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Journal articles on the topic 'Dramatic monologues'

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

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

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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12

Pierre, Maxime. "Le monologue d’entrée de rôle dans les tragédies de Sénèque : de l’animation du personnage à la rencontre." Vita Latina 200, no. 1 (2020): 156–70. http://dx.doi.org/10.3406/vita.2020.2035.

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Entrance monologues are one of the most striking features of the characters in Seneca’s tragedy that we don’t find in his Attic models. Often seen as a psychological parenthesis, this specificity is supposed to create a break in the dramatic action. However, if we go back to the text of those scenes, we can understand them as a theatrical device : they allow the entering character to give life to his mask and prepare his meeting with other characters. Entrance monologues are linked with physical descriptions and create a dramatic tension at every new entrance of a character in the play.
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13

Ushakova, Olga M. "Masks and Soul: Shakespearean images in T.S. Eliot’s Poetry." Literature of the Americas, no. 15 (2023): 42–69. http://dx.doi.org/10.22455/2541-7894-2023-15-42-69.

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Poetic and dramatic works by T.S. Eliot include numerous allusions to Shakespeare's plays, different collisions based on Shakespearean plots, theatrical techniques and settings of the great playwright, etc. This paper considers the ways and instruments of transforming and representing Shakespearean images in Eliot’s poetic texts, such as “The Love Song of J. Alfred Prufrock”, The Waste Land, “Marina”, “Coriolan”, etc. The important aspect of Eliot's reception is the appeal to Shakespeare’s heroes (Hamlet, Lady Macbeth, Ophelia, Pericles, etc.) as archetypes for creating his own poetic characters. The researcher identifies two main ways of transforming and representing Shakespearean images: masks and dramatic monologues (“dramatis personæ”). The characters in Eliot’s poems use Shakespearean masks as a means of self-identification (Prufrock), they are components of “compound” images (“a cubist woman” in The Waste Land). The dramatic monologues of Eliot’s protagonists are pronounced on behalf of Shakespearen heroes (Pericles, Coriolan). Shakespearean allusions in Eliot’s poetry are to expand the boundaries of the text, deepen the characters, include them into a certain cultural paradigm, etc. The analysis of Shakespearean images in Eliot's poetry allows us to understand the peculiarity of perception for Shakespeare and methods of poetic mastering of his heritage in Modernist culture.
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14

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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15

Tucker, Herbert F. "Fretted Lines: Di-versification in Augusta Webster's Dramatic Monologues." Victorian Poetry 55, no. 1 (2017): 105–24. http://dx.doi.org/10.1353/vp.2017.0006.

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16

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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17

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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18

Miller, Calvin. "Book Review: I. Faculty: Dramatic Monologues: Making the Bible Live." Review & Expositor 88, no. 2 (May 1991): 219–20. http://dx.doi.org/10.1177/003463739108800211.

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19

Luu, Helen. "Rewriting Gender through Genre: Augusta Webster's Cross-Gendered Dramatic Monologues." Victorian Poetry 57, no. 2 (2019): 247–64. http://dx.doi.org/10.1353/vp.2019.0011.

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20

Hannoosh, Michele, and Elisabeth A. Howe. "Stages of Self: The Dramatic Monologues of Laforgue, Valery, and Mallarme." Comparative Literature 45, no. 2 (1993): 203. http://dx.doi.org/10.2307/1771448.

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21

Ingram, Claudia. "Writing the crises: The deployment of abjection in Ai's dramatic monologues." Lit: Literature Interpretation Theory 8, no. 2 (October 1997): 173–91. http://dx.doi.org/10.1080/10436929708580198.

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22

Mermin, Dorothy. ": Browning's Dramatic Monologues and the Post-Romantic Subject. . Loy D. Martin." Nineteenth-Century Literature 42, no. 1 (June 1987): 111–14. http://dx.doi.org/10.1525/ncl.1987.42.1.99p0081n.

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23

Schevera, Nicholas. "Instructional Note · Using Performance as an Interpretative Strategy in Teaching Robert Browning’s "My Last Duchess"." Teaching English in the Two-Year College 24, no. 3 (October 1, 1997): 216–19. http://dx.doi.org/10.58680/tetyc19973827.

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Uses role-playing, dramatic monologues, and "tableaux vivant" to interpret Robert Browning’s poem "My Last Duchess" in an introductory literature class at Westchester Community College. Notes that performative strategies illustrate connections in the poem that often remain unnoticed on a first reading.
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24

Cates, Ward Mitchell, M. J. Bishop, and Woei Hung. "Characterization versus Narration: Drama's Role in Multimedia Instructional Software." Journal of Educational Technology Systems 33, no. 4 (June 2005): 437–60. http://dx.doi.org/10.2190/86ab-eku4-uw54-kygt.

