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Owens, Christabel Victoria. "The concept of Bildung in Schleiermacher's Reden and Monologen." Thesis, Lancaster University, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.277034.
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Johnsson, Maria, and Jesper Truedsson. "Bort från monologen : Ett medieteknisk verktyg för verbal kommunikation mellan individer." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-18349.
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Genom smarttelefonens genombrott och framfart har mobiltelefonen på bara några år kommit att bli en av de mest centrala delarna i många individers liv. Den används bland annat för att hålla kontakt med familj, vänner och kollegor, för att kommunicera och vara aktiv i olika sociala flöden. Många människor är sociala varelser som pratar och kommunicerar med andra individer hela tiden. Men det finns något som håller på att glömmas bort, något som kan tyckas självklart; att kunna föra ett muntligt samtal med en annan individ utan att en mobiltelefon på något sätt finns med i bilden. Sherry Turkle och Professor Jean M. Twenge har under många år bedrivit forskning på barn och unga vuxna som är flitiga användare av sina smarttelefoner. Många av dessa unga personer har aldrig haft något annat val än att ha en smarttelefon och hela deras sociala liv existerar genom den. Ett växande fenomen är att många av dessa unga personer kommunicerar med varandra genom text i sina smarttelefoner, även om de sitter bredvid varandra i samma rum. Barn leker inte tillsammans som de gjorde förr och deras emotionella utveckling verkar gå allt mer långsamt. Syftet med följande undersökning har varit att skapa en motvikt till denna utveckling och genom ett medietekniskt perspektiv presentera en mobilapplikation som uppmuntrar och inspirerar till muntlig dialog mellan individer.Through the smartphone's breakthrough and advancement, the mobile phone has in just a few years become one of the most central parts in many individuals' lives. It is used, among other things, to keep in touch with family, friends and colleagues, to communicate and be active in different social online activities. Many people are social beings who talks and communicate with other individuals most of the time. But there is a lack of something that may seem obvious; be able to have an oral conversation with another human being without a mobile phone in any way being included in the picture. Sherry Turkle and Professor Jean M. Twenge have been conducting research for many years on children and young adults who are frequent users of smartphones. Many of these young people have never had any choice but to have a smartphone and their entire social life exists through it. One growing phenomena is that many of these young people communicate with each other through text in their smartphones, even though they sit next to each other in the same room. Children do not play together as they did in the past and their emotional development seems to progress more slowly. The purpose of the following survey is to create a counterweight to this fosterage and, through a media-technical perspective, present a mobile application that encourages and inspires oral dialogues between individuals.
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Juliusson, Carl Magnus. "Papegojor och spel : En analys av monologen och dialogen i Samuel Becketts I väntan på Godot och Slutspel." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-60287.
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Jag har i denna studie av Samuel Becketts (1906-1989) två dramer I väntan på Godot (En Attendant Godot) (1952) och Slutspel (Fin de Partie) (1957) studerat dialogen och monologen i de båda dramerna och diskuterat kring vilka slutsatser man därav kan dra om språk och berättande. Fokus har legat på hur dialogen tar sig ut, vilka faktorer den är under stor påverkan av och dess relation till monologens fundamentala roll i Becketts dramer. Analysen har jag delat upp i två delar vilka för sig behandlar var sitt drama i kronologisk ordning. Först I Väntan på Godot och därefter Slutspel. De båda delarna är sedan i sin tur uppdelade i två delar varav den första diskuterar dialogen och den andra monologen. Första delen av analysen av I väntan på Godot har kallats ”Missförstånd och minne” och där har jag reflekterat kring, som titeln avslöjar, missförståndets roll – hur det tar sig ut och varför – samt dialogens påverkan av karaktärernas bristande minne. I delen som följer har jag fokuserat på berättandet i dramat med utgångspunkt i bland annat Pozzos spel och Luckys förbryllande tal. I första delen av analysen av Slutspel, ”Spelet”, har jag studerat dialogen i relation till det spel vilket karaktärerna i dramat utsätter varandra för. Vidare tar jag upp vanan under samma rubrik och hur den påverkat dialogen. I sista delen, ”Hamms berättande”, har jag undersökt Hamms berättelse, vilket även kommer nämnas under rubriken innan, och monologens roll även i detta drama. För att kunna förankra analysen i de båda dramernas handling, vilka i sig stått fokus för en mängd forskning, har jag valt att använda mig av verk vilka presenterar generella och översiktliga tolkningar av Becketts författarskap, t.ex. Charles R. Lyons Samuel Beckett (1983), Richard N. Coes Beckett (1968) samt portalverket till den absurda teatern, Martin Esslins The Theatre of the Absurd (1961). Jag kommer också bland annat använda mig av två samlingar vetenskapliga essäer om Beckett, Samuel Beckett now (1970) och Samuel Beckett: A Collection of Critical Essays (1964) samt en mer språkinriktad studie om Beckett, Six dramatists in search of a language (1975) av Andrew K. Kennedy. Som stöd till analysen kommer även andra skönlitterära verk av Samuel Beckett användas som kan belysa den tematik om språk och berättande vilket kommer diskuteras i denna analys. Analysen kommer vara en närläsning och allt skönlitterärt material kommer vara i svensk översättning.
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Šimkutė, Dalia. "Monologo raida lietuvių dramaturgijoje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2007. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2007~D_20070816_160018-29936.
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Magistro darbo tikslas – aptarti monologą XIX a. pab. – XXI a. pr. lietuvių dramaturgijoje. Monologų sklaida išryškina skirtingų lietuvių dramaturgijos laikotarpių bendrąsias tendencijas: vyraujančių charakterių pobūdį, prasmines slinktis, žanrines, stilistines ypatybes, specifinį estetinį psichologinį poveikį, ryšį su adresatu.
Vaižgantas, Keturakis, Žemaitė įtvirtino realistinį tikrovės vaizdavimo būdą. Romantinėse pjesėse formuojamas „aukštasis“, poetinis dramos stilius. Realistiniams kūriniams būdingas šnekamosios kalbos imitavimas. Monologams būdinga funkcija – atpasakoti pasibaigusius įvykius ir buvusius išgyvenimus.
