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Journal articles on the topic 'Monologen'
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1
Telhaug, Alfred Oftedal. "Forelesningen (monologen) som formidling." Uniped 34, no. 01 (February 2, 2011): 58–65. http://dx.doi.org/10.18261/issn1893-8981-2011-01-05.
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Schock, Werner. "Individuation und Sinntotalität in Schleiermachers «Monologen»." Analytische Psychologie 21, no. 1 (1990): 52–65. http://dx.doi.org/10.1159/000471296.
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ten Cate, Th J. "Luisteren naar monologen of naar dialogen?" Tijdschrift voor Medisch Onderwijs 19, no. 1 (February 2000): 29–30. http://dx.doi.org/10.1007/bf03056446.
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Schorlemmer, Uta. "Theaterarbeit an der Sprache." Scenario: A Journal of Performative Teaching, Learning, Research III, no. 2 (July 1, 2009): 7–21. http://dx.doi.org/10.33178/scenario.3.2.2.
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Die 'archäologische' Arbeit an Subtexten ist eine spielerische Erweiterung von Texten um Spielräume des Ungesagten und der Interpretation. Der Leser 'unterlegt' dem Text seine individuelle Wahrnehmung und körperliche Erfahrung. Übungen zu Subtext und inneren Monologen können ein wirkungsvolles Instrument der Textarbeit im Fremdsprachen-unterricht, aber auch Grundlage szenischen Spiels sein, dessen Impuls nicht psychisch, sondern körperlich ausgelöst wird. Die 'archäologische' Arbeit an Subtexten ist eine spielerische Erweiterung von Texten um Spielräume des Ungesagten und der Interpretation. Der Leser 'unterlegt' dem Text seine individuelle Wahrnehmung und körperliche Erfahrung. Übungen zu Subtext und inneren Monologen können ein wirkungsvolles Instrument der Textarbeit im Fremdsprachen-unterricht, aber auch Grundlage szenischen Spiels sein, dessen Impuls nicht psychisch, sondern körperlich ausgelöst wird.
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van Meurs, Frank, Berna Hendriks, and Dilek Köksal. "Het effect van monologen en dialogen in radioreclame." Tijdschrift voor Taalbeheersing 41, no. 1 (April 1, 2019): 189–201. http://dx.doi.org/10.5117/tvt2019.1.013.meur.
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Tabor, Nicole. "Monologic ethics: The single speaker as discursive partner in Anna Deavere Smith’s Twilight: Los Angeles, 1992." Performing Ethos: An International Journal of Ethics in Theatre & Performance 10, no. 1 (December 1, 2020): 123–26. http://dx.doi.org/10.1386/peet_00027_7.
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This reflective article asserts that the monologue form helps audiences and readers ask ethical questions concerning the relationship(s) between subjectivity and communal identity formation. Twilight: Los Angeles, 1992, researched, written and originally performed by Anna Deavere Smith, serves as this article’s primary textual example of a monologic play. The play’s monologic form embodies ethical possibility through its attentiveness to multiple perspectives and intersubjective dialogue developed from Smith’s interviews following the aftermath of the Rodney King verdict. Because the violence against Rodney King (like the more recent murder of George Floyd) was recorded on video, the play’s monologic ethics also engage with, and sometimes against, technological evidence of institutional racism. Monologues, and especially soliloquies, function within larger dialogic plays as a mirror – a reflection of consciousness. These minor generic variations in dialogic plays here become Twilight’s primary organizing principle, thus transgressing traditional genre laws. Earlier twentieth-century monologic texts, by Beckett and others, resignified and problematized the soliloquy’s relationship to identity-formation. The paradigm of an isolated single subjectivity, such as Hamlet or even King Lear’s Edmund, is sedimented into classical form. Smith’s play, Twilight, like Shange’s monologic text, For Colored Girls, without one central protagonist, restructures and reframes the dramatic monologue to allow a closer look at the ethics of how we live with our own fragmented selves.
