Journal articles: '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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Tiến Dũng, Đoàn. "Interior monologue language in Ma Van Khang’s prose." Journal of Science, Social Science 60, no. 10 (2015): 99–105. http://dx.doi.org/10.18173/2354-1067.2015-0064.

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Marks, Kent. "The Interior Monologue in Earl Kim's Violin Concerto." Perspectives of New Music 34, no. 2 (1996): 106. http://dx.doi.org/10.2307/833473.

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

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Segal, E. "Mind Reading: Unframed Direct Interior Monologue in European Fiction." Poetics Today 22, no. 3 (September 1, 2001): 708–9. http://dx.doi.org/10.1215/03335372-22-3-708.

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Barry, Angela. "Interior Monologue: Reflections on a Journey into Guyana's Heartland." Anthropology and Humanism 35, no. 1 (June 2010): 47–65. http://dx.doi.org/10.1111/j.1548-1409.2010.01052.x.

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Mereuta, Vera. "Interior monologue in cinematographic art as a way to convey the character’s thoughts and feelings." Studiul artelor şi culturologie: istorie, teorie, practică, no. 2(43) (April 2023): 99–103. http://dx.doi.org/10.55383/amtap.2022.2.17.

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Cinematographic art uses various and multiple expressive methods, including those borrowed from literature and theater, one of which is the inner monologue. In a film, the inner monologue is usually short, succinct, like a flash of the mind reflecting on what is happening, or a thought about certain possible consequences, or some evocations… Since, the purpose of a film is not just to present the characters’ world of actions and passions, but also their spiritual life.

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TOUIL, Khalida. "Monólogos y Polifonía en Tiempo de silencio de Luis Martin Santos." ALTRALANG Journal 1, no. 02 (December 31, 2019): 191–200. http://dx.doi.org/10.52919/altralang.v1i02.34.

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ABSTRACT: Our article entitled "The Polyphony in the Monologues of Tiempo de Silence by Luis Martin Santos" aims at the descriptive analysis of the phenomenon of polyphony in monologues, on the one hand, and the way in which this polyphony is constitutive of the literalism of another. The presence of monologues in Tiempo de silencio is very particular, not because it is the sole or main narrative device, but because it reflects the interior, the intimacy of the characters, and the crossing of many voices that create complex architectures. Therefore, we can say that Tiempo de silencio is a polyphonic work. By analyzing the polyphony of monologues, we try to observe and demonstrate the following hypothesis: Martin Santos's monologue is one of the most important elements involved in the creation of the fictional universe of the novel, their presence allows us to characterize the characters in this novel. Thanks to these inner discourses, we learn what are the problems, the contradictions, the frustrations, the moral turpitude of these characters

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Karo, Hasan. "Dramatic Monologue in T. S. Eliot’s The Love Song of J. Alfred Prufrock." Humanities Journal of University of Zakho 10, no. 1 (March 27, 2022): 245–47. http://dx.doi.org/10.26436/hjuoz.2022.10.1.831.

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This paper discusses the use of ‘dramatic monologue’ and ‘stream of consciousness’ in T. S. Eliot’s “The Love Song of J. Alfred Prufrock”. It highlights the history of the two terms with references to certain lines of the poem. It unveils the effect of using such a technique by Eliot. The paper investigates how the speaker ‘J. Alfred Prufrock’ is trying to communicate with the reader in dramatic monologue. Furthermore, it examines how J. Alfred Prufrock’s brain and process of thoughts is working through the use of stream of consciousness and interior monologue to achieve such process of thoughts. The paper pays all the attention to main character’s language to answer the research’s question in which makes the paper a discourse analytic research. The main question that the paper raises is how Prufrock’s behavior explains the existence of dramatic monologue within himself. It is worth mentioning that the paper’s conclusion provides the findings of the research.

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Anne Holmes. "LAFORGUE'S DERNIERS VERS, x: INTERIOR MONOLOGUE AND ‘VERS LIBRE’." Modern Language Review 108, no. 3 (2013): 802. http://dx.doi.org/10.5699/modelangrevi.108.3.0802.

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Enders, Jody. "Memory and the Psychology of the Interior Monologue in Chréétien's Cligéés." Rhetorica 10, no. 1 (1992): 5–23. http://dx.doi.org/10.1525/rh.1992.10.1.5.