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As part of an ongoing research program, the authors investigated the use of single-voiced narration and multi-voiced characterizations/monologues in a formative evaluation study of an instructional lesson on information processing. That lesson employed a design based on the use of content-related metaphors and a metaphorical graphical user interface. The results suggest that single-voiced narration is at least as effective as multi-voiced characterizations/monologues, and may in some ways be superior. Analysis of the findings is linked to Laurel's dramatic model with proposed enhancements to the lesson's design to increase its conformance to that model.
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25

Sokolova, Natalia I. "The ancient poet and philosopher in M. Arnold’s dramatic poem “Empedocles on Etna”." Science and School, no. 4, 2020 (2020): 18–25. http://dx.doi.org/10.31862/1819-463x-2020-4-18-25.

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„Empedocles on Etna”, called by Arnold „dramatic poem”, was not meant to be staged. In a work with three actors (Empedocles, his pupil Pausanias and the poet Callicles) there is almost no action, the predominant role is given to the monologues of the famous philosopher. The article analyzes the image of the main character of the poem. The state of the man of transition era in Ancient Greece, suffering from disappointments, doubts, loneliness, Arnold considered consonant with modernity. Lonely, disillusioned in the world Empedocles is contrasted in the poem with Callicles, who joyfully accepts life. Episodes of Ancient Greece mythology are interwoven into the text of the poem, contributing to the understanding of the image of Empedocles, the nature of the relationship between the characters. Empedocles’ monologues touch upon the problems relevant to the Victorian era, connected with the new attitude to the universe, to nature, to the problems of faith. Empedocles with his “congestion of the brain” is close to the author (according to Arnold himself). Thus, without deviating from the facts of the biography of the ancient poet and philosopher, Arnold, in essence, creates a portrait of his contemporary.
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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 concerns with sex-worker, animal and transsexual rights and reflects upon her fifteen years as a prostitute and activist.2 Straddling the genres of spoken word, dramatic monologue and multi-media performance, Yapping Out Loud utilized video footage of coyotes living in the wild and being hunted, live music and voice recordings by prostitute- and animal-rights activists to create multiple, shifting frames for Ross’s monologue in seven acts.
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Markley, A. A. "Tennyson's Classical Dramatic Monologues and the Approximation of Greek and Latin Poetry." Victorian Review 25, no. 1 (1999): 35–49. http://dx.doi.org/10.1353/vcr.1999.0002.

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28

Reynolds, Paige. "Spectacular Nostalgia: Modernism and Dramatic Form in Kate O'Brien's Pray for the Wanderer." Irish University Review 48, no. 1 (May 2018): 54–68. http://dx.doi.org/10.3366/iur.2018.0329.

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This essay draws attention to how the avant-garde undertakings of Irish Revivalism, particularly those of the dramatic movement, influenced Kate O'Brien's writing in the wake of high modernism. Published in 1938, Pray for the Wanderer espouses a nostalgia for the widespread, collective political and cultural activities that suffused Irish public life before the ascension of Éamon de Valera. It metabolizes dramatic form to showcase the limitations of the Free State, interrupting the novel's realist plot with extended monologues celebrating individualism. The novel's awkward form can be read as a considered political and ethical gesture pushing the narrative into the domain of modernist difficulty to impede and productively challenge the reader.
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29

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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STIMPSON, B. "Review. Stages of Self: The Dramatic Monologues of Laforgue, Mallarme and Valery. Howe, Elisabeth." French Studies 46, no. 1 (January 1, 1992): 98. http://dx.doi.org/10.1093/fs/46.1.98.

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31

Aman, Yasser K. R. "Duffy's Feminism and Dramatic Monologues : A Study of Some Poems from the World's Wife." هرمس 4, no. 1 (2015): 31–82. http://dx.doi.org/10.12816/0031351.

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32

Alexander, Donna Maria. "Greasers, Gringos and Wetbacks: Ventriloquizing the U.S.–Mexico Borderlands in Gloria Anzaldúa’s Dramatic Monologues." Forum for Modern Language Studies 54, no. 4 (October 1, 2018): 379–99. http://dx.doi.org/10.1093/fmls/cqy063.

