Relevant bibliographies by topics / Interior monologue

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

Academic literature on the topic 'Interior monologue'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Interior monologue"

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Chen, Lisa. "Interior Monologue." Iowa Review 28, no. 1 (April 1998): 78–79. http://dx.doi.org/10.17077/0021-065x.4956.

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Raoufzadeh, Narges, Fatemeh Sadat Basirizadeh, and Shahrzad Mohammad Hosein. "The Study of Interior Monologue in Houshang Golshiri’s Shazdeh Ehtejab, Virginia Woolf’s Two Selected Novels, Mrs. Dalloway and to the Lighthouse; A Comparative Study." Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences 3, no. 2 (May 8, 2020): 761–67. http://dx.doi.org/10.33258/birci.v3i2.888.

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This paper aims to compare interior monologue which is a modern technique in three selected novels. Comparing Houshang Golshiri’s Shazdeh Ehtejab with Virginia Woolf’s Mrs. Dalloway and To the Lighthouse. Golshiri has made use of both direct and indirect interior monologues in his master piece, Shazdeh Ehtejab. An early example in Persian fiction which has a great emphasis on form and techniques of narrating the story. The present study will examine, in detail the creation of interior monologue through the minds of characters with reference to Golshiri’s Shazdeh Ehtejab and Virginia Woolf’s two selected novels, Mrs. Dalloway and To the Lighthouse. Focusing on the narrative techniques used by these two modernist writers and deals with illustrations from the novel and its explanations. The aim of this study is to show how Golshiri and Woolf try to move deeply into the character’s consciousness. They use the narrative technique, Interior Monologue, in their novels that deals with the flow of ideas, thoughts, feelings, and sensation.
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Reynolds, Meredith. "Interior Monologue in Malory." Arthuriana 24, no. 3 (2014): 79–98. http://dx.doi.org/10.1353/art.2014.0033.

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Kakavoulia, Maria. "Interior Monologue in Melpo Axioti." Journal of Modern Greek Studies 13, no. 1 (1995): 163–64. http://dx.doi.org/10.1353/mgs.2010.0408.

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Söderlind, Johannes. "The interior monologue: A linguistic approach∗." Studia Neophilologica 61, no. 2 (January 1989): 169–73. http://dx.doi.org/10.1080/00393278908588027.

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Gast, Volker, Christian Wehmeier, and Dirk Vanderbeke. "A Register-Based Study of Interior Monologue in James Joyce’s Ulysses." Literature 3, no. 1 (January 6, 2023): 42–65. http://dx.doi.org/10.3390/literature3010004.

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While fictional orality (spoken language in fictional texts) has received some attention in the context of quantitative register studies at the interface of linguistics and literature, only a few attempts have been made so far to apply the quantitative methods of register studies to interior monologues (and other forms of inner speech or thought representation). This article presents a case study of the three main characters of James Joyce’s Ulysses whose thoughts are presented extensively in the novel, i.e., Leopold and Molly Bloom and Stephen Dedalus. Making use of quantitative, corpus-based methods, the thoughts of these characters are compared to fictional direct speech and (literary and non-literary) reference texts. We show that the interior monologues of Ulysses span a range of non-narrative registers with varying degrees of informational density and involvement. The thoughts of one character, Leopold Bloom, differ substantially from that character’s speech. The relative heterogeneity across characters is taken as an indication that interior monologue is used as a means of perspective taking and implicit characterization.
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Aguilar Ávila, Josep Antoni. "La «coberta volta» de Bernat de Rocafort: en torno al uso del monólogo interior de tipo deliberativo en la Crònica de Muntaner." Zeitschrift für romanische Philologie 139, no. 3 (September 11, 2023): 639–90. http://dx.doi.org/10.1515/zrp-2023-0025.