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Sellew, Philip. "Interior Monologue as a Narrative Device in the Parables of Luke." Journal of Biblical Literature 111, no. 2 (1992): 239. http://dx.doi.org/10.2307/3267542.

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Fournillier, Janice. "Making the Ancestors Proud:." Cultural and Pedagogical Inquiry 12, no. 2 (April 24, 2021): 60–72. http://dx.doi.org/10.18733/cpi29583.

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This article incorporates experimental writing which combines interior monologue written in Trinidadian Creole and Standard English. As importantly, the article explores personal experiences and responses to issues of assessment, promotion and tenure in an American university within the larger context of the relevant literature.

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Song, Byeongsun. "Rereading of Leaf Storm of García Márquez: Reevaluation of the interior monologue." Hankuk University of Foreign Studies Literature Studies, no. 64 (November 30, 2016): 113–32. http://dx.doi.org/10.22344/fls.2016.64.113.

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McKenna, W., and A. Antonia. "'A Few Simple Words' of Interior Monologue in Ulysses: Reconfiguring the Evidence." Literary and Linguistic Computing 11, no. 2 (June 1, 1996): 55–66. http://dx.doi.org/10.1093/llc/11.2.55.

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Oeler, Karla. "A Collective Interior Monologue: Sergei Parajanov and Eisenstein's Joyce-Inspired Vision of Cinema." Modern Language Review 101, no. 2 (April 1, 2006): 472. http://dx.doi.org/10.2307/20466795.

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Oeler, Karla. "A Collective Interior Monologue: Sergei Parajanov and Eisenstein's Joyce-Inspired Vision of Cinema." Modern Language Review 101, no. 2 (2006): 472–87. http://dx.doi.org/10.1353/mlr.2006.0379.

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Grisot, Giulia, Kathy Conklin, and Violeta Sotirova. "Who’s afraid of Virginia Woolf? Readers’ responses to experimental techniques of speech, thought and consciousness presentation in Woolf’s To the Lighthouse and Mrs Dalloway." Language and Literature: International Journal of Stylistics 29, no. 2 (May 2020): 103–23. http://dx.doi.org/10.1177/0963947020924202.

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Woolf’s work has been the object of several studies concerned with her experimental use of techniques of speech, thought and consciousness presentation. These investigated the way in which different perspectives coexist and alternate in her writing, suggesting that the use of such techniques often results in ambiguous perspective shifts. However, there is hardly any empirical evidence as to whether readers experience difficulty while reading her narratives as a result of these narrative techniques. This article examines empirically readers’ responses to extracts from Woolf’s two major novels – To the Lighthouse and Mrs Dalloway – to provide evidence for whether Woolf’s techniques for the presentation of characters’ voices, thoughts and perspectives represent a challenge for readers. To achieve this, a mixed-methods approach that combines a stylistic analysis with a detailed questionnaire has been employed. Selected extracts that were hypothesised to be complex due to the presence of free indirect style and/or interior monologue were modified by substituting these with less ambiguous modes of consciousness presentation, such as direct speech or direct thought. Readers’ responses to the modified and unmodified versions of the same extracts were compared: results show that the presence of free indirect style and/or interior monologue increases the number of perspectives identified by readers, suggesting that this technique increases the texts’ difficulty, laying a more solid ground for future investigations.

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Kacandes, Irene. "Interior Monologue and its Discursive Formation in Melpo Axioti's Δύσκολες νύχτες (review)." Journal of Modern Greek Studies 12, no. 2 (1994): 296–97. http://dx.doi.org/10.1353/mgs.2010.0377.

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Yixin, Liu. "Enclosed Self-introspection and Camouflage: Interior Monologue in Republican Chinese Women’s Epistolary and Diary Writing." International Journal of Literature and Arts 9, no. 2 (2021): 70. http://dx.doi.org/10.11648/j.ijla.20210902.14.

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Perveen, Saima, Shaista Ghazanfar, and Muddasra Nasir. "Interior Monologue as a Stylistic Device in Constructing the Character of Santiago in Hemingway's The Old Man and the Sea." Global Language Review VII, no. III (September 30, 2022): 9–18. http://dx.doi.org/10.31703/glr.2022(vii-iii).02.