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33

Kerr, Greg. "Laughing Matter: Charles Cros, from Paléophone to Monologue." Nottingham French Studies 59, no. 1 (March 2020): 34–50. http://dx.doi.org/10.3366/nfs.2020.0270.

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Nineteenth-century poet, savant and inventor Charles Cros is a figure whose endeavours were exceptionally wide-ranging. They include a proposed instrument which would be the first of its kind capable of recording sound (the ‘paléophone’); treatises on photography and interplanetary communication; poetry, and a body of comic monologues which belong to the current of fumisme. This article argues that Cros's monologues are subtly inflected by his interest in the faculty of speech and technologies of sound reproduction. While they do not explicitly evoke such technologies, they show an acute sensitivity to the quirks and accidents of the spoken word to which neither dramatic convention nor indeed norms of social discourse attribute sense. It is this ill-formed matter, amounting to a kind of discursive ‘noise’, which allows Cros to offer a wry commentary on the pretensions of a fin-de-siècle culture preoccupied with the strategizing of utterance and the production of an objectified record of the spoken word.
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Goldstein, Tara, and Jenny Salisbury. "The 60 Years of Queer and Trans Activism and Care Project: Learning to Conduct Archival Research and Write Dramatic Verbatim Monologues." Arts 13, no. 2 (March 29, 2024): 62. http://dx.doi.org/10.3390/arts13020062.

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This reflective essay describes a research course which provided undergraduate students with an opportunity to conduct archival research on six decades of queer, trans, Black, Indigenous, and People of Colour (QTBIPOC) activism and care that have challenged heteronormativity, cis-normativity, and racism in Canada. While there are many ways to share the findings of archival research, we chose to teach our students how to create dramatic verbatim monologues as the arts-based research method of verbatim theatre required students to use the words of activists themselves to explain why a particular moment of activism and care was needed. Students attended three different workshops during the full-year course from September 2022 to March 2023: a workshop in conducting archival research, a workshop about centring themselves and their communities in their research, and a workshop in verbatim monologue writing. Here, we reflect upon what these workshops taught us about archival research, working with Indigenous archival material, and rupturing systems of oppression in our own bodies. At the end of the course, students reported their take-aways from the course. This included a new understanding that it was possible to conduct research on topics they felt passionate about and that theatre-based research provided them with a way to express the findings of their research in forms other than writing essays. This new-found freedom was life-changing.
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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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Mukherjee, Sri Rajarshi. "An Ambivalence of Judgement and Sympathy: Introspecting Browning’s ‘Bishop’." International Journal of Language, Literature and Culture 3, no. 1 (2023): 35–37. http://dx.doi.org/10.22161/ijllc.3.1.6.

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Robert Browning’s poems have always remained an enigma as they showcase not only the problematized aspects of the protagonists ’nature, but also captures the ambivalence and dichotomy that is bound to rise in the mind of the reader regarding their changing perception of the protagonist. This paper attempts to analyse the subliminal problematics of one of the most famous dramatic monologues by Browning, ‘The Bishop orders his tomb at Saint Praxed’s Church’ and bring to the forefront the problematic dynamic of the readers’ relationship with the dying Bishop in the poem.
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Aylor, Emma. "“Nay, rather, Lord, between”." Edith Wharton Review 37, no. 1 (March 1, 2021): 60–81. http://dx.doi.org/10.5325/editwharrevi.37.1.0060.

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Abstract Edith Wharton composed many dramatic monologues in her lifetime, and from the beginning of her poetic output, her personae tend to speak from a point of extremity between the living and the dead—often choosing, in fact, to narrate the moments of their own deaths. From her 1878 book of juvenilia, in a poem called “The Last Token,” Wharton made her interest in this particular placement evident; she herself, as evidenced by her reading and letters, was often strung between religious and secular modes of life, value, and belief. This article examines two of Wharton's “deathbed monologues” in detail: “The Leper's Funeral and Death,” unpublished in Wharton's lifetime, and—primarily—“Margaret of Cortona,” published in 1901. In each, a person speaks not only at the cusp of their bodily death but also from a vantage point past a symbolic death. In dividing and extending these speakers' deaths in this way, Wharton draws attention to the simultaneous fragility and persistence of the human: between and beyond traditional Christian divisions of body and soul.
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Hirsh, James. "King Lear and the late Renaissance dramatic convention of self-addressed speech: An empirical approach to theatrical history." Cahiers Élisabéthains: A Journal of English Renaissance Studies 104, no. 1 (February 8, 2021): 61–80. http://dx.doi.org/10.1177/0184767820980756.