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Abstract This article focuses on the use of the deliberative interior monologue in Ramon Muntaner’s Crònica and is based mainly on an analysis of Chapter 230 of the work. In this chapter, Muntaner employs this narrative technique in order to convey the thoughts of Bernat de Rocafort, one of the key characters in his account of the Catalan expedition to Byzantium (1303–1311). Other examples of similar monologues in the Crònica, attributed to characters such as King Charles of Anjou (Chapter 72) or Roger de Flor (Chapter 199), are also taken into account. In all these cases, the article provides an examination of the narrative context, the main rhetorical and literary characteristics of the monologue, and its role in the psychological characterization of the character. The analysis reveals a common compositional pattern in the fragments studied, as well as the fact that the deliberative monologue is chiefly employed by Muntaner to describe the plans or schemes of characters who are described as wise or astute in the narrative.
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Sorrell, Martin, Edouard Dujardin, and Anthony Suter. "'The Bays Are Sere' and 'Interior Monologue'." Modern Language Review 88, no. 2 (April 1993): 480. http://dx.doi.org/10.2307/3733841.

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Izutsu, Mitsuko Narita, and Katsunobu Izutsu. "On and off the common ground: Japanese final particles as (un)grounding devices." Lingua Posnaniensis 63, no. 2 (December 15, 2021): 7–32. http://dx.doi.org/10.14746/linpo.2021.63.2.1.

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The notion of “common ground” (Clark & Brennan 1991; Clark 1996) presupposes communication or conversation as “the basic setting for language use” (Clark 1996: 11). The serialisation of Japanese sentence-final particles is highly sensitive to the likelihood of the relevant utterance being part of the common ground. This paper reconsiders the conception of common ground and grounding processes, investigating monologic as well as conversational discourse. A case study of two modernist texts which contain internal monologue (interior monologue) illustrates how three facets of grounding activities (the establishment, confirmation, and cancellation of common ground) are tactfully realised by means of the final-particle marking of a distinction between monologic and conversational discourse. Our analysis reveals that Japanese final particles (specifically, -ne and -na(a)) play an essential role in encoding the speaker’s intention to ground or unground his/her utterance (i.e., to make the utterance on or off the common ground).
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TAHİRİ, Lindita, and Nuran MUHAXHERİ. "Linguistic criticism of the interior monologue in fiction." Dil ve Dilbilimi Çalışmaları Dergisi 17, no. 2 (March 26, 2021): 899–910. http://dx.doi.org/10.17263/jlls.904085.

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Dissertations / Theses on the topic "Interior monologue"

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Chen, Shu-I. "The dialogicality of interior monologue in 'Ulysses'." Thesis, Royal Holloway, University of London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327048.

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Kakavoulia, Maria. "Interior monologue and its discursive formation in Melpo Axioti's Dyskoles nychtes." München : Institut für Byzantinistik und Neugriechische Philologie der Universität, 1992. http://books.google.com/books?id=N2ZiAAAAMAAJ.

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Kakavoulia, Maria. "Interior monologue and its discursive formation in Melpo Axioti's "Duskoles nuhtes" /." München : Institut für Byzantinistik und neugriechische Philologie der Universität, 1992. http://catalogue.bnf.fr/ark:/12148/cb357139538.

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Floquet, Florence. "La grammaire du monologue intérieur." Thesis, Aix-Marseille, 2019. http://www.theses.fr/2019AIXM0070.