Dramaturgai neoromantikai siekė dramaturgiją pakreipti romantinio atsinaujinimo linkme. Pasak J. Lankučio, pradėta tolti nuo įprastinio patriotinių jausmų deklaravimo, istorinės, socialinės iliustracijos. Skirtingai nei mėgėjiškosios dramaturgijos laikotarpiui, neoromantizmo dramaturgijai būdingas žanrinis sinkretizmas. Apie žanrinių ribų maišymąsi byloja paantraštės (pavyzdžiui, V. Krėvės „Šarūnas“ – „Senųjų dienų gyvenimo pasaka“). Monologų analizė išryškina V. Krėvės, V. Mykolai�����io-Putino dramų orientaciją į poezijos žanrą, į jos stilistiką. Neoromantinių kūrinių monologe ryškus lyrinis pradas: personažai pasakoja apie šios akimirkos būsenas ar įvykius. Atsiranda poetiškumas, lyrinis subtilumas, vaizduojami ryškūs, individualizuoti charakteriai. Išskiriamas savitas kalbėjimo būdas: stilizuojama lietuvių liaudies daina.
„XX a. 3 – 4 dešimtmečių... [toliau žr. visą tekstą]V. Summary ‘‘Development of the monologue in Lithuanian dramaturgy“ In this study was analised the monologue in XIX century end – XXI century beginning dramaturgy. At the beginning of the work, conception of the monologue is given. In it different attitudes of dramatists to monologue is emphasized. Some dramatists think, that certain elements of monologue forms are negatyve, not acceptable (statics of thoughts and thinking, outburst of emotions) and the monologues in their dramas are not used often. The others think, that monologues have merit and use them in drama. A. Samulionis, P. Pavi give the classification of the monologues, though it is not detailed. In monologues problematics, themes of “Amateurish dramaturgy“ the realistic reality representing way (the dramas of Žemaitė, Keturakis, Vaižgantas) and romantic-patriotic (A. Fromas-Gužutis) are often used. The main functions of the monologue: informational, dinamical, pushing the act of the drama further, characterising the personage who is taking, structural-compositional. The orientation to poetry stilistics and genre of V.Krėvė, V. Mykolaitis-Putinas reveals in neoromantical drama: mithology, lyrism. In monologues distinct individualised characters are pictured in the historical dramaturgy. Of the middle of the XX century (J. Grušas, J. Marcinkevičius) the monologues show universal, crossing the concrete historical times problematics. The language is characterised with didactical tones, passionativenes. K. Saja... [to full text]
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Carr, Margaret A. "“Say Me/See Me/Say It”: Staging Stories and Transforming Communities in The Vagina Monologues." Thesis, Boston College, 2010. http://hdl.handle.net/2345/1207.
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Thesis advisor: Caroline BicksIn the last ten years, Eve Ensler’s The Vagina Monologues has morphed from a successful off-Broadway production into an activist movement that fosters fundraising productions of the play by community and campus groups in almost every country. In this thesis, I examine how the ‘body stories’ told by actual women made it to community stages all over the world through a series of translations: first, how Ensler poetically/theatrically interprets their stories; second, how the monologic form (and the current multiple-actor form) of the play affects the meaning of those stories; third, projecting how the audience reacts to those stories; and last, suggesting possibilities for broadening the audience’s experience into community discussion and social change
Thesis (BA) — Boston College, 2010
Submitted to: Boston College. College of Arts and Sciences
Discipline: English Honors Program
Discipline: College Honors Program
Discipline: English
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Moreau, Frédérick. "MONOLOGUES DE FEMM : un montage scénique de sept monologues de la littérature." Thesis, Université Laval, 2009. http://www.theses.ulaval.ca/2009/26464/26464.pdf.
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Messagi, Junior Mario. "Dialogos em monologo." reponame:Repositório Institucional da UFPR, 2010. http://hdl.handle.net/1884/24397.
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Duponchel, David. "Vnitřní monolog." Master's thesis, Akademie múzických umění v Praze. Filmová a televizní fakulta AMU. Knihovna, 2006. http://www.nusl.cz/ntk/nusl-78768.
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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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Branco, Elizabeth Hey. "Molly's monologue in Ulysses." reponame:Repositório Institucional da UFPR, 2010. http://hdl.handle.net/1884/24339.
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Larsdotter, Nilsson Emma, and Maria Almqvist. "Monolog eller Dialog?" Thesis, Uppsala universitet, Företagsekonomiska institutionen, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-168990.
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Konsumentens roll har förändrats. Hon har gått från att ha varit en ständigt utsatt mottagare av företags budskap till att bli en inflytelserik individ med förmåga att påverka och ställa krav. Hennes nya krav innebär att företag tvingas förändra sin syn på kommunikationen som en monolog från företag till konsument, till att behandla den som en dialog mellan de två parterna. Trots att kravet på dialog kommit från konsumenten måste företag motivera dagens upptagna konsument till att delta i dialogen för att denne ska lägga tid på att engagera sig i denna. Sådan problematik utspelas bland annat i sociala nätverk. Denna studie behandlar det sociala nätverket Facebook. Med en kvantitativ ansats testas, med stöd från tidigare studier, ett antal hypoteser som undersöker vilka motiv som motiverar en konsument till att besöka ett företags facebooksida, aktivt använda sig av ett företags facebooksida, samt vilka motiv som motiverar konsumenten till att föra en dialog med företaget på en facebooksida. Resultatet av denna studie visar att olika typer av motivation uppmuntrar olika typer av kommunikativt beteende hos konsumenten. Det visade sig att en hög grad av motiven att vilja bli underhållen och att vilja få information hänger samman med att en konsument blir benägen att besöka ett företags sida på Facebook. Vidare kunde konsumentens innehav av motiven att vilja få information, vilja kommunicera med andra och vilja bygga upp en identitet förklara konsumentens benägenhet att aktivt använda sig av ett företags facebooksida. Likaså visade sig viljan att kommunicera med andra och viljan att skapa sig en identitet motivera konsumenten att delta i en dialog med ett företag på Facebook. För att engagera konsumenten till att hålla en fullständig dialog på Facebook bör företag alltså tillgodose behov om social interaktion och identifikation genom sin facebooksida.