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Stevens, Blake. "Monologue Conflicts: The Terms of Operatic Criticism in Pierre Estève and Jean-Jacques Rousseau." Journal of Musicology 29, no. 1 (January 1, 2012): 1–43. http://dx.doi.org/10.1525/jm.2012.29.1.1.
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Jean-Jacques Rousseau's entry for “monologue” in his Dictionnaire de musique (1767) marks the first appearance of the term in French musical lexicography. This definition, which would exert an influence on later discussion of the form, synthesizes principles drawn from poetics and dramaturgy with stylistic arguments developed during the Querelle des Bouffons. The entry powerfully and succinctly conveys an Italianate conception of the form by promoting an idiom (récitatif obligé) associated with Italian practice as the exemplary realization of monologic discourse. This essay places Rousseau's account in the context of French criticism from Le Cerf de la Viéville, writing early in the eigtheenth century, to Pierre Estève, writing in the early 1750s. Treatment of the monologue at mid-century attests not only to a critical interest in exemplary scenes, particularly the famous monologue from Armide, “Enfin il est en ma puissance,” but also to readings of monologues as markers of national musical style. Against Rousseau's identification of monologue with récitatif obligé stands the more pluralistic model of Estève, who described a range of vocal idioms linked to dramatic context and meaning. Moreover, Estève attempted to account not only for newer works of Rameau but also for revivals of the tragédies en musique of Lully and Campra. Consideration of Estève's examples of characteristic scenes illustrates a tendency to equate monologic discourse with effects of interruption and the suspension of dialogue, even when other characters are present onstage.
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Qahtan Sulaiman, Maha. "Insanity and Murder in Robert Browning’ and Robert Lowell’s Dramatic Monologues." Arab World English Journal For Translation and Literary Studies 5, no. 1 (February 15, 2021): 201–9. http://dx.doi.org/10.24093/awejtls/vol5no1.14.
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The study aims at fathoming Robert Browning’ and Robert Lowell’s intentions of choosing the dramatic monologue as a means of exploring human psyche. Significantly, the themes of insanity and murder are not ideal from an esthetic perspective, but for Browning and Lowell it provides the key to probe into human character and fundamental motives. This study examines Browning’ and Lowell’s dramatic monologues that address crime and the psyche of abnormal men. Browning’ and Lowell’s poetry in this regard unravels complicated human motivations and delineates morbid psychologies. Their monologues probe deep down into the mind-sets of their characters and dissect their souls to the readers. The main character of each of Browning’s dramatic monologues, My Last Duchess and Porphyria’s Lover; discloses his true self, mental health, and moral values through his monologue in a critical situation. Ironically, each monologue invites the reader to detect the disparity between what the character believes the story to be and the reality of the situation detected through the poem. In Lowell’s The Mills of the Kavanaughs, the monologue is delivered by the victim herself. Yet, the fact that the poem reflects Lowell’s individual experience and trauma indicates that the monologue is delivered by the poet-victimizer as well
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Kubik, Andreas. "Religion, Bildung und Erziehung bei Schleiermacher. Eine Analyse der Beziehungen und des Widerstreitszwischen den »Reden über die Religion« und den »Monologen«." Fichte-Studien 33 (2009): 311–17. http://dx.doi.org/10.5840/fichte20093324.
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Pepperberg, Irene M., Katherine J. Brese, and Barbara J. Harris. "Solitary sound play during acquisition of English vocalizations by an African Grey parrot (Psittacus erithacus): Possible parallels with children’s monologue speech." Applied Psycholinguistics 12, no. 2 (June 1991): 151–78. http://dx.doi.org/10.1017/s0142716400009127.