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Ce travail se propose d’étudier, sous un angle grammatical, le phénomène romanesque connu sous le nom de "monologue intérieur", qu’il convient d’emblée de distinguer du "stream of consciousness", auquel il est souvent ramené. Afin de mieux cerner et de définir ce qu’est le monologue intérieur, nous confrontons les définitions qui en sont généralement données à des textes de fiction anglophones, et nous analysons les techniques linguistiques utilisées pour représenter ce discours particulier. Il apparaît donc que le monologue intérieur n’est pas une technique linguistique mais doit plutôt se concevoir comme une catégorie narratologique. Ce discours s’incarne grâce à diverses techniques linguistiques : le discours immédiat mais aussi certaines des techniques du discours rapporté, avec en son centre le discours direct (libre) et à sa périphérie le discours indirect classique. Le discours indirect libre, quant à lui, navigue entre les deux. Ces différentes techniques reposent donc sur une conception particulière du discours intérieur qu’elles véhiculent, et leur étude permet d’étudier la possibilité offerte à l’auteur ou au narrateur de détourner leur forme afin de servir une stratégie narrative, avec parfois pour but de faire passer pour verbal ce qui ne peut l’être
This thesis investigates the literary phenomenon known as “interior monologue” from a grammatical point of view, and is based on a clear distinction between “interior monologue” and what is called “stream of consciousness”, both phenomena usually being seen as the same. The main objectives are therefore to define what we call “interior monologue” in order to confront this definition with English language literary texts, and to analyse the various linguistic techniques used to represent this special discourse. Interior monologue is therefore seen not as a linguistic technique but as a narratological category. This particular discourse is represented using different linguistic techniques: “immediate discourse” but also some of the reported speech techniques, with (free) direct speech as the core of the category, and indirect speech at its periphery, free indirect speech navigating between those two poles. These techniques differ both in their form and in the conception of the interior discourse they convey, but they always create the illusion of giving access to the (fictional) original discourse. It is for this reason that we want to show the possibility for the author or the narrator to use a syntactic form suggesting a reported discourse seemingly closely linked to the original discourse, to represent something that sometimes cannot be considered as verbal
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Nyström, Julia. "Fräulein Else : Textanalyse aus psychologischer und epochentypischer Perspektive." Thesis, Mälardalens högskola, Akademin för utbildning, kultur och kommunikation, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-53689.

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This literary work has been chosen to focus on a novel called Fräulein Else and is written by Arthur Schnitzler. The author has chosen to focus the work on comparing the work with theera of the time the book was written and analyze the plot and character Else from apsychoanalytic perspective. The title of the paper is therefore ”Fräulein Else-Textanalyse aus epochentypischer Perspektive und Analyse der Hauptfigur auspsychologischer Sicht”. By collecting and reading student literature that touches on factsabout literature of the era: the millennium literature and literature on psychoanalysis, theauthor has been able to begin the analysis of the book, Fräulein Else and then be able toanswer her questions. The sources for the work come mainly from student literature but alsofrom copywriters who intend to spread knowledge. This study results in a deep characteristicanalysis of the main character as well as a comparison of the book and epoch-makingfeatures.
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Muttib, Hussein Thakaa. "La quête identitaire dans le théâtre de Yasmina Reza." Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20033/document.

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Le théâtre de Yasmina Reza s’inscrit dans le cadre du théâtre contemporain. La présente étude aborde la problématique de la quête identitaire. Dans cet espace conflictuel, les personnages rezaldiens – écrivains en manque d’inspiration, critiques ou historiens – sont en perte d’identité. Ces protagonistes souffrent de l’angoisse de la mort, de la disparition d’un proche ou de leur vieillissement, vécu comme un naufrage. Ils ne peuvent que subir les circonstances qui leur sont imposées et vivent une vie vouée à la répétition des scénarios du passé. Dans ce théâtre sans action, le drame intérieur transparaît à travers l’absurdité d’une vie remplie d’actes dérisoires et de paroles insignifiantes ou d’un retour vers le passé familial. Seul le langage est le lieu de l’action constituant la clé qui va résoudre le nœud dramatique. Dans cette quête d’unification identitaire, chacun essaie douloureusement, par le récit, d’accepter son passé et ce qu’il est devenu, loin de ce qu’il aurait rêvé d’être. Cette fragilité identitaire se montre un moteur de la création. L’écriture théâtrale de Reza, pleine de contradictions, conduit vers la pacification. C’est dans une écriture du quotidien que l’auteur invente son style et son identité. Une telle quête théâtrale montre la volonté de Reza d’emmener ses personnages vers une quête de sécurité, d’identité et du sens de leur vie
Yasmina Reza’s theatre is a part of the contemporary theatre. This study approaches the identity’s quest. In this theatre of conflict, the rezaldians ─ writers lacking in inspiration, critics or historians ─ are in loss of identity. These protagonists suffer from fear of death, of living in the memory of close relative or of the fact of getting older, experienced as a shipwrecked. They can only suffer of the imposed circumstances upon them and live a life doomed of a repeat scenarios of the past. In this kind of theatre without action, the inner drama transpires through the absurdity of a life filled with ridiculous acts and insignificant words or remembering family’s history. In this kind of plays, the language is the only action as the key which solves the dramatic plot. In this quest for unification of identity, each one tries painfully, through the story, to accept his past and the fact how he becomes now, far away from what he can imagine himself. This fragility of the identity is thus tending to end up as an engine creation. Reza’s writing, full of contradictions, is a looking for pacification. The author of this play invents her own style and identity by describing the quotidian life of her character. Such quest theatrical shows how Reza wants to make her character doing his quest of security, of his own identity and looking for a meaning in his life
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Mauch, Michel. "Poética e pedagogia: Maria O. Knebel e o monólogo interior." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-18052015-164353/.