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Sitková, Kristina. "Herec a monolog." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-202472.
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This thesis deals with theme The actor and the monologue. After defining the concept of monologue, there is an excursion into history and the development of the monologue. There are given personal experiences of working on monologues during the studies and talks about transformation of the ideas about monologue. In the end there is also definition of the concept of monodrama and experiences with unfinished work on monodrama by Ivan Vyrypajev called July.
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Kashioka, Hideki. "ANALYSIS FOR STRUCTURE OF MONOLOGUE." INTELLIGENT MEDIA INTEGRATION NAGOYA UNIVERSITY / COE, 2006. http://hdl.handle.net/2237/10412.
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Ohno, Tomohiro, and Shigeki Matsubara. "Corpus-based Speech Monologue Parsing." INTELLIGENT MEDIA INTEGRATION NAGOYA UNIVERSITY / COE, 2005. http://hdl.handle.net/2237/10367.
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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’êtreThis 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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Segtnan, Birgit Karlsen. "Powered By Nature - Monologer og dialoger på EXPO 2010 :." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for tverrfaglige kulturstudier, 2011. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-13012.
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I denne oppgaven har jeg ønsket å se på hvordan den norske deltakelsen på verdensutstillingen i Shanghai 2010 ble brukt strategisk til å fremme norske interesser og utvikle bilaterale forhold mellom Norge og Kina. Den norske paviljongen var et offentlig-privat samarbeid (OPS) mellom myndigheter og næringsliv om å bygge en paviljong som skulle gi et bilde av Norge. Jeg bygger mine analyser på syv kvalitative intervju med representanter fra bedriftene. I tillegg har jeg gjort intervjuer med andre i EXPO-organisasjonen, inkludert guidene på utstillingen og konseptutviklerne. Jeg bruker også dokumenter og observasjoner som bakgrunn for min analyse. Mine begreper er hovedsaklig hentet fra Madeleine Akrich (1992) der jeg beskriver iscenesettelsen av Norge på utstillingen som et scenario. I tillegg har Bruno Latours (1988) tingpolitikk gitt en god innfallsvinkel til å forstå tingene på utstillingen som potensial for dialog og debatt. Hvilke elementer inngikk i scenarioet i paviljongen? Hvordan ble paviljongen brukt av publikum og av norske bedrifter? Var den norske paviljongen preget av monologer (hegemonitankegang) eller dialoger (tingpolitikk)? Jeg hevder i denne oppgaven at den norske utstillingen først og fremst var preget av en kopipolitisk monolog. Gjennom filmatiske representasjoner av norsk natur og samfunnsliv framsto Norge som et naturromantisk scenario og eksempel til etterfølgelse. De norske guidene ble samtidig nødt til å kompensere for at Norgesfortellingen i filmene ikke engasjerte publikum. Guidene var paviljongprogrammets fleksible ”mekanisme” som kunne påvirke publikumsflyten og skape interesse ved å invitere til dialog rundt filmene. Samtidig betrakter jeg media som en del av komplekset rundt utstillingen. Ulike mediekanaler og teknologiske muligheter bidro til en fragmentering av det naturromantiske scenarioet i paviljongen. Både ”nettpublikummeren”, ”avispublikummeren” og ”TV-publikummeren” ble knyttet til den sosiale scenen på den norske paviljongen og EXPOen gjennom ulike mediekanaler uten selv å være til stede. Paviljongen ble samtidig benyttet som møteplass for myndigheter og næringsliv og i det lukkede businessenteret var det større grad av tingpolitisk dialog. Den norske paviljongen ble et obligatorisk passeringspunkt hvor bedriftene måtte bidra i OPS-prosjektet for å få tilgang til sentrale nettverk. Et viktig poeng i denne oppgaven er at Norges deltakelse består av både monologer og dialoger og beveger seg fra kopipolitikk i utstillingen til pragmatikk i businessenteret
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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 vieYasmina 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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Kammensjö, Helene. "Discourse connectives in Arabic lecturing monologue /." Göteborg : Acta Universitatis Gothoburgensis, 2005. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=014821132&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Hearl, Fiona M. "Synthetic approaches to novel morphinan monologues." Thesis, University of Strathclyde, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366778.
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Kammensjö, Helène. "Discourse connectives in Arabic lecturing monologue /." Göteborg : Göteborg university, 2005. http://catalogue.bnf.fr/ark:/12148/cb402440269.
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Danan, Joseph. "Transpositions du monologue intérieur au théâtre." Paris 3, 1994. http://www.theses.fr/1994PA030155.
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L'apparition du monologue interieur romanesque coincide, au theatre, avec celui d'une dramaturgie de la subjectivite dont on peut suivre les developpements a la fin du xixe siecle et tout au long du xxe. Peu d'auteurs ont exolicitement cherche ( comme o'neil ) a transposer au theatre le monologue interieur romanesque. Le detour par la theorisation ebauchee par eisenstein, qui se demanda comment transposer le monologue interieur au cinema, permet pourtant de mieux reperer, dans le foisenement des formes theatrales modernes, ces "monologues interieurs de sons et d'images" qui se donnent pour tache plus ou moins implicte de restituer, par le jeu du montage et du contrepoint, le mouvement de la pensee. De quelle pensee s'agit-il? celle, saisie, comme le voulait dujardin, "en son etat naissant", que le recours a l'image autorise a mieux reduire a ses aspects non rationnels, non logiques? ou bien le "monologue interieur" peut-il etre le creuset ou s'elabore, comme le laissait entendre eisenstein, une pensee plus "haute", eventuellement detachee de la subjectivite d'un moi conduit par beckett (comme le monde que ce moi reflete) au bord de l'extinction?The apparition of the novelistic stream of consciousness coincides, in theatre, with a dramatur5gy of subjectivity whose developments can be witnessed since the end of the nineteenth century and throughout the twentieth century. Few authors have explicitly attempted (as o'neil did) to transpose the novelistic steam of consciousness within theatre. However. Turning for a time to the theorization initiated by eisenstein, who reflected on how to transpose stream of consciousness within film, helps identify among the proliferation of modern theatrical forms these "streams of consciousness of sounds and images" intended more or less implicity to restore the movement of thought through the interplay of montage and couterpoint. What form of thought is it? the one, as dujardin wished, captured "in its nascent state", where recourse to the image gives licence to further reduce thought to its non-rational, non-logical aspects? or rather, as eisentein suggested, can "streams of consciousness" be the crucible where "higher" thought is formed, and is then possibly detached from the subjectivity of a self driven (like the word that this self reflects) to the brink of extinction, as in beckett's work?