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The current investigation takes up Ernest Hemingway’s The Old Man and the Sea and provides a corpus-based analysis by selecting monologues as data for this study. The focal point of this corpus analysis is to highlight and identify textual features in the construction of the character of Santiago. This study goes for a corpus stylistic analysis of the selected text and unravels textual features which were previously unnoticed. Only monologues are selected as corpus data and AntConc 3.5.8 (Anthony, 2010) is utilized as a tool for corpus analysis. The study displays the significant role of corpus-based approaches for a better understanding of a literary text. It is clear after this analysis, corpus-based approaches in studying Hemingway's monologues highlight linguistic features of monologues and provide new avenues and perspectives, thus enhancing the value of literary corpus stylistics.

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McKILLIGAN, K. M. "Review. 'The Bays are Sere' and 'Interior Monologue'. Translated and introduced by Anthony Suter. Dujardin, Edouard." French Studies 47, no. 1 (January 1, 1993): 96. http://dx.doi.org/10.1093/fs/47.1.96.

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Nashrullah Ali Fauzi and Nurbaiti Fitriyani. "INTEGRASI MONOLOG INTERIOR DAN INTERTITLE DALAM BAHASA FILM: TELAAH PERSPEKTIF ESTETIKA TERHADAP FILM ADAPTASI “HUJAN BULAN JUNI” (2017)." CrossOver 2, no. 1 (June 30, 2022): 66–88. http://dx.doi.org/10.22515/crossover.v2i1.5238.

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The adaptation of literary works to film is not new in this era. After undergoing several transformations from poetry to musicals, comics, graphic-novels, and novels, Hujan Bulan Juni as a literary work was then adapted into the film art with the same title. This research focuses on the film Hujan Bulan Juni (2017) directed by Reni Nurcahyo Hestu Saputra which was adapted from the text of the novel and poem Hujan Bulan Juni written by Sapardi Djoko Damono. Although there have been changes from literary works to films, film directors certainly want to maintain fidelity in the works even though this is not possible, because both have different mediums and have gone through different interpretation processes. In the end, it becomes understandable if there are so many elements that are removed or even added in a film adaptation. However, there are elements that actually change the point of view of the story and obscure the aesthetics of the film so that it is disturbing, namely the interior monologue and intertitle. The use of these two elements affects the essence of cinema which is projected through audio and visual, in which the film has a medium specification in the form of moving images. In this study, the researcher tries to describe what elements are removed or added by the director from the novel to the film and how they affect the adaptation work. To find out the characteristics of each of these mediums, it is necessary to conduct a comparative study. One way to find out the comparison, in this study using an intertextuality approach with microcosmic and macrocosmic methods. The result shows that the film adaptation does not maintain the fidelity. Interior monologue that appears a lot in the novel is mostly removed and the intertitle is excessively added.

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Franco, Katherine. "Staging the Surface: James Joyce’s Theater for Theorization in “Circe”." Journal of Modern Literature 47, no. 3 (March 2024): 106–23. http://dx.doi.org/10.2979/jml.00035.

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Abstract: James Joyce’s “Circe” episode in Ulysses , by way of its closet drama form, raises questions at the center of ongoing debates on reading practice and method. Joyce uses the closet drama genre, whose name and tradition call attention to depth and concealment, to examine the relationship between surfaces and depths. Instances of free indirect discourse and interior monologue within the “Circe” episode’s stage directions renegotiate reader receptivity and accessibility. Ultimately, “Circe” is not only a consideration of surfaces and depths but also the relationship between action and contemplation. Honoring the closet drama’s historical function as pedagogical and philosophical apparatus, “Circe” is an opportunity to evaluate the relationship between theory and practice in literary studies.

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Dempsey, Shawna, and Lorri Millan. "Target Marketing." Canadian Theatre Review 137 (January 2009): 68–73. http://dx.doi.org/10.3138/ctr.137.012.

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A performer steps onto a stage, bare save for a single microphone. She is dressed in black with a white target printed on the chest of her shirt. This target pattern is a replica of the human targets marksmen use to practice shooting. The everywoman manifests her interior monologue – she talks frankly about what’s been bothering; her in a rambling, free-associative way. As she speaks, from time to time, a prop is lowered from the ceiling to her hand. She stops speaking; as the props descend and reascend. The pulleys that move them creak as they move the objects through space. The only props that do not come from above – deus ex machina – are the red buttons which the woman removes from her hip pockets.)

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Vicars, Mark, and Tarquam McKenna. "In the thick of things: drama as a qualitative methodology." Qualitative Research Journal 15, no. 4 (November 9, 2015): 416–29. http://dx.doi.org/10.1108/qrj-06-2015-0034.