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Esta pesquisa tem como objetivo apresentar o desenvolvimento do trabalho artísticopedagógico- teatral de Maria Osipovna Knebel (1898 - 1985). Focamo-nos na criação e no desdobramento de sua filosofia pedagógica, bem como analisamos e discutimos o monólogo interior. No Primeiro Capítulo, enfatizamos a relação de Knebel com Mikhail Tchekhov (1891 - 1965) e os caminhos que levaram-na a seguir a carreira teatral. Dentro desse contexto, fazemos uma breve análise sobre o trabalho improvisacional tchekhoviano e sua influência sobre a formação da diretorapedagoga. Em um salto, vamos da primeira classe de Knebel para o convite de Konstantin Stanislavski (1863 - 1938) para que ela fosse sua ajudante no Estúdio Operístico-Dramático. Procuramos situar a relação política e artística desenvolvida nesse local, dando relevância à renovação do \"sistema\" feita por Stanislavski. Igualmente, buscamos colocar em foco a questão da \'análise do papel durante a ação\', mais conhecida como análise ativa. Nesse ponto, verticalizamo-nos na prospecção pela inteligência e nos études. O Segundo Capítulo também está dividido em duas partes. Em um primeiro momento, discutimos o segundo plano na direção de Vladmir Ivanovitch Nemirovitch-Dantchenko (1858 - 1943). Procuramos salientar a irradiação do pensamento no trabalho ator-personagem e a maneira que esse elemento pode ser corporificado pelo intérprete no trabalho criativo da cena; principalmente no que tange aos momentos de silêncio da obra teatral. Esmiuçamos a visão crítica e o aprendizado sobre questões de direção que Knebel aponta em Nemirovitch-Dantchenko, na condução de Os Courantes do Kremlin de Nicolai F. Pagodin (1900 - 1962), em 1940. Pensando na ação prática da pedagogia knebeliana, levantamos o desenvolvimento de seu trabalho na GITIS (Academia Russa de Artes Cênicas), com apontamentos e referência ao Teatro Central da Criança de Moscou. Expomos a relação aberta de sua pedagogia com Aleksei Dmitrievitch Popov (1892 -- 1961) na verticalização sobre a necessidade de perceber primeiro a experiência no mundo e, posteriormente, traduzi-las sensível, crítica e artisticamente na composição cênica. Sempre numa condução pedagógica libertária e holística. No Terceiro Capítulo discutimos o conceito de monólogo e solilóquio, monólogo interior e fluxo de consciência, tendo como base os conceitos e terminologias da literatura e, posteriormente, do teatro. Ainda sobre o monólogo interior, debatemos a sua importância com os demais elementos do \"sistema\" e sua conjugação no trabalho de Knebel como diretora-pedagoga. Procuramos examinar as relações da criação do monólogo interior e a formação do pensamento na criação, segundo as teorias de Lev Semenivitch Vigotski (1896 - 1934), apontado para as questões sociais, políticas, culturais, ideológicas no desenvolvimento da obra teatral
This research has as objective to present the development of the artisticpedagogical- theatrical of Maria Osipovna Knebel (1898 - 1985). We focused on the creation and deployment of her Pedagogical Philosophy, as well as analyzed and discussed the inner monologue. On the first Chapter, we\'ve had focused on the relationship between Michael Chekhov (1891 - 1965) and on the ways that took her to follow the theatrical career. Inside this context, we did a brief analysis about the improvisational Chechovian and its influence on the Director-Pedagogue\'s formation. Taking a leap, we go from Keble\'s first class to the invitation from Konstantin Stanislavsky (1863 - 1938) for her to be his assistant of the Opera-Dramatic Studio. We\'ve tried to put the political artistic relationship developed in this scenario, giving relevancy to the system\'s renovation done by Stanislavski. Equally, we tried to put the \'analysis of the role during the action\' in focus, more known as active analysis. At this point, we deepen in the prospecting from the intelligence and etudes. The Second Chapter is also divided in two parts. At first, we have discussed the second plan, at the Vladímir Ivânovitch Nemirovich-Danchenko´s direction (1858 - 1943). We have tried to accentuate the radiation of the thinking on the work actor-character and on the way that its element could be internalized by the actor on the scene´s creative work; mainly about the theatrical work moments of silence. We went deep on the critical view and learning about the direction that Knebel point in Nemirovitch- Danchenko, on the conduction of Kremlin Courante by Nicolai F. Pagodin (1900 - 1962) in 1940. Thinking of the practical action of the knebelian pedagogy, we put together it work development at GITIS (Russian Academy of Theatre Arts), with notes and references to the Central Children\'s Theatre. We exposed the open relation on her pedagogy with Alexei Dmitrievich Popov (1892 - 1961), deepen about the necessity on notice, first the experience inside the world and after it, translate it in a sensible-critic-artistic way on the scenic composition. Always in a pedagogical emancipating and holistic leading way. On the Third Chapter we discussed the monologue and soliloquy concept, inner monologue and conscience flow, taking the concepts and literature´s terminologies and, after from the theater. Still on the inner monologue, we discussed its importance with other elements from the \"system\" and its conjugation on Keble\'s work as the director-pedagogue. We´ve tried to look over the relationships on the inner monologue´s creation and on the formation of the thought in the creation process, according to Lev Semyonovich Vygotsky\'s theory (1896 - 1934), pointing to social, politics and ideological on the development of the theatrical piece
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Carvalho, Ana Paula Ribeiro de. "A COMPOSIÇÃO RENOVADORA DE A ELEGÂNCIA DO OURIÇO." Pontifícia Universidade Católica de Goiás, 2016. http://localhost:8080/tede/handle/tede/3249.