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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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Getova, Radosveta Valtchanova. "Monologue and dialogue in French revolutionary rhetoric." Thesis, University of Southampton, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.398825.
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Lier-De, Vitto Maria Francisca de Andrade Ferreira. "Os monologos da criança : "deliros da lingua"." [s.n.], 1994. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270545.
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Orientador: Claudia Thereza Guimarães de LemosTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-07-19T20:03:16Z (GMT). No. of bitstreams: 1 Lier-DeVitto_MariaFranciscadeAndradeFerreira_D.pdf: 5774348 bytes, checksum: 44844ff014b6e93f058c34c941c4413f (MD5) Previous issue date: 1994
Resumo: São os monólogos da criança que estão em foco nesta tese. Esse acontecimento lingüístico ganha a dignidade de tema na Psicologia do Desenvolvimento com Piaget em seu livro de 1923, A Linguagem e o Pensamento da Criança, sob o título de "fala egocêntrica". A ela é atribuído o estatuto de "elo genético", índice de uma longa transição entre o que o autor designou de "pensamento autístico", o mais primitivo e o "pensamento socializado", aquele característico do adulto. A expressão "egocentrismo" tem suas raízes na convicção de Piaget relativamente à condição inicial da criança que, para ele, é de centração ou "manque de décentration". Trata-se de centração na perspectiva do próprio sujeito. Para Piaget, o egocentrismo caracteriza o pensamento da criança. Daí sua fala ser também "egocêntrica". Em A Formação do Símbolo na Criança, de 1946, Piaget apenas tangencia a "fala egocêntrica". A linguagem ali é deslocada da posição de índice do desenvolvimento da criança para a de um dos reflexos de um processo central mais profundo, dirigido por um regulador interno. A estruturação cognitiva passará a ser inferida a partir dos "jogos". O desprestígio da "fala.egocêntrica no livro de 1946 tem raízes no desinteresse de Piaget pela linguagem. É .ele quem diz, em 1973, ter deixado de acreditar nas relações estreitas entre a linguagem e o pensamento. Dessa descrença resulta o afastamento da linguagem (e da "fala egocêntrica") para as margens de sua reflexão até a total exclusão de considerações sobre ela nos trabalhos posteriores aos dois discutidos por mim.Vygotsky, outro psicólogo voltado para o desenvolvimento da criança põe a "fala egocêntrica" em destaque. Ela terá uma dupla importância para ele. (1) Uma empírica, já que é instituída como material factual de análise. Nessas produções da criança ele depreende características que propõe serem as mesmas da "fala interna". (2) A outra é de natureza teórica, já que Vygotsky entende ser a "fala egocêntrica" o lugar da constituição da unidade dialética, lugar da imbricação da linguagem e da ação - acontecimento responsável pela criação de um outro plano: o cognitivo/interno. Entretanto, embora Vygotsky tenha almejado oferecer uma proposta radicalmente diferente da de Piaget, ao manter inquestionada a expressão "egocêntrica" em sua obra, ele não pôde promover a revolução anunciada porque nela se mantém a noção central do projeto piagetiano, que é a de "centração". Procurei mostrar os problemas incontomáveis, a meu ver, que a fala egocêntrica introduz na obra de Vygotsky. Embora alçada para uma posição destaque, ela ali não frutifica mas complica a argumentação do autor. Na área de Aquisição de Linguagem, os monólogos tem uma presença sintomática porque descontínua e irregular. Ruth Weir os coloca em pauta mas eles serão esquecidos até o final dos anos oitenta, quando Nelson e Gerhardt voltam suas atenções para o "discurso". Nelson desvia o foco para a questão da extensão das produções da criança e entende serem os monólogos projeções de episódios rotineiros seqüenciados na memória como "scripts". Gerhardt chega até Foucault mas faz uma interpretação pragmática do que lê e os monólogos se prestarão à investigação de "formas no discurso". Ao longo desses quase trinta anos Weir será citada e uma parte de seus "achados" - as "language pratice" - tomados como "evidências empíricas" em favor do argumento de que estruturas e mecanismos lingüísticos começam a se tornar acessíveis à criança. Se a questão é essa, perde-se de vista a integridade dos monólogos porque entra em cena a sentença.Em face desse quadro, procurei localizar o porquê dessa presença sintomática e oferecer uma interpretação alternativa dos monólogos. A primeira questão que coloco deriva de uma indagação de George Miller no prefácio ao livro de Ruth Weir: "por que não se ouve mais sobre os monólogos ?" , pergunta ele. Eu diria que porque o diálogo não se constitui em indagação para os pesquisadores. Sintoma disso são as exclusões sistemáticas de imitações ou "citações" da fala do outro do conjunto das produções assumidas como analisáveis. O segundo problema que levanto diz respeito ao procedimento de aplicação de um instrumental descritivo da Lingüística que tem a sentença como unidade analisável. Os pesquisadores procuram encontrar nos "dados" apenas evidências de uma estruturação seqüencial progressiva e perdem de :vista, assim, a especificidade do material empírico em questão. Decorre disso que "discurso" é unidade definida pelo critério de extensão: é unidade maior, composta por uma sucessão de sentenças que expressam conteúdos cognitivos. O terceiro ponto que problematizo, qual seja, o da concepção de sujeito que se inscreve nos estudos sobre os monólogos. Neles reina o sujeito psicológipo, aquele que "começa a saber sobre" a linguagem, que começa a se constituir em senhor do seu desenvolvimento
Abstract: Not informed.