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Purpose – The purpose of this paper is to consider how the drama space is a way of inquiry in its own right and as a complex “way of knowing” has a capacity to be a profitable location from which to artfully thread and critically interrogate the performances of lives-as-lived. Design/methodology/approach – The autoethnographic discussion has an overlay of histography as it brings the “real-life” word to the drama space and builds on naturalistic and experimental research moving the reader through transformational inquiry to what they name as drama as a post-foundational research method. Findings – In using drama as artful practices, intra-reflexivity – interior focused – felt as artistic “process” leads “psyche” to an empathic space for acceptance of the fugitive selves and demonstrates “queerness” through the narratives as monologues. Research limitations/implications – The vignettes presented as monologue attest to the authors’ life histories and their “fugitive” ways of being as gay men. Practical implications – The authors consider how drama as methodological practice can re work the notion of text-to-life or life-to-text, as an expression of a will to knowledge, of the authors working dramatically with their participants and students to find a way to articulate experience and place at the centre of research an agentic voice in relation to psychological, socio-cultural and historical interpretations. Originality/value – Drama, as a methodological approach, has, the authors suggest, the potential to move beyond disembodied and abstract mental processes and to draw out of the closets the interpersonal relationships that have historically been seen as dangerous or disturbing.

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Moslemi, Amir Abbas. "Philosophic (In)Felicity: Protean Narrativity." International Letters of Social and Humanistic Sciences 56 (July 2015): 15–21. http://dx.doi.org/10.18052/www.scipress.com/ilshs.56.15.

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Philosophic contingency embedded in James Joyce’s avant-garde novel, ranging from Aristotelian notion of mimesis to the possibility of a Marxian reading, stemming from Hegel’s dialectic, added to the linguistic pragmatics, pave the way to focus on the process of realization and mental performance by a leading contemporary philosopher of analytic philosophy, J.L. Austin, as an epistemological triggering in the course of implication through a narrative, here Proteus, teleologically speaking, resulting a meta-utterance in a broader scale, much far from constative type, a metaphorical narration, elaborating on cultural agency, while paraphrasing the language-based relativity of collective identity and complexity of Austin’s speech act theory, in terms of (in)felicitous conditions, rooted in the success of the communicative intention of the narrator, here Stephen Dedalus, maybe the most wonderful advanced guard of narratology in interior monologue.

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Asst. Lect. Nour Imad Zaki. "Stream of consciousness as a narrative technique in the novel Ulysses." Texas Journal of Multidisciplinary Studies 29 (February 10, 2024): 65–70. http://dx.doi.org/10.62480/tjms.2024.vol29.pp65-70.

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This paper focuses on using a stream of consciousness in James Joyce's novel Ulysses. Stream of consciousness is a narrative technique that depicts the continuous flow of thoughts and sensations experienced by characters' minds. In Ulysses, Joyce masterfully employs this technique to delve into the complex minds of his characters, Leopold Bloom and Stephen Dedalus. By abandoning traditional linear storytelling, Joyce captures the intricacies of human thought processes and immerses readers in the characters' inner worlds. The novel's structure and narrative style are characterized by interior monologue, associative thinking, and a fragmented structure. Through these techniques, Joyce offers readers a unique and intimate reading experience, exploring themes of identity, memory, time, and the depiction of Dublin. By embracing the stream of consciousness, Joyce pushes the boundaries of conventional storytelling, inviting readers to engage with his characters' rich and intricate inner lives.

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K. Habash, Fadi Butrus. "دراسة اسلوبية للجوانب الموحدة لتيار الوعي والمونولوج الداخلي في رواية ويليام فوكنر "ابشالوم، أبشالوم!" وقصيدة أيرفين آلين جينسبرغ "الصرخة"." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 58, no. 2 (June 10, 2019): 1–20. http://dx.doi.org/10.36473/ujhss.v58i2.873.