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This work aims to study the contemporary work, The hedgehog elegance , by Muriel Barbery, of renewing composition model, whose overall objective is to verify the compositional model of a specific mode of reception in this work, being that the reader is the subject to the reading process through a deductive and bibliographic study. The predominant theory to establish these modes of reception and your senses from the reader was the theory of reception, by Wolfgang Iser (1996). In Chapter 1, it was presented a brief history of the origin of the novel. Then, complementary theories were used, as the one of Norman Friedman (1967) and Ligia Leite (2002) that analyzed the narrative focus in the novel. In Chapter 2, it was commented on: contemporary critical currents; the narrative point of view, from Jean Pouillon (1974); the subject-reader and immersion of the senses, by Rita Costa (2003) and Mikhail Bakhtin (1992); the techniques of stream of consciousness, especially of the inner monologue, by Robert Humphrey (1954), and the adoption of the diary, by Philippe Lejeune (2008). In Chapter 3, there was a study of the symbols in the work, as it moves something common to the symbolic. The authors Jean Chevalier e Alain Geerbrant Chevalier (2009) served as a support for this chapter, besides Carl Jung (1954). The hedgehog elegance , so, is a renowned work of high value that reflects the new novel composition for the world literature.
Este trabalho visa ao estudo da obra contemporânea, A elegância do ouriço, de Muriel Barbery, de modelo de composição renovador, cujo objetivo geral é verificar o modelo compositivo ensejador de um modo específico de recepção nesta obra, tendo o leitor como sujeito do processo de leitura, por meio de um estudo dedutivo e bibliográfico. A teoria predominante para se estabelecer esses modos de recepção e seus sentidos a partir do leitor foi a teoria da recepção, de Wolfgang Iser (1996). No capítulo 1, apresentou-se um breve histórico sobre a origem do romance. Em seguida, fez-se uso de teorias complementares, como a de Norman Friedman (1967) e Ligia Leite (2002), que analisaram o foco narrativo no romance. No capítulo 2, comentou-se sobre: as correntes críticas contemporâneas; o ponto de vista narrativo, a partir de Jean Pouillon (1974); o sujeito-leitor e a imersão de sentidos, por Rita Costa (2003) e Mikhail Bakhtin (1992); as técnicas do fluxo da consciência, em especial do monólogo interior, por Robert Humphrey (1954), e a adoção do diário, por Philippe Lejeune (2008). No capítulo 3, fez-se um estudo sobre os símbolos na obra, em que se transita algo comum para o simbólico. Os autores Jean Chevalier e Alain Geerbrant (2009) serviram como suporte para a desenvoltura desse capítulo, além de Carl Jung (1954). A elegância do ouriço, assim, é uma obra renomada de alto valor que traduz a nova composição romanesca para a literatura universal.
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Folador, Francesca <1997&gt. "Il monologo tragico come esempio di monologo interiore. Un saggio di analisi linguistico-strutturale su alcuni monologhi sofoclei." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21168.