Doutorado
Doutor em Linguística
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Conley, Sara J. "Inner Monologue: Relationship to Personality and Psychopathology." Otterbein University Distinction Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=otbndist1620462072270782.
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Cuénin-Lieber, Mariette. "Corneille et le monologue : tradition et evolution." Strasbourg 2, 1996. http://www.theses.fr/1996STR20086.
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Le role que joue le monologue dans le theatre de corneille est caracterise a la fois par la permanence d'une tradition et par une evolution novatrice qui semble propre au poete. Le livre premier de la these est consacre a la naissance, au developpement de la tradition fort ancienne dont corneille a herite, et aux questions que l'existence meme du monologue a posees aux auteurs et aux theoriciens qui mediterent au xviie siecle sur le genre dramatique (chapelain, d'aubignac, lamy et corneille lui-meme). Dans le second livre est etudie ce que corneille a fait des usages qu'il a recueillis. Au cours de sa longue carriere, il est passe d'une fidelite a la tradition. Fidelite qui s'accompagnait deja de choix personnels (rejet du procede de l'ecoute, de la tirade-monologue), a un abandon progressif du monologue. Cet abandon, qui parait volontaire, n'est pas denue de sens. Il a sa source dans les gouts de corneille qui ne le portaient pas a abuser de l'emploi du monologue, mais aussi dans l'evolution du heros et de l'univers mis en scene par le poete, univers moral et politiqueThe thesis deals with monologue in pierre corneille's plays. It is divided into two parts. In the first one, as an introduction to the investigation of corneille's plays, we have studied the building up of the tradition of monologue, t the practice of soliloquy from the greek tragic poets to alexandre hardy, corneille's nearest predecessor and also several writings on monologue in the seventeenth century (written by chapelain, d'aubignac, lamy and corneille himself). In the second part, we have examined how corneille first followed the tradition of monologue. In his comedies, the monologues are numerous and nearly play the same part as in hardy's pastorals. Later the number of monologues in corneille's dramas gradually diminishes until the monologue completely disappears in the last plays. We have studied how corneille replaces the monologue as greater importance is taken by the scenes with the confident. We have also tried to explain the meaning of this important change that was probably voluntarily made by corneille as well as the relation between the evolution of corneille's hero and the disappearance of monologue in his drama
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Chatard, Virginie. "Le monologue dans le théâtre de Michel Tremblay." Bordeaux 3, 1997. http://www.theses.fr/1997BOR30048.
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La premiere partie de l'etude s'intitule : qu'est-ce qu'un monologue ? cette question en apparence naive renvoie a toute la problematique du sujet : a la fois forme et genre, cette manifestation du langage dramatique ne beneficie pas, comme son pendant le dialogue, d'une seule definition simple et precise mais de plusieurs, variant selon les perspectives historiques, litteraires et linguistiques qui l'approchent. Un survol historique de la forme, tant dans le theatre occidental que dans les productions culturelles quebecoises, s'imposait alors afin de mieux extraire une definition permettant d'aborder plus precisement le theatre tremblayen. Et puisque les problemes de definition du monologue ont trait au statut du destinataire, les pieces de tremblay sont etudiees, dans la deuxieme partie, en fonction des personnages presents sur scene, c'est-a-dire qu'elles sont subdivisees entre pieces monologiques, pieces a deux personnages et enfin pieces a plusieurs personnages. Une telle decoupe etait obligatoire puisque presque toutes les pieces de michel tremblay contiennent ou ne sont que des monologues. Apparait alors la fonction fondamentale du monologue, qui n'est plus une simple forme mais participe de la structure meme de la piece. Dans la troisieme et derniere partie, les variations formelles du monologue sont analysees. Dans le cas de tremblay, elles deviennent omnipresentes et quasi systematiques en integrant dans le discours solitaire des pratiques monologiques telles que la chanson, la conversation telephonique. . . Etc. Le monologue devient donc inherent a tout le discours tremblayen et une etude du monologue dans les romans de l'auteur permet de se rendre compte de l'importance de la forme dans l'oeuvre, qui revele sa coherence grace a ce mode d'expression. Le monologue, expression proteiforme, et participant a la fois de l'interiorite et de l'exteriorite, devient donc la justification de toute l'oeuvre de michel tremblay qui fait indifferemment evoluer les memes personnages a travers le theatre et dans les romansThe first part of this study is entitled : what is a monologue ? this seemingly naive question refers to the core of the subject : both as a form and genre, but unlike its conterpart dialogue, this kind of dramatic language doesn't have a single accurate and simple definition. It has several which vary according to historical, literary and linguistic perspectives. A historical survey of the form within western drama and quebecoise cultural productions was a necessary basis for the development of a definition that would serve as an enlightening introduction to our study of tremblay's drama. And, since the difficulties ancountered in defining monologues are linked to the addressee's status, in the second part of the study tremblay's plays are studied according to the nombre of characters on stage ; a distinction is made between plays with one, two or more characters on stage. Such a division is necessary since almost all of michel tremblay's plays contain monologues or are mere monologues. The fondamental fonction of the monologue is thus put into relief : it is no longer a simple form but become a structural pattern. In the third and last part the variations of the form are analysed. In tremblay's case, they are omnipresent and almost systematic ; practices such as songs and telefone conversations are introduced into the field of solitary discourse. Monologues thus become inherent in tremblay's discourse and the study of the form in the writer's novels highlights its importance in the entire work which owes its coherence to this mode of expression. As a protean form, partaking of both inner and outer worlds, monologues therefore become the justification for all the works of michel tremblay who develops the same characters indiscriminately through drama and fiction
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Matsubara, Shigeki, Masaki Murata, and Tomohiro Ohno. "Linefeed Insertion into Japanese Spoken Monologue for Captioning." ACL(Association for computational linguistics), 2009. http://aclweb.org/anthology/.
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Der, Staay Elisabeth van. "Le Monologue intérieur dans l'oeuvre de Valéry Larbaud." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37601691d.
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Painter, Megan G. "The dramatic monologue aesthetic and the reader experience /." free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9901268.