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The present research is a stylistic attempt to study the unified sides of stream of consciousness and interior monologue in selected extracts from Faulkner's and Ginsberg’s: Absalom, Absalom! and “Howl”. Its relevance is to the sophisticated techniques that help unify the two sides in the works. These techniques are linguistic techniques, narrative techniques and metaleptic ones. The purpose of this study is to analyze them in Faulkner's and Ginsberg’s Absalom, Absalom and “Howl”. The problematic case of the two aforementioned works lies in the reader’s involvement in resolving their ambiguity. Their rigorous style drives the reader into an involvement in understanding its ambiguity. Hence, the significance of the study lies in its being the first attempt at analysing this problematic style. The study concludes that the three techniques point out the hidden dark side of the American life through the employment of ambiguous problematic style

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Cipriani, Anna Maria. "The translator’s presence in (re)translations of To the Lighthouse into Italian: a corpus-driven study." Corpora 17, no. 3 (November 2022): 423–48. http://dx.doi.org/10.3366/cor.2022.0265.

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In a corpus approach to empirical translation study, I compare three re-translations of Virginia Woolf’s To the Lighthouse into Italian by Nadia Fusini in the 1990s and 2012 with the first translation by Giulia Celenza, published in 1934. The focus is on how and to what degree those translations render the modernist characteristics of the source text. The adopted method is implemented using suitable annotations of the digital texts. All the occurrences of linguistic and extra-linguistic features, including the stream of consciousness, indirect interior monologue and free indirect discourse, are identified and manually tagged in xml/tei code throughout the texts examined. A bespoke computer program is used to extract, align and compare the literary features. The results show the translators’ target-culture orientation in both ‘distant’ and ‘close reading’, with interesting instances of source text-orientation in the later re-translations.

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Sikorska, Liliana. "In the Labyrinth of Forgetfulness: Charley Grainger’s Joycean Journey in Christine Dwyer Hickey’s Cold Eye of Heaven." Porównania 30, no. 3 (December 27, 2021): 191–207. http://dx.doi.org/10.14746/por.2021.3.13.

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Cold Eye of Heaven (2011) shows pre-Brexit Dublin steeped in the post-Celtic Tiger anxieties. The novel narrates the life of a contemporary Everyman, Charley Grainger, known as Farley, from his final moments back to his childhood. Thus, Farley’s journey envisages both a Joycean interior monologue depicting his old-age bafflement in the meanders of memory and a realistic description of the character’s bewilderment at the changes in the cityscapes of the Dublin of 2010. The present paper is a comparative study of the first two chapters of the novel in reference to the history of the city present in the entire text, through the use of the tropes of the mental and urbane labyrinths. Imbued with the allusions to current reality, i.e., the presence of immigrants, Hickey’s observations are in line with Joycean anti-nationalism, as the story offers a nostalgia-stricken picture of the inevitable economic transformation of the metropolis.

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Nyagolova, Nataliya. "STEVO ŽIGON AND THE HORIZON OF EXPECTATION OF THE YUGOSLAV PUBLIC DURING THE TUMULTUOUS ‘60S." Челябинский гуманитарий 66, no. 1 (May 3, 2024): 85–91. http://dx.doi.org/10.47475/1999-5407-2024-66-1-85-91.

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The article examines the place of the Yugoslav actor and director Stevo Žigon in the context of the 1960s – the period of the first upheavals in the post-war history of the Federation. It traces the main socio-political processes and the reaction to them by the artistic intelligentsia through the emergence of the cinematic Black Wave and the BITEF. The text outlines S. Žigon’s place in the context of these processes, as it focuses on three important roles of his from the 1960s – the role of the judge in Z. Berkovic’s film “Rondo» (1966), the Robespierre’s monologue during the student strike at the University of Belgrade in 1968, the performance “Hamlet» (1971), which Žigon directed, while also playing the main role. The film “Rondo” is considered one of the prime examples of Yugoslav cinema modernism of the 1960s, in which several theatrical approaches were applied (interior shots, leitmotif, the “theatre curtain” effect, etc.). Robespierre’s monologue of the same name, performed by Stevo Žigon during the student strike in Belgrade, is interpreted as a performance composed of three types of elements – «dramatological», «historical» and «performative». Based on theatre reviews from that time, the reception of S. Žigon’s performance “Hamlet” (1971) is analysed as a particular phenomenon in the Belgrade theatre life and as a testimony to the creative evolution of the director and the actor in the course of assimilating the ground-breaking achievements in European directing (H. Litzau, P. Brook). The article concludes that Žigon’s contribution to the development of SFRY’s theatre can be thought of in two directions: the approach of the stage art to the current socio-political reality through performative practices and active experimentations with the theatrical language; the opposition of the “literary theatre» and the use of the achievements of the world’s avant-garde theatre schools of the 1950s and 1960s.