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ABSTRACTAn African Grey parrot, Alex, who had learned to use English speech in studies on referential interspecies communication and animal cognition, produced English monologues in both the presence and absence of human receivers. This study examines one component of Alex’s monologue behavior, private speech, while he was being taught new vocalizations. His private speech during those time periods included a small percentage of novel utterances, not yet used in the presence of his caretakers, that were phonologically related to, but not exact reproductions of, the new vocalizations. His monologues also contained utterances that were part of the general daily routine as well as the specific training paradigm, but rarely included verbatim reproductions of the training scenario. Alex’s behaviors were comparable to those of children in the early stages of language acquisition. Because monologue behavior has been characterized as a form of practice that facilitates human language development, the data are discussed in terms of the possible functions of monologues during Alex’s acquisition of novel vocalizations.
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Frost, Ursula. "Religion, Bildung und Erziehung bei Schleiermacher. Eine Analyse der Beziehungen und des Widerstreits zwischen den »Reden über die Religion« und den »Monologen«." Vierteljahrsschrift für Wissenschaftliche Pädagogik 83, no. 3 (December 18, 2007): 372–74. http://dx.doi.org/10.30965/25890581-083-03-90000012.
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Myltseva, Margarita Victorovna, Ekaterina Alexandrovna Drozdova, Marina Georgiyevna Sergeeva, and Dmitry Vladimirovich Lukashenko. "Level-oriented modular training within teaching monologic speech to junior students." Revista Tempos e Espaços em Educação 14, no. 33 (July 22, 2021): e16095. http://dx.doi.org/10.20952/revtee.v14i33.16095.
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The expansion of the spheres of political, trade, economic and cultural cooperation between Russia and other countries creates real preconditions for intercultural professional communication in all areas of language experts’ activity: teaching, researching, translating, interpreting and speaking for the peers. In these conditions, learning to provide a monologue in different world languages is becoming increasingly important to future linguists. According to the requirements of the new Federal Standard for Higher Professional Education, a linguist must be able to perform intercultural communication in various professional fields, conduct business negotiations, be an active participant in conferences, workshops and roundtable discussions using several working languages and search for topical information to improve his/her professional skills in the field of intercultural communication. Thus, the standard reflects the strategy of modern foreign-language education aimed to form the cultural and linguistic personality of the language expert who has reached a high level of the foreign-language professional communicative competence, which manifests itself in speech culture, an open-minded attitude to unfamiliar traditions and ways of life, along with the abilities for monologue and international professional communication. High-quality monologic speech is a personally and professionally significant skill, due to which specialists do not have difficulties with business conversations, reports, public messages and presentations in Microsoft PowerPoint and freely participate in discussing the course and prospects of joint activities. Mastering such skills begins at the very beginning of learning a foreign language in a higher educational institution to be able to work with complicated scientific texts and prepare creative monologues as a postgraduate student.
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Novak, Sonja. "Maschinenmensch und Geistesmensch im Drama Thomas Bernhards Der Ignorant und der Wahnsinnige." Anafora 6, no. 1 (2019): 207–21. http://dx.doi.org/10.29162/anafora.v6i1.8.
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Thomas Bernhard baut seine Protagonisten auf Basis seiner eigenen ästhetischen Kategorie des „Geistesmenschen“. Diese Geistesmenschen quälen die anderen Gestalten mit ihren Monologen, in denen sie die Gesellschaft kritisieren, sind jedoch selber mangelhaft. Im vorliegenden Beitrag wird eine weitere ästhetische Kategorie der Gestalten identifiziert und untersucht, die des „Maschinenmenschen“. Es wird behauptet, dass Geistes- und Maschinenmenschen in Bernhards Drama Der Ignorant und der Wahnsinnige in Abhängigkeitsbeziehungen zueinander stehen. Obwohl man Geistes- und Maschinenmenschen als Gegensätze betrachten kann, wird die Analyse beweisen, dass sie beide Teile desselben Systems sind. Bernhards Geistesmensch, der Doktor und Maschinenmensch, die Opernsängerin (die sogar buchstäblich als eine „Koloraturmaschine“ bezeichnet wird) entsprechen dem Konzept von Wunschmaschinen von Gilles Deleuze und Felix Guattari in Anti-Ödipus. Kapitalismus und Schizophrenie 1 und Tausend Plateaus. Kapitalismus und Schizophrenie II. Bernhards Doktor ist als entmenschlicht und als Teil der Prozesse und des Systems zu betrachten, weil er das Biologische überwinden möchte. Bernhards Maschinenmensch ist gleichzeitig die Verkörperung des Künstlichen; ihr Körper ist eine Maschine, deren Aufgabe ist, jeden Abend ihre perfekte Stimme zu produzieren, um der (Kultur-)Industrie ihre Ware immer wieder anbieten zu können. Das Erreichen des „organlosen Körpers“ bedeutet für die beiden ihre Freiheit vom System und eine Rückkehr in die Menschlichkeit.