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Kirk, Steven J. "Second language spoken fluency in monologue and dialogue." Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/38421/.
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Although second language spoken fluency has long been recognized as a major component of language proficiency, it has never been clearly defined. It has been shown that fluency is a complex phenomenon, with a host of relevant factors, and it has been suggested that it might be better separated into multiple concepts, such as cognitive fluency and utterance fluency. There is also evidence that fluency has a dialogic aspect, that is, that the fluency of a conversation is a co-construction of the two speakers, rather than simply alternating monologues. This can be observed in the confluence created by smooth turn exchanges, which results in minimizing gaps and avoiding overlap. The present study seeks to examine the co-construction of dialogic fluency through a parallel case study of two Japanese learners of English. One learner was of lower-intermediate proficiency, and the other was of higher proficiency, but both were able to create good impressions of fluency in conversations with native speakers of English. The case study design was semi-experimental in that it involved a story-retelling task done in monologue and dialogue, which was repeated to take into account the effect of practice. The case study allowed the close examination of the construction of fluency in the story-retelling task moment-by-moment through the course of the retellings, taking into account all relevant factors. The semi-experimental, parallel case study design allowed the findings to be compared (1) between monologue (where the learner recorded herself telling the story alone) and dialogue (where the learner told the story to a native speaker interlocutor), and (2) between the two learners of differing proficiency. This study was also mixed-methods in that it combined a qualitative, grounded theory approach to data analysis involving discourse analytic techniques, with quantitative comparisons of temporal variables of fluency. It was also multi-modal in that video was employed to take into account gaze, gesture, and head nods. Results of quantitative analyses revealed that the dialogues were comparatively more fluent than the monologues in terms of speech rate, articulation rate, and length of silences, for both speakers, although the higher-proficiency subject had faster speech and articulation rates than the lower-proficiency learner. This implies that narrative in dialogue is not just a listener occasionally backchanneling while the speaker delivers a monologue. The qualitative analyses revealed that the co-construction of smooth conversation was facilitated by the alignment of rhythm between the speaker and listener, supported by gaze, gestures, and head nods. The learners in these case studies were able to employ different fluency techniques for stressing words in phrases to create rhythm in spite of lower speech rates, and were able to adjust those techniques to maintain rhythm with even lower speech rates at difficult points of the story. These results confirm previous research that some apparent “dysfluencies” in speech should be considered as speech management phenomena, that positively contribute to the co-construction of fluent conversation. They also suggest that alignment between the speakers in terms of rhythm of speech and gaze are important in conversation, confirming previous research showing alignment at these and other levels of interaction. Finally, it appears that fluency is a multi-level construct, and that dialogic fluency should be considered a separate construct from cognitive fluency, of equal or more importance. This has implications for language testing, such that fluency may not be able to be captured with single test types, and for language teaching and learning more generally.
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Cina, Jan. "Zazpívej monolog, baletko! - aneb syntetický herec." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-202473.
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In my thesis, I decided to describe how all the means that actor?s body and soul comprise can by synthesized into something that is able to tell a story, communicate and be passed on. I myself am still in the middle of the process of discovering all the separate particles of those means, as well as of how they function, how they can be used and how they can be worked with. During my studies, and moreover during my lifelong encounter with theatre and art, this topic has intrigued me and I have always come across it to some extent. That is why in my thesis I focus not only on the already discovered andexamined kind of synthetic stage appeal, but also on the undiscovered one. Because a man himself represents his one and only primordial universe and his own utterly first teacher, through whom every perception has to pass. And it goes differently with every single person. Whether the person is an actor, a ballet girl, or a singer.
In the first part of my thesis, I mainly focus on the historical overview of theatre?s origin and function and I follow the evolution of the so-called synthetic acting. Furthermore, I present several individual personalities, theatrical groups and their artistic movements, who later explored the concept of synthetic acting intentionally. To sum up, I try to reflect my own experience with synthetic acting and, in the end of my thesis, I concentrate on my search for my very own form of synthetic acting.
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Stevens, Blake Christopher. "Solitary persuasions : the concept of the monologue in French opera from Lully to Rameau /." May be available electronically:, 2007. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.
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Paul, Jean-Nicolas. "La pensée romanesque suivi de La ballade d'un schizophrène." Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/39416.
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Cette thèse de recherche-création se divise en trois parties.
La première présente une recherche sur le monologue intérieur en tant que genre littéraire. Il s’agit, pour sortir des apories critiques entourant le monologue intérieur, de remonter aux origines de la notion de genre et de définir le monologue intérieur par ses finalités plutôt que par ses traits formels. D’abord, un des effets propres de ce genre romanesque est de donner au lecteur le sentiment d’une reconnaissance échouée. L’expression littéraire de cet échec de la reconnaissance amène à sa suite une esthétisation des processus spéculatifs reposant sur l’aperception, la mémoire et la fabulation. Il en découle également que l’un des thèmes centraux du monologue intérieur est la question de l’identité personnelle.
La deuxième partie de la thèse est une fiction d’environ quarante mille mots utilisant le monologue intérieur. Ce récit débute alors que le héros est au volant de sa voiture, la nuit, et qu’il voit un poids lourd venir en sens inverse ; il envisage de tourner le volant pour traverser la ligne jaune et réaliser un face-à-face mortel, mais hésitant au dernier moment, il poursuit sa route en se replongeant dans ses souvenirs et ses pensées. On apprend rapidement que le personnage principal vient de commettre un crime.
La troisième partie de la thèse vise, dans un dialogue critique et constructif entre composition et théorisation, à évaluer la force productive des concepts proposés dans la première partie.
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Thompson, Susan Elizabeth. "Presenting research : a study of interaction in academic monologue." Thesis, University of Liverpool, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.393678.
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Stephan, Hayek Christelle. "Linguistique et rhétorique du monologue dans le théâtre racinien." Paris 3, 2008. http://www.theses.fr/2008PA030042.