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Klinger, Eric, and W. Miles Cox. "Dimensions of Thought Flow in Everyday Life." Imagination, Cognition and Personality 7, no. 2 (October 1987): 105–28. http://dx.doi.org/10.2190/7k24-g343-mtqw-115v.

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To what extent are three criteria of daydreaming–as thought that is fanciful, stimulus-independent, or undirected–equivalent? How are these properties of thought flow distributed during everyday activity? Students ( N = 29) carrying a beeper described properties of their consciousness on a total of 1425 occasions by means of a Thought-Sampling Questionnaire, anxiety and depression measures, and activity report forms. Intrasubject analyses of thought variables identified eight orthogonal factors, including Visual Modality, Auditory Modality, Operantness (directedness), Attentiveness to External Stimulation, Controllability, Strangeness (fancifulness/bizarreness), Past Time Orientation, and Future Time Orientation. Most thought samples contained some interior monologue, largely independent of other variables. Thought properties were uncorrelated with affective variables, frustration of goals, and impulses to drink alcohol. Factors for individual differences differed sharply from the intrasubject results, with a single undifferentiated Vividness factor and controllability no longer a separate factor. The visual modality predominates for most individuals, about a third of thought is on the average predominantly undirected, an uncorrelated third is stimulus-independent, and about a quarter of thoughts contain at least traces of dream-like elements.

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Marandi, Pegah, and Alireza Anushiravani. "Uncovering Cinematic Adaptations of James Joyce’s The Dead." International Journal of Comparative Literature and Translation Studies 5, no. 4 (October 31, 2017): 38. http://dx.doi.org/10.7575//aiac.ijclts.v.5n.4p.38.

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The relationship between literature and film is the subject of plentiful analyses and reflections within the general framework of Comparative Literature. A comparison between a literary work and its adaptations shows how filmmakers adhere to the principles of intertextuality. Exploring various adaptations of James Joyce’s The Dead (1914) and comparing them against each other are the main objectives of this research. This study examines how John Huston (1987), Travis Mills and William Ivey Long (2013) adapted James Joyce’s The Dead (1914) culturally, geopolitically, and sociologically. This study demonstrated that Huston’s adaptation was faithful to Joyce’s text in terms of character, costume, culture, and language, whereas Mills and Long’s adaptation was not fully loyal to Joyce especially in terms of character and culture. However, Mills and Long have attempted to create a language similar to Joyce’s. Further, consciousness and interior thoughts as subtle issues precisely shown in the novel were not illustrated wholly in both adaptations. Huston’s creativity was maintained in the last scene, picturing Gabriel’s monologue, whereas Mills and Long’s creativity was shown in creating new postmodern characters and culture.

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Ayieko, Gerry O. "Application of the schema-theoretic approach in the interpretation of the stream of consciousness in Wole Soyinka’s The Interpreters." CLAREP Journal of English and Linguistics 5 (October 10, 2023): 145–66. http://dx.doi.org/10.56907/godfo37y.

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Wole Soyinka’s novel The Interpreters (1965) is arguably one of the most challenging post-colonial novels to read and understand easily. The present paper adopts a pre-test post-test control group experimental treatment design. (Sixty university undergraduate students from three universities were selected and placed in two groups: experimental and control. 60 students from two hundred and thirty, 3 universities eighteen universities. The experimental group was taught using the schema theory and the control group was taught using the conventional method which entails whole class lecture, teacher led instruction. After the experimental treatment a pretest and a post-test was administered. A t-test ruled out pre-experimental differences between the groups. A one-way Analysis of Variance (ANOVA) shows that there were statistically significant difference in comprehension level due to the Schema theory method. A multiple regression analysis established that different selected aspects of the stream-of-consciousness: interior monologue, association, montage, plot structure and myth and archetype contribute to the score. The study established that comprehension of stream of consciousness, as a literary technique can be investigated using schema theory.

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Bach, Hardy. "Operettesangerinden i ordsøen: Om Arthur Schnitzlers Fräulein Else." K&K - Kultur og Klasse 36, no. 105 (August 22, 2008): 186–214. http://dx.doi.org/10.7146/kok.v36i105.22045.