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La tesi propone un'analisi linguistico-strutturale di alcuni monologhi sofoclei, non già da una prospettiva tradizionale, ma da quella inusitata e originale che tenta di riconoscere nel monologo tragico antico un esempio di monologo interiore. A partire da questa aspirazione, si analizzano i monologhi di Aiace (vv. 430-480), Antigone (vv. 891-928), Filottete (vv. 1348-1372), Elettra (1126-1170) e Edipo Re (vv. 1369-1415).
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Bouslahi, El Houcine. "Fonctionnement du triangle de la subjectivité intériorisée ; monologue intérieur, discours indirect libre et point de vue, dans le roman moderne (Marcel Proust, Claude Simon et Nathalie Sarraute.)." Thesis, Clermont-Ferrand 2, 2016. http://www.theses.fr/2016CLF20018/document.

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Cette recherche a pour titre Fonctionnement du triangle de la subjectivité intériorisée dans le roman moderne. Elle a pour but d’étudier la parole et les pensées intérieures du sujet de l’énonciation dans des œuvres romanesques souvent marquées par le décrochage et le "brouillage" des pistes énonciatives. Les trois procédés discursifs et narratifs ciblés sont le monologue intérieur (MI), le discours indirect libre (DIL) et le point de vue (PDV). L’examen des trois piliers du langage intérieur prend appuie sur les apports de la linguistique de l’énonciation, de la polyphonie et de la pragmatique. Cette recherche cible neuf œuvres romanesques que nous plaçons sous l’étiquette de "roman moderne". Ces romans appartiennent à trois auteurs français qui ont développé des récits dont la source locutrice et énonciatrice pose problème. La difficulté de traiter de l’énonciation romanesque dans un corpus choisi en l’occurrence est due essentiellement à l’effacement des frontières entre discours citant et discours cité. Marcel Proust, Claude Simon et Nathalie Sarraute n’appartiennent certes pas aux mêmes courants esthétiques et idéologiques, mais ils ont ceci de commun qu’ils offrent une configuration romanesque qui conduit à s’interroger sur le statut du locuteur et de l’énonciateur dans une forme d’expression qui n’est pas toujours verbalisée
This research is entitled Functioning of the Triangle of Internalized Subjectivity in the Modern Novel. It aims at studying the speech and the inner thoughts of the subject of enunciation in fiction often marked by the "interference" in enunciation tracks. The three targeted discursive and narrative processes are internal monologue (MI), free indirect speech ( DIL) and the point of view (PDV) . The examination of the three pillars of the inner language relies on the contributions of linguistics of enunciation, of polyphony and pragmatic. This research targets nine novels that we can classify as belonging to the "modern novel" category. These novels belong to three French authors who have developed narratives in which the source of speaker and enunciator is a cause of ambiguity. The difficulty of dealing with the novelistic enunciation in a textual corpus chosen in this case is mainly due to the blurring of boundaries between reporting speech and reported speech. Marcel Proust, Claude Simon and Nathalie Sarraute do not belong to the same aesthetic and ideological trends, but what they have in common is that they all offer a novel configuration that makes us raise questions about the status of the speaker and the enunciator in a form of expression that is not always verbalized
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Books on the topic "Interior monologue"