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Harvie, Jennifer, and Richard Paul Knowles. "Dialogic Monologue: A Dialogue." Theatre Research in Canada 15, no. 2 (January 1994): 136–63. http://dx.doi.org/10.3138/tric.15.2.136.
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Michael Sidnell has drawn attention to the potential for dramatic monologue to be dialogic in ways that dialogue in the theatre rarely is, and he has pointed to a recent proliferation of dialogic monologue in Canadian theatre. This essay will examine the potentially dialogic function of monologue in some contemporary Canadian plays. Questions central to this examination will be: when is monologue dialogic, and what are the effects of dialogic monologue? Considering that the actor often stands indexicallyfor an autonomous subject which is easily conflated with the character the actor is playing, we are interested in looking at how the dialogism of the character's monologue might destabilize subjectivity. Looking at monologues from a range of contemporary Canadian scripts and performances, we will consider how the dialogic configuration of subjectivity affects gender, race, and sexuality. And considering that dialogism may be (as Helene Keyssar has argued it was for Bakhtin) "key to the deprivileging of absolute, authoritarian discourses," we are interested in what specific "authoritarian discourses" contemporary Canadian dialogic monologue deprivileges.
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Hallett, Terry, and James Steiger. "Automated Analysis of Spoken Language." International Journal for Innovation Education and Research 3, no. 5 (May 31, 2015): 6–13. http://dx.doi.org/10.31686/ijier.vol3.iss5.353.
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We studied the number of words spoken by adult males versus females throughout a six-hour day and during three structured monologues. The six-hour samples were captured and analyzed using an automated speech monitoring and assessment system. The three monologues required different language tasks, and analyses of syntactic and semantic complexity were performed for each. There were no significant gender differences except during a reminiscent monologue when males spoke significantly more words and sentences than females. These results conflict with past research and popular (mis)conceptions.
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Krylova, Mariia Nikolaevna. "Euphemisms in satirical monologues (S. T. Altov, M. N. Zadornov, L. M. Izmailov, V. M. Koklyushkin, A. A. Trushkin)." Филология: научные исследования, no. 11 (November 2020): 1–10. http://dx.doi.org/10.7256/2454-0749.2020.11.34129.
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This article examines the usage of euphemisms in the language of one of the genres of humor discourse – the satirical monologue. The subject of this research is the functions fulfilled by euphemisms in the monologues of S. T. Altov, M. N. Zadornov, L. M. Izmailov, V. M. Koklyushkin, A. A. Trushkin). Euphemisms in satirical monologue have not yet been the objects of linguistic research, although the analysis of their specificity would broaden the knowledge on the functions of this linguistic means. The methods of observation, continuous sampling, description, analysis, and synthesis were applied for studying euphemisms. As a result, the author determines that in humor discourse, the euphemisms become not only the means for concealing the forbidden content, but also effective elements for creating humor. In the genre of satirical monologue, the author and the performer traditionally create a vivid image of the character, and usage of euphemisms depends on the nature of this image, first and foremost, on the level of its education and culture. Moreover, euphemisms harmonize with other means of creating humor (puns, repetitions, metaphor, metonymy, outplaying of precedent phenomena, and stylistic contrast), forming a distinct satirical space in each of the monologues. Satirists tend to uniqueness with regards to structuring euphemisms.