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The Operetta Singer in the Sea of Words: About Arthur Schnitzler’s Fräulein Else:Arthur Schnitzler’s famous short story »Fräulein Else« (1924) is usually read as a social-psychological study. A consensus about how to perceive the protagonist has never been obtained, although the interior monologue technique should give the reader the best possibilities to understand the heroine. Is Else a doughty girl who fights the oppression of women or is she an unhappy victim because of the environment abusing her? Does she commit suicide or is she rather just pretending? The essay is an attempt to go behind these questions by demonstrating the possibility that Schnitzler quite deliberate blurs these elements of the story. The essay asserts that Schnitzler, rather than giving a social-psychological study, is trying to let the story tell about itself. Fräulein Else thus becomes a metapoetical text which reflects not only on itself but also on the ‘everlasting conditions’ of literature and of writer. The stream of consciousness is thus possibly soul scrutiny but first and foremost an attempt to put the impossible into practice: to let the text tell about itself so to say ‘from within’.

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Ensslin, Astrid. "The Interlocutor in Print and Digital Fiction: Dialogicity, Agency, (De-)Conventionalization." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 6, no. 3 (August 10, 2018): 21–34. http://dx.doi.org/10.14195/2182-8830_6-3_2.

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Digital fiction typically puts the reader/player in a cybernetic dialogue with various narrative functions, such as characters, narrative voices, or prompts emanating from the storytelling environment. Readers enact their responses either verbally, through typed keyboard input, or haptically, through various types of physical interactions with the interface (mouseclick; controller moves; touch). The sense of agency evoked through these dialogic interactions has been fully conventionalized as part of digital narrativity. Yet there are instances of enacted dialogicity in digital fiction that merit more in-depth investigation under the broad labels of anti-mimeticism and intrinsic unnaturalness (Richardson, 2016), such as when readers enact pre-scripted narratees without, however, being able to take agency over the (canonical) narrative as a whole (Dave Morris’s Frankenstein), or when they hear or read a “protean,” “disembodied questioning voice” (Richardson, 2006: 79) that oscillates between system feedback, interior character monologue and supernatural interaction (Dreaming Methods’ WALLPAPER). I shall examine various intrinsically unnatural examples of the media-specific interlocutor in print and digital fiction and evaluate the extent to which unconventional interlocutors in digital fiction may have anti-mimetic, or defamiliarizing effects.

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Ayesha Dar. "ON THE RELATIONSHIP BETWEEN LITERATURE AND PSYCHOLOGY." International Journal of Applied Research in Social Sciences 4, no. 8 (October 6, 2022): 284–92. http://dx.doi.org/10.51594/ijarss.v4i8.382.

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This research paper analyzes the relationship between Literature and Psychology and how they are connected with each other in order to portray the characters more beautifully. Psychology plays a very important role in the literature whether we talk about the one who writes the story or the one who reads it. It makes a strong connection between a writer and a reader. The author is not just influenced by society, he influences society. This study explores the significant role psychology plays in literature, the relationship between these two subjects, and how psychology helps an author to write a piece of literature that is more interesting to read. It also focuses on the different features and elements which the writer chooses to make the story more captivating. The study has been conducted by researching different journals, e-books, books, and websites. Undoubtedly, psychology helps the writers to present the characters successfully, expressing their feelings, moods, emotions, and especially their thoughts and how the different events affect the mental lives of the characters. Some examples are given from different novels for reference that how the characters are portrayed and how deep the author depicts his/ her characters. Keywords: Realism, Stream of Consciousness, Fiction, Psychology, Interior Monologue, Characterization, Literature, Modernism.

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Kalach, Najla. "The Voice of an Asian Expat in a Qatari Short Story by Nurah Al-Saad: The Newspaper Seller." International Journal of Linguistics, Literature and Culture 9, no. 2 (June 30, 2022): 1–11. http://dx.doi.org/10.19044/llc.v9no2a1.

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Qatari literature is still budding, as its diffusion can be credited to the birth of the press in the 1960s, and it is yet to have garnered the attention of Western scholars, especially if compared to the literature from Arabian Persian Gulf countries, such as Kuwait, Oman and Saudi Arabia. This study aims at contributing to enrich the discourse on Qatari literature, by analysing the structure and contents of the short story The Newspaper Seller, published in 1989 by Nurah al-Saad (Nūrah ˀāl Saˁad). This piece offers the reader a precious insight about the reality of expats’ lives in the 1980s. The story depicts the harsh daily routine of an Asian immigrant, who attempts to survive by selling newspapers under the scorching sun in the streets of Doha. The main character, named Malik (Mālik), has just moved away from his family and is now dreaming of a better future, while finding himself in an entirely different reality: he is forced to work two jobs, in order to be able to live with some dignity and to help his family of origin. This short story was highly acclaimed by literary critics. Due to its original topic and narrative techniques, through the use of interior monologue, associations, stream of consciousness and symbols, it is considered a pioneering work for that time.