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Tonnard, Elisabeth. Interior monologue. Acquoy (Netherlands): E. Tonnard, 2009.

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Anglés, Eduardo Aznar. El monólogo interior: Un análisis textual y pragmático del lenguaje interior en la literatura. Barcelona: EUB, 1996.

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Chardin, Philippe. Autour du monologue intérieur. Paris: Sacuteeguier, 2004.

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Dujardin, Edouard. The bays are sere ; and, Interior monologue. London: Libris, 1991.

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5

Kakavoulia, Maria. Interior monologue and its discursive formation in Melpo Axioti's Dyskoles nychtes. München: Institut für Byzantinistik und Neugriechische Philologie der Universität, 1992.

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Staay, Elisabeth van der. Le monologue intérieur dans l'œuvre de Valéry Larbaud. Paris: Champion-Slatkine, 1987.

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7

Tumanov, Vladimir. Mind reading: Unframed interior monologue in European fiction. Amsterdam: Rodopi, 1997.

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8

Martin-Achard, Frédéric. Voix intimes, voix sociales: Usages du monologue romanesque aujourd'hui. Paris: Classiques Garnier, 2017.

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Niehaus, Michael. Ich, die Literatur, ich spreche--: Der Monolog der Literatur im 20. Jahrhundert. Würzburg: Königshausen & Neumann, 1995.

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Zimmermann, Silke Cathrin. Das Ich und sein Gegenüber: Spielarten des Anderen im monologischen Erzählen : dargestellt an ausgewählten Beispielen der europäischen Erzählkunst des 20. Jahrhunderts. Trier: WVT Wissenschaftlicher Verlag, 1995.

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Book chapters on the topic "Interior monologue"

1

Huber, Irmtraud. "Interior Monologue." In Present Tense Narration in Contemporary Fiction, 55–67. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-56213-5_5.

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Koenker, Roger. "$l\sb 1$ computation: an interior monologue." In Institute of Mathematical Statistics Lecture Notes - Monograph Series, 15–32. Hayward, CA: Institute of Mathematical Statistics, 1997. http://dx.doi.org/10.1214/lnms/1215454124.

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Riccioni, Ilaria, and Andrzej Zuczkowski. "Chapter 18. Polyphony in interior monologues." In Dialogue Studies, 265–78. Amsterdam: John Benjamins Publishing Company, 2012. http://dx.doi.org/10.1075/ds.15.24ch18.

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"Interior Monologue." In 99 Variations on a Proof, 213–14. Princeton University Press, 2019. http://dx.doi.org/10.2307/j.ctvc77m52.93.

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"Monologue and Interior Monologue." In The Present Tense in Modern Hindi Fiction, 138–51. BRILL, 2004. http://dx.doi.org/10.1163/9789004486102_012.

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"89. Interior Monologue." In 99 Variations on a Proof, 213–14. Princeton: Princeton University Press, 2019. http://dx.doi.org/10.1515/9780691185422-091.