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Nous avons abordé la forme langagière particulière qu’est le monologue pour nous intéresser, plus particulièrement, à la place qu’occupe cette forme dans le théâtre racinien. Défini intuitivement comme un discours que se tient un personnage à lui-même, le monologue devient, au fil de l’analyse, un puits inépuisable de richesses langagières, pragmatiques et rhétoriques. Or, le meilleur moyen d’analyser une forme langagière est de s’intéresser à la langue qui en constitue la trame ainsi qu’aux composantes qui en font une forme de discours. Nous avons tenté, dans une première partie, de définir le monologue, en partant des définitions lexicologiques et étymologiques pour aboutir à une caractérisation dramaturgique de cette forme particulière du discours théâtral ; le deuxième chapitre a été exclusivement consacré aux monologues raciniens abordés sous divers aspects, alors que dans le troisième, nous avons établi une comparaison entre les monologues raciniens et cornéliens. Nous nous sommes ensuite intéressés, dans une deuxième partie, aux seuls monologues de Racine à travers une analyse linguistique pointue des trente monologues que contiennent ses pièces, dévoilant un à un les mécanismes de la métrique, de la syntaxe et du lexique qui les régissent, et explorant les spécificités de la communication dans cette forme de discours si particulière. La troisième partie, quant à elle, a été consacrée à l'analyse rhétorique et conversationnelle du monologue, abordé selon les concepts de la pragmatique et de la rhétorique classiqueWe have approached the particular form of language which is the monologue, to concentrate our interest on the place occupied by this form in Racine’s plays. As the analysis progressed, the monologue, that was intuitively defined as a speech held by a character to itself, became an inexhaustible mine of linguistic, pragmatic and rhetorical richness. However, the best way to analyze a linguistic form is to focus on the language that constitutes its framework, as well as on the components that turn it into a form of speech. We have tried, in the first part, to define the monologue starting from the lexicological and etymological definitions and ending up with a dramaturgical characterization of this particular form of theatrical speech; the second chapter has been exclusively dedicated to various aspects of the Racine’s monologues. In the third chapter, we have established a comparison between our corpus and the Cornelian monologues. Then, in the second part, we have only been interested in the Racine’s monologues, throughout a narrow linguistic analysis of the thirty monologs contained in his plays, revealing one by one, each of the ruling metric, syntactic and lexical mechanisms, and exploring the specificities of the communication in this so particular form of speech. The third part has been dedicated to the analysis of Racine's monologues using the concepts of rhetoric and pragmatic
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Triau, Christophe. "Dramaturgies du monologue dans le théâtre du XVIIe siècle." Paris 10, 2003. http://www.theses.fr/2003PA100097.
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Cette thèse étudie les statuts et les utilisations dramaturgiques du monologue dans le théâtre français du XVIIe siècle, de 1616 à 1677. Elle analyse d'abord son évolution numérique, sa place dans les discours théoriques et ses spécificités scéniques (performance, métadramaticité). Elle l'aborde à travers les oeuvres de Racan, Viau, Corneille (de Mélite à Rodogune), Molière et Racine (et, incidemment, Mainfray, Mairet, Rotrou). Il y apparaît comme un élément problématique de la mimèsis dramatique, point d'ancrage du jeu sur les points de vue internes et leurs contradictions : dans la succession du défilé pastoral, par l'établissement de commentaires singuliers sur la fiction comique, ou au sein de la perspective tragique qu'il complexifie ; et comme le lieu privilégié d'exposition de la persona, et donc de l'adhésion du spectateur à celle-ci, qu'il l'impose par l'affirmation tautologique et hyperbolique, ou, avec la scission particulier/public, puisse jouer à la rendre labileThis study is about the status and the dramaturgical uses of the monologue in French seventeenth century theatre, from 1616 to 1677. It first analyses its numerical evolution, how theory talks about it, and its specificities on the stage (performance, metadramaticity). It studies it through the works of Racan, Viau, Corneille (from Mélite to Rodogune), Molière and Racine (and, sometimes : Mainfray, Mairet, Rotrou). The monologue appears as a problematical element of the dramatic mimesis, a base of the game on the internal points of view and their contradictions : in the pastoral defile, by constructing singular commentaries of the comic fiction, or inside the tragic perspective it makes more complex ; it also appears as a privileged way of the exposition of the persona, and, so, of the relation the audience can build with her, wether it “imposes” her in a tautological and hyperbolic way or, in these times of split between public and particulier, it plays with making her uncertain
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Lemonnier, Anne-Frédérique. "Aux sources du monologue intérieur :"Les lauriers sont coupés"." Bordeaux 3, 2007. http://www.theses.fr/2007BOR30078.
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Watson, Matthew E. "Reference frame selection and representation in dialogue and monologue." Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/25291.
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This thesis is an investigation into the use and representation of reference frames. A reference frame is an axial co-ordinate system that is represented by the setting of at least four parameters: origin, orientation, direction and scale (Logan & Sadler, 1996). The reference frame parses space into different regions around an object (reference object) so that the location of other objects (figure objects) can be described in relation to the reference object. There are at least three different types of reference frame recognised in the literature (e.g. Levinson, 2003; Logan & Sadler, 1996; Miller & Johnson-Laird, 1976): the absolute reference frame, based upon directional features of the environment (e.g. gravity), the intrinsic reference frame, based upon the intrinsic direction of the reference object, and the relative reference frame, based upon the intrinsic sides of a viewer. This thesis is split into three separate sections each investigating how it is that reference frames are employed to allow us to describe the location of objects. The first section investigates the use of reference frames in dialogue. There has been little work investigating how interlocutors communicate object location to each other. Research investigating the use of non-spatial language in dialogue has shown that interlocutors come to speak in a similar fashion to one another (e.g. Branigan, Pickering & Cleland, 2000; Garrod & Anderson, 1987). Pickering and Garrod (2004) have argued that this is evidence that interlocutors align representations during dialogue. The first section investigates whether or not interlocutors align reference frames. If a speaker uses an intrinsic reference frame is an addressee more likely to then use an intrinsic reference frame? The results show that interlocutors do align reference frames and this is interpreted in terms of the interactive alignment model of dialogue (Pickering & Garrod, 2004). The second part of the thesis uses a dialogue paradigm, and the fact that interlocutors are more likely to use the same reference frame as just used by a partner than an alternative, to investigate different taxonomies of reference frames. The experiments investigate the different predictions made by Levinson’s (1996, 2003) taxonomy of reference frames and the Traditional taxonomy of reference frames (Miller & Johnson-Laird, 1976). The results support the Traditional taxonomy of reference frames over Levinson’s taxonomy, but future research is suggested to help separate the contribution of different aspects of reference frames to the alignment effect in dialogue. The final part of the thesis is an investigation into how the distance parameter is set. These experiments show that a functional interaction between the figure and the reference object leads to the distance parameter being set as shorter than if the two objects are not interacting.