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In King Lear, Shakespeare inventively and daringly employed the astonishingly precise features of the convention that governed soliloquies in late Renaissance drama. Plentiful, unambiguous, conspicuous, varied, and one-sided evidence demonstrates that soliloquies represented self-addressed speeches by characters as a matter of convention rather than either interior monologues or audience addresses. The most distinctive employment of the convention in Lear occurs when a character speaks to himself in the presence of others without guarding his soliloquy from their hearing either because the speaker loses consciousness of their presence or because he does not care that others overhear his speech.
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Miroshnychenko, M. "Converting dramatic text to screen language." Culture of Ukraine, no. 83 (March 21, 2024): 83–89. http://dx.doi.org/10.31516/2410-5325.083.09.

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The purpose of the article. The study considers film adaptation as a way of interpreting a literary text written for stage production by means of cinematography. The article focuses on the role of the director, his own vision of events and characters in the process of transcoding a work of art into the language of cinema. The features of the dramatic text (monologues, dialogues, author’s remarks, description of characters, division of the work into scenes and acts), the means by which the dramatic work affects the viewer/recipient are highlighted. The article, based on the works of William Shakespeare “Macbeth” and Sophocles “Oedipus the King”, examines the originality of the transformation of a dramatic text into the language of cinema. The article outlines the theoretical basis of film poetry, which allowed directors and screenwriters to practically embody the film adaptation of stage drama. The results of the study showed that the dramatic text and its film interpretation indicate the author’s and director’s reception. The methodology. The author uses analysis (theoretical works on screenwriting and directing, research in the field of art history), observation (the creative process in cinema), comparison (the literary source and the finished film), systematization (techniques for transforming the dramatic literary source into a screen work), modeling the principles of directing and script. The results of the research can be used in educational programs of art universities and creative workshops, as well as in the practical work of directors, screenwriters, cultural scientists, and art historians. The paper provides examples that form the basis for practical principles that can help in creating film adaptations based on plays. The scientific novelty lies in the fact that the study represents a unique scientific contribution, carrying out a thorough study of the process of transforming a dramatic work into a film script. It is important to note that this research goes beyond the script, delving into the essence of the director’s vision. It provides for a comprehensive understanding and systematization of various directing techniques used throughout the entire film adaptation process.
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Zimmerman, Guy. "Shepard’s Political Economy: Curse of the Starving Class in Neoliberal Capitalism." Modern Drama 66, no. 4 (December 1, 2023): 477–95. http://dx.doi.org/10.3138/md-66-4-1267.

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Through a close reading of Sam Shepard’ Curse of the Starving Class (1977), this article examines how the playwright’ work responded to the neoliberal economy as it began to deform and reorganize the lives of working Americans in the 1960s and 1970s by figuring neoliberalism as a nihilistic form of capitalism that cannot be adequately depicted via dramatic realism. Drawing inspiration from the work of Samuel Beckett, Curse engages neoliberalism through three formal devices: ceremonial monologues, objects that appear to magically proliferate, and elements of sacrifice – a lamb, fattened for slaughter. These three motifs are shown to subvert the causal logic of normative dramatic narrative to depict instead the new mode of neoliberal capitalism in which competition destroys familial bonds, creating only isolated individuals. It is precisely by integrating such Beckettian techniques within a realist envelope that Shepard made his family plays into a formidable demonstration of what it means to live within late industrial capitalism.
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Calvert, Paul. "Shakespeare and the History of Soliloquies. By James Hirsh. Madison, Teaneck: Fairleigh Dickinson University Press, 2003; pp. 470. $75 cloth." Theatre Survey 45, no. 1 (May 2004): 153–55. http://dx.doi.org/10.1017/s0040557404390083.

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The first complete study of the dramatic conventions that governed soliloquies in Western drama throughout history, Shakespeare and the History of Soliloquies reveals a drastic and heretofore undisclosed shift in those conventions after Shakespeare's death. In theatrical history there have been three types of soliloquy: speeches that are addressed directly to the audience, speeches that are self-addressed, and interior monologues. Until the middle of the nineteenth century, one type of soliloquy occupied a place as the dominant convention during each major period of theatrical history. Hirsh argues that during Shakespeare's lifetime, soliloquies were meant to represent self-addressed speech. The implications of this argument are profound.
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Alexandrova, Elena A. "Musical Composition of Evenk Heroic Poems." Университетский научный журнал, no. 77 (December 25, 2023): 45–54. http://dx.doi.org/10.25807/22225064_2023_77_45.