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Akhter, Maswood. "Language and Style of Sunetra Gupta’s Fictional Narratives." Studies in ELT and Applied Linguistics 1, no. 1 (October 31, 2021): 58–70. http://dx.doi.org/10.3126/seltal.v1i1.40606.

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My aim in this paper is to offer a critical discussion on certain linguistic and stylistic aspects in the fictional pieces by Sunetra Gupta, an important Bengali diaspora author based in Oxford. In her debut novel, ‘Memories of Rain’ as well as in her others, Gupta effortlessly intersperses prose with poetry; her writing is complex, fusing stream of sensuous poetic imagery with stream of consciousness. A powerful delivery of interior monologue, figurative language, and continuous time-shifts invites the novelist’s comparison with Virginia Woolf. Memory becomes a vital player in many of her novels, be it Memories of Rain, Moonlight into Marzipan or So Good in Black. Giving it the centre stage automatically leads her towards an experimental narrative technique, since memory – a highly subjective and elastic category blending fantasy with the past – keeps intervening in the linear flow of the plot. Interestingly, her stream-of-consciousness technique transforms language and punctuation marks from normative linguistic symbols into poignant emotional tools. By exploring the limits of ambiguity in language, as I argue here, Gupta has evolved a personal literary idiom in which prose is pushed into a territory formerly accessible only to poetry. The issue of intertextuality is also discussed, with special reference to Memories of Rain where the influence and interplay of diverse texts provide the novelists context and meaning, and shape its narrative and characters.

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Heck, Adeline. "Narcissistic Fiction: Music Theater of the Everyday in Édouard Dujardin’s Les Lauriers sont coupés (1887)." 19th-Century Music 46, no. 3 (2023): 244–72. http://dx.doi.org/10.1525/ncm.2023.46.3.244.

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The Symbolist novella Les Lauriers sont coupés (1887) by Édouard Dujardin (1861–1949) is the first work of fiction in Western literature to be entirely written as an interior monologue. Yet it took more than thirty years for Dujardin’s innovation to be recognized thanks to James Joyce acknowledging Les Lauriers as an important formal influence for Ulysses (1922). Subsequently, Dujardin claimed in the essay “Le monologue intérieur” (1931) that his goal had been to transpose Wagnerian procedures into writing. Since then, scholars have either denied or confirmed the novel’s Wagnerian inspiration. The latter interpretation has become the consensus in scholarship. However, in their efforts to connect Les Lauriers with Wagner, previous studies have neglected the constant presence of French musical theater references in the novel, presumably because their presence represents a form of paradox for a devout Wagnerite like Dujardin. This article is the first to analyze them. It also ties these references together with Symbolism’s interest in metafiction, that is to say, in fiction that reflects on its own existence as fiction. I argue that Dujardin was eager to follow the model of the Wagnerian novel proposed by his friend Teodor de Wyzewa in the Revue wagnérienne, that of setting on paper the poet’s entire existence by depicting his/her every emotion, sensation, and thought. In his discovery of the difficulty involved in performing such a task, Dujardin switched his focus to what his mentor Mallarmé called a “Type”: a depersonalized character, who is supposed to stand in as a representative of France’s youth. Hence, the protagonist of Les Lauriers sont coupés being an average character, with musical tastes that are illustrative of his time. Thus, the numerous musical references peppering Les Lauriers are not connected to the elitist world of Wagnerism in the 1880s, but rather to what were then beloved favorites like François-Marie Boieldieu’s La Dame blanche (1825), or Edmond Audran’s La Mascotte (1880). But there is an added twist, as Dujardin did not let go of Wagner’s influence entirely and used Audran’s operetta as a springboard with which to experiment with Wagnerian leitmotifs in literature. Ultimately, I show that the musical references in Les Lauriers are systematically divorced from real-life performance in order to become strictly mental creations that highlight just how isolated and self-absorbed the protagonist—and, by extension, the author himself in the act of creation—really is.

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Journal articles on the topic 'Interior monologue'

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