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Gomes, Mario. "Gedankenlesemaschinen : Modelle für eine Poetologie des Inneren Monologs /." Freiburg, Br. : Rombach, 2008. http://d-nb.info/991718674/04.
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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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INAGAKI, Yasuyoshi, Hideki KASHIOKA, Shigeki MATSUBARA, and Tomohiro OHNO. "Simultaneous Summarization of Japanese Spoken Monologue for Real-time Captioning." IEEE, 2007. http://hdl.handle.net/2237/15087.
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Inagaki, Yasuyoshi, Takehiko Maruyama, Hideki Kashioka, Shigeki Matsubara, and Tomohiro Ohno. "Dependency Parsing of Japanese Spoken Monologue Based on Clause Boundaries." ACL(Association for computational linguistics), 2006. http://aclweb.org/anthology/.
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Capp, Laura. "Dramatic audition: listeners, readers, and women's dramatic monologues, 1844-1916." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/3438.
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The "dramatic monologue" is curiously named, given that poems of this genre often feature characters not only listening to the speakers but responding to them. While "silent auditors," as such inscribed characters are imperfectly called, are not a universal feature of the genre, their appearance is crucial when it occurs, as it turns monologue into dialogue. The scholarly attention given to such figures has focused almost exclusively upon dramatic monologues by Robert Browning, Alfred Tennyson, and other male poets and has consequently never illustrated how gender influences the attitudes toward and outcomes of communication as they play out in dramatic monologues. My dissertation thus explores how Victorian and modernist female poets of the dramatic monologue like Elizabeth Barrett Browning, Augusta Webster, Amy Levy, and Charlotte Mew stage the relationships between the female speakers they animate and the silent auditors who listen to their desperate utterances. Given the historical tensions that surrounded any woman's speech, let alone marginalized women, the poets perform a remarkably empathetic act in embodying primarily female characters on the fringes of their social worlds--a runaway slave, a prostitute, and a modern-day Mary Magdalene, to name a few--but the dramatic monologues themselves end, overwhelmingly, in failures of communication that question the ability of dialogue to generate empathetic connections between individuals with radically different backgrounds. Silent auditors often bear the scholarly blame for such breakdowns, but I argue that the speakers reject their auditors at pivotal moments, ultimately participating in their own marginalization. The distrust these poems exhibit toward the efficacy of speaking to others, however, need not extend to the reader. Rather, the genre of the dramatic monologue offers the poets a way to sidestep dialogue altogether: by inducing the reader to inhabit the female speaker's first-person voice--the "mobile I," in Èmile Benveniste's terms--these dramatic monologues convey experience through role-play rather than speech, as speaker and reader momentarily collapse into one body and one voice. Such a move foregrounds sympathetic identification as a more powerful means of conveying experience than empathetic identification and the distance between bodies and voices it necessitates.
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Lezcano, Tosca Hugo. "El género del soliloquio en la literatura hispánica, desde San Agustín a Lope de Vega /." Madrid : Universidad autónoma de Madrid, 2006. http://catalogue.bnf.fr/ark:/12148/cb40219363x.
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Hýča, Martin. "MONOLOG JAKO AUTENTICKÁ VÝPOVĚD V KONTEXTU MODERNÍHO DRAMATU." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-263148.
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The thesis deals with the notion of monologue and monologicity as a peculiar means of expression of the modern drama. The concept of monologue is defined within the frame of its relation towards dialogue, in the context of theoretical thinking about drama and theater, and in terms of the application of these concepts in everyday life.It is based on the theoretical works by Jan Mukařovský and Jiří Veltruský. The concept of monologue as a lack of dialogicity is being challenged with understanding monologue as a haven of authenticity, a space for authentic testimony. Through the general reflection, thoughts are put in connection with modern drama and illustrated on examples from particular drama works. The thesis leads into a reasoning about the dialogue between the stage and the auditorium as a way-out from the monological situation on the stage.
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Carter, Mindy Roberta. "The teacher monologues : exploring the experiences and identities of artist-teachers." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/42420.
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In this research I examine the experiences of four Conservatory style trained actors, who go onto complete teacher education programs. In keeping with a/r/tography this research uses social science methods and creative methods of data collection. Interviews and reflective writing about the participant’s educational and experiential backgrounds were complimented by the writing of monologues.
Themes from the data collected during interviews, reflective writing and monologues led me to understand that: there is a connection between developing consciousness and having a noetic experience; actor-teachers want to talk about their noetic experiences; residue is an a/r/tographic rendering used to describe the way that having an illuminating experience in theatre school affected the participants; and an immanent curriculum can be understood by theatrical engagement.
In addition to exploring the interview data and monologues, time is spent understanding the works of Antonin Artaud, a prolific theatre artist and a/r/tography, a method of arts-based research. This theoretical and a/r/tographical investigation leads to the creation of Interludes. These Interludes, theorized as rhizomatic curricular offshoots, allow for multiple entry points into the new understandings.
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Inagaki, Yasuyoshi, Naoto Kato, Hideki Kashioka, Shigeki Matsubara, and Tomohiro Ohno. "Incremental Dependency Parsing of Japanese Spoken Monologue Based on Clause Boundaries." ISCA(International Speech Communication Association), 2005. http://hdl.handle.net/2237/15105.
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Landry, Jenny. "Quand le monologue dialogue, le discours monologique d'Yvon Deschamps, 1968-1980." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0028/MQ41936.pdf.
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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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