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Music is an important component of the Evenk heroic folk poems. The article describes the role of folk melodies in the Evenk epos system including historic poems “Brave Hero Sodani” and “All-Powerful Develchen in the Embroidered and Decorated Clothes” based on the myths about the Evenks living in the Middle World, travelling to the Upper World and fi ghting against evil forces of the Lower World. While performing the Evenk heroic folk poems, musical recitation with an intensifi ed vocal and music component is used depending on the dramatic nature of the scene or the character’s description. The songs-monologues of the heroes have their own features of melody, mode, rhythm and timbre
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Krasnicki, Ted. "The Musical Enactment of Drama in Sarum Plainsong." Journal of the Australian Early Medieval Association 15 (2019): 47–79. http://dx.doi.org/10.35253/jaema.2019.1.3.

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In the tenth century, a sung dialogue, the 'Quem queritis' trope, appeared as a ceremonial addition to the paschal vigil and morning liturgy of Easter Sunday. It is often appraised as the bridge between liturgical chant and the later full-cast liturgical dramas of the Middle Ages, but what has generally not been considered, is that Franco-Romano (Gregorian) chant, compiled at least a century earlier, already contained the seeds of liturgical drama from which this dialogue naturally grew. This paper shows that some ideomelic chants from the twelfth-century 'Graduale Sarisburiense' from England, a minor variant of earlier graduals from the Continent, enact a vocal drama utilising the words of the biblical personages found in the chant text. Specifically, two types of dramatic representations are examined: the monologue and the dialogue. In the former, the text is spoken by one biblical figure whose ethos is expressed musically. In the latter, more than one voice conveys the words of the biblical text, and these are delineated musically. Employing examples for each type, I discuss the different ways that chant melody makes representational drama possible. Monologues studied are the introits 'Resurrexi, Ad te levavi, Gaudete', and the offertories 'Dextera Domini and Ave Maria'. Of the dialogues studied are the communions, 'Dominus Jesus, Fili, quid fecisti, Dicit Dominus: Implete, and the offertory Precatus est Moyses' which is examined in greater detail.
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Nikolaeva, Alla A. "The Synthesis of Theater and Poetic Art in the S.A. Yesenin’s Dramatic Poem “Pugachev”." Studia Litterarum 7, no. 1 (2022): 298–315. http://dx.doi.org/10.22455/2500-4247-2022-7-1-298-315.

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Yesenin’s innovation as a playwright was clearly manifested in the fact that he combined the features of poetic and theatrical art in a dramatiс poem “Pugachev,” putting forward the idea of the supremacy of the sounding word. The combination of philological and theatrical approaches in the analysis of the work shows that the word in Yesenin’s drama includes all the main means of theatrical expressiveness. The monologues of the heroes of the poem contain decorations, light and sound effects; the words of the participants in the action characterize the peculiarities of the mise-en-scenes. All these theatrical effects are created exclusively by poetic means. This confirms the idea of the synthesis of theatrical and poetic art in the poem, reveals the concept of “theater of the word” and the stage potential of the work in a new way. The article concludes that Yesenin is the playwright, who is well acquainted with the theatrical searches and experiments of his time, when the director’s reading of the play and the expressive possibilities of its stage implementation came to the fore. Yesenin is the “director of the word.”
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Amin, Dina. "Eighteen Days in Tahrir Protests: The Perfomatives of Civic Action in Egypt’s 2011 Revolution." Protest 2, no. 1 (June 13, 2022): 55–77. http://dx.doi.org/10.1163/2667372x-bja10021.

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Abstract On January 25, 2011, a spontaneous mobilization of masses of Egyptian folks congregated in Tahrir Square calling for change in Egypt. ‘Bread, freedom and social justice’ is what Egyptian demonstrators chanted throughout their encampment in the Midan. Shortly after Tahrir Square had turned into a community of protestors congregating and setting up camp day and night in the large plaza, random protestors and performers started devising means of entertainment imbued with political satire with which to engage and incite the crowds. Songs and dances as well as lengthy dramatic monologues, verbatim testimonies, poetry recitations and various styles of storytelling emerged. Those performative acts of protest are similar in nature to renowned Egyptian dramatist Yusuf Idris’s recounting of the Egyptian village al-samir performance tradition, which was also performative and unruly in nature. This interdisciplinary study compares that indigenous dramatic art form, al-samir, with the revolutionary performatives of protest that sprang up extemporaneously in the Midan during the Egyptian revolution in 2011. The paper raises questions about the nature of protest and community formation, democracy, performativity and focuses only on the first 18 days of the January uprising, that specific historical moment only and its transformative effect on theatrical performances, performers and protestors at the time. The paper proposes that the Tahrir performatives of protest were an ephemeral phenomenon that appeared as embodiments and celebrations of political freedom in a specific time and place, and they ended when the call for democracy and the euphoria of the uprising of 2011 gradually faded away.
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46

Dobbins, Frank. "Music in French Theatre of the Late Sixteenth Century." Early Music History 13 (October 1994): 85–122. http://dx.doi.org/10.1017/s0261127900001315.

