, Robert. Dramatic monologues. London: Folio Society, 1991.

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Robert, Browning. Dramatic monologues. London: Folio Society, 1991.

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Lyons, Richard. Dramatic monologues: 1941-1967. Gardiner, Me: Tyzac Press, 1987.

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Lyons, Richard. Dramatic monologues: 1941-1967. Gardiner, Me: Tyzac Press, 1987.

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Jean-Baptiste-Samuel, Deborah. Instrument of purpose: Dramatic monologues. [Trinidad: D. Jean-Baptiste-Samuel], 1997.

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1955-, Maio Samuel, ed. Dramatic monologues: A contemporary anthology. Evansville, IN: University of Evansville Press, 2008.

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M, Sekou Lasana. Nativity & dramatic monologues for today. St. Maarten, Caribbean: House of Nehesi, 1988.

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

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Hughes, Linda K. The manyfacèd glass: Tennysons's dramatic monologues. Athens, Ohio: Ohio University Press, 1987.

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Book chapters on the topic "Dramatic monologues"

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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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Turner, Thomas N. "Dramatic Social Studies Monologues That Stir the Gifted Soul." In Teaching Gifted Children, 259–65. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003238638-52.

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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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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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Conference papers on the topic "Dramatic monologues"

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DARIE, Andreea. "Festival d’Avignon – The Challenges of a Doctoral Documentation." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0017.

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In my doctoral research, even though I chose the scientific route and not the professional one, I sought to expand the theoretical discourse in various applicative areas. In order to understand the springs of clowning and the psychosomatic structure of the clown actor, I conducted a non-verbal monologue study about the trickster, I participated in physical and online workshops with clowning teachers from the UK and Spain and, last but not least, I conducted together with an interdisciplinary team a niche theatrical laboratory with the theme: the clown condition of some dramatic characters. After all these practical extensions of the research, it was my turn, this summer, to undertake a documentary visit to the Avignon Festival. I had planned to watch shows that clearly contain a clownish expression, but also shows where I could identify it based on criteria defined in my research. Thus, I discovered that getting to Avignon during the festival is an adventure in itself. You risk yourself into a heterogeneous theatrical dynamics that is difficult to assimilate. The diversity of events that take place both in the courtyard of Palais des Papes and in several hundred other locations in the old town, but also in five other neighbouring towns – Châteauneuf-du-Pape, Monteux, Courthézon, Vedène and Noves – surpasses any other festival approach from Europe. This fact complicates the options for any viewer, competent or not. This year, in the official section (July 7-26), there were more than 40 events, some resumed in consecutive days, resulting in several hundred performances, all of them sold out. The “Off” section of the festival had a longer duration (July 7-30) and 1570 performances, each show having multiple performances, some even running the entire duration of the festival. No mathematical calculations are needed to get an idea of the artistic effervescence of those summer days in the south of France.
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