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"Qohelet’s Dialogized Interior Monologue on Wisdom." In Reanimating Qohelet’s Contradictory Voices, 165–215. BRILL, 2018. http://dx.doi.org/10.1163/9789004381063_008.

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"29. Interior Monologue of M. Teste." In The Educated Imagination and Other Writings on Critical Theory 1933-1963. Toronto: University of Toronto Press, 2006. http://dx.doi.org/10.3138/9781442657465-033.

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Dinkler, Michal Beth. "Interior Monologue in Ancient and Modern Literature." In Handbook of Diachronic Narratology, 282–301. De Gruyter, 2023. http://dx.doi.org/10.1515/9783110617481-016.

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Kumar, Udaya. "The Structure of Ulysses and the Experience of Time." In The Joycean Labyrinth, 50–88. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198112211.003.0003.

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Abstract ‘Proteus’ is dominated by the mode of interior monologue. In the passage cited above, the ‘closing of the eyes’ functions as a transition, as an opening to the world of interior experience. This world obeys a different logic for its articulation compared to the narrative that views events and objects from outside. The connections between the sentences here are associational. ‘I am, a stride at a time’ leads to ‘A very short space of time through very short times of space.’ The use of the word ‘time’ in these two sentences is not exactly identical. In the first, it forms part of the phrase ‘at a time’. But it is disengaged from that context and made the topic of general philosophical reflection in the next sentence. This kind of associational connection is not peculiar to Stephen’s monologues.
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Conference papers on the topic "Interior monologue"

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Verejanu, Dan. "Metafora „Zborului frânt”." In Filologia modernă: realizări şi perspective în context european. “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2021. http://dx.doi.org/10.52505/filomod.2021.15.45.

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Vladimir Beșleagă, prozatorul, poetul, traducătorul, unul dintre cei mai remarcabili romancieri basarabeni ai generației dezghețului hrușciovist, model de libertate și omenie, în romanul „Zbor frânt” a oferit eroului liric posibilitatea să reproducă amintirile sale, aceste monologuri sau discursuri cu sine însuşi ‒ metafore uimitoare care se constituie dintr-o frază, un alineat destul de mare sau chiar pagini întregi. Autorul a construit o inedită interpretare metaforică a gândului, a dialogului interior. În „Zbor frânt” metaforă nu e doar limbajul cu întreaga plenitudine funcțională, nu doar mijloc de exprimare, ci și de investigație a lumii. Beșleagă „valorizează posibilitățile” metaforei extinse, lumea proprie a omului, starea sufletească interioară, dar și invizibilul, „aşa-zisul metafizic, ceea ce este dincolo”, și constituie suflarea acestei lucrări, „trăirea mesajului ei profund”. În „Zbor frânt” nașterea metaforei e din realul „plin de posibilităţi”, din exploatarea destinului personajelor lucrării, fie că e vorba de Isai sau de râul Nistru.
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Sevcenco, Diana. "Personajul din romanele interbelice – modalități de caracterizare psihologică." In Conferinta stiintifica nationala cu participare internationala „Lecturi in memoriam acad. Silviu Berejan”. “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2021. http://dx.doi.org/10.52505/lecturi.2021.05.25.

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În romanul interbelic modalitățile de caracterizare psihologică a personajului au dobândit funcții noi care ajută cititorul să cunoască natura adâncă, originară a ființei stratificate a personajului și a devenirii personalităţii lui. Analiza introspectivă, tehnica punctului de vedere, jurnalul intim, visul sau reveria, confesiunea, monologul interior, fluxul conştiinţei şi memoria involuntară sunt tehnici narativ-artistice folosite pentru instituirea unui alt fel de personaj, în continuă interacţiune cu sine sau cu alte personaje. Acestea contribuie la reliefarea adâncurilor conştiinţei, pentru a-i oferi cititorului imagini artistice mai complexe ale omului complet și viu, realizate prin structuri verbale speciale şi compoziţii stilistice adecvate funcţiei lor caracterologice.
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