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In his first major published monograph, Music in the French Secular Theater, 1400–1550 (Cambridge, MA, 1963), Howard Mayer Brown skilfully plotted the development of musical practices in the traditions of farces, sotties, moralities and monologues until the middle of the sixteenth century, by which time the ‘influence of works from the ancient world and from Italy’ had turned the ‘current of educated opinion … against the older French forms’. Thus he chose to terminate his study just as the new forms of neo-classical comedy, tragedy, tragicomedy and pastorale were emerging, although he did allude fleetingly to the Protestant dramas of Louis des Masures in citing one of three cantiques from the Bergerie spirituelle (Geneva, 1566) as one of his two examples of ‘new music for the stage’. Des Masures's play is only one of a number of dramatic or quasi-dramatic pieces published with music as well as spoken text during the period 1550–1600, reflecting a fashion for new music specifically composed for the theatre. In the present paper I propose to examine this considerable repertory, which has largely escaped the attention of modern scholars.
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Diedrick, James. ""My love is a force that will force you to care": Subversive Sexuality in Mathilde Blind's Dramatic Monologues." Victorian Poetry 40, no. 4 (2002): 359–86. http://dx.doi.org/10.1353/vp.2003.0003.

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Duke, Craig. "Lyric Forms as “Performed” Speech in Das Rheingold and Die Walküre." Journal of Music Theory 65, no. 2 (October 1, 2021): 287–323. http://dx.doi.org/10.1215/00222909-9143204.

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Abstract There is growing recognition that Richard Wagner's mature works—the music dramas—owed much to earlier nineteenth-century opera. In the often-contentious area of Wagnerian form, analysts have tended to draw more on Wagner's writings and the Formenlehre tradition than on operatic models, but recent studies by Karol Berger and Ji-Yeon Lee have shown examples of opera-specific formal types in the music dramas. This article demonstrates Wagner's continued use of one such formal type—lyric form (AABA or AABC)—in five examples from Das Rheingold and Die Walküre. The first part of this article proposes a conceptual revision of lyric form as a conventional configuration of both music and text, which are united by a shared set of music-rhetorical functions. The second part shows how Wagner's lyric forms integrate into the surrounding dramatic continuity as extroverted, performative monologues within realistic conversations. The third part analyzes the much “looser” lyric form in “Wotan's Farewell” from the end of Die Walküre, which displays both Wotan's intimate, self-expressive communication and Wagner's increasing flexibility with the template. These analyses show that operatic formal types were compatible with Wagner's Gesamtkunstwerk aesthetic, and the analytic method suggests a path toward further engagement with other nineteenth-century opera and other genres that combine music, text, and dramatic storytelling.
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Donelle Ruwe. "Dramatic Monologues and the Novel-in-Verse: Adelaide O'Keeffe and the Development of Theatrical Children's Poetry in the long Eighteenth Century." Lion and the Unicorn 33, no. 2 (2009): 219–34. http://dx.doi.org/10.1353/uni.0.0456.

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Wiandari, Fadhillah. "DRAMATIC MONOLOGUE IN ROBERT BROWNING’S POEM “ANDREA DEL SARTO”." JL3T ( Journal of Linguistics, Literature and Language Teaching) 3, no. 1 (January 12, 2018): 1–10. http://dx.doi.org/10.32505/jl3t.v3i1.326.

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Robert browning and the form of poetry known as “dramatic monologue” inevitably go togather. It is already made known that dramatic monologue is esssentially a narrative spoken by a single character. We are to imagine that it is being listened to but never answered; it is a dialogue of which we are to hear only one side. It gains added effect and dimensions through the character’s comments on his own story and the circumtances in which he speaks. It is through the single character’s speech that Browning present the plot, characters and scenes. It is through the words of Andrea that the reader can feel the presence of the plot, characters and scenes. This article tries to describe how Robert Browning handles his three objects in writing dramatic monologue through his poem entitled Andrea Del Sarto.
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