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Synekop, Oksana. "The exercises system for differentiated instruction of english for specific purposes of monolog to the future it-specialists." Pedagogical Process: Theory and Practice, no. 4 (2018): 71–78. http://dx.doi.org/10.28925/2078-1687.2018.4.7178.
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In order to implement English for specific purposes within the framework of differentiated instruction to the future specialists in the information technology sphere, the exercises system of teaching monologue speech is proposed. The definition of the concept exercises system for the differentiated instruction of monologue speech» is outlined. The functional types of monologues for the future IT specialists are defined: monologue-description, monologue-message, monologue-persuasion. The approaches of teaching monologue («top down» and «bottom up») are determined. The dominant one is «bottom up». The stages of teaching monologue of English for specific purposes are analyzed. The exercises system for differentiated instruction of English for specific purposes of monological speech to the future IT-specialists is presented. Within the exercises system, a subsystem of exercises and corresponding groups are outlined. There are two subsystems: a subsystem of exercises for the formation of monological speech sub-skills (phonetic, lexical, grammatical, using linking devices) and a subsystem of exercises for the development of monological speech skills (for mastering monological units, minimonologues, various functional types of monologue). Various levels of difficulty and learning styles are reflected in the exercises. Examples of exercises for students with different learning styles and different levels of proficiency in a foreign language are considered.
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Mukhammadjonova, Guzalkhan. "PSYCHOLOGICAL ANALYSIS FROM PORTRAIT." CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES 02, no. 05 (May 31, 2021): 79–84. http://dx.doi.org/10.37547/philological-crjps-02-05-18.
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The article examines the issue of the portrait of a creative person and its role in psycho-psychological analysis on the basis of the interpretation in literature of the great thinker, sheikh, a great representative of mystical literature, the poet Ahmad Yassaviy. Methods of creating portraits and experiments in this area are interpreted on the form of comparative-analytical method. The combination of images of the hero and his biography highlights the creative human psyche. The monologues, in particular, highlight the artistic-aesthetic and artistic-conceptual role of monologue-memory and monologue-video in illuminating the heroic spiritual-psychological world.
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Shaw, W. David. "Lyric Displacement in the Victorian Monologue: Naturalizing the Vocative." Nineteenth-Century Literature 52, no. 3 (December 1, 1997): 302–25. http://dx.doi.org/10.2307/2933997.
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Though a venerable lyric tradition of apostrophizing the breeze, the dawn, or the nightingale celebrates the Romantic poet's words of power, only inmates of mental hospitals actually talk to birds, trees, or doors-much less to holes in a wall, as Pound's speaker does in "Marvoil." This essay shows how Victorian dramatic monologues substitute human auditors for nonhuman ones in an effort to naturalize a convention that nineteenth-century poets find increasingly obsolete and archaic. Instead of talking to the dawn, Tennyson's Tithonus addresses a beautiful woman, the goddess who becomes the silent auditor of his dramatic monologue. Like Coleridge's conversation poems, Browning's and Tennyson's monologues are poems of one-sided conversation in which a speaker's address to a silent auditor replaces Shelley's vocatives of direct address to the west wind or Keat's apostrophes to autumn. In recuperating an archaic convention of lyric apostrophe by humanizing the object addressed, the Victorian dramatic monologue illustrates John Keble's theory of the mechanisms by which genres are disturbed, displaced, and transformed. The dramatic monologue becomes an ascendant genre in post-Romantic literature partly because it is better equipped than lyric poetry to oppose the dogmas of a secular and scientific age in which an antiquated belief in "doing-by-saying" (including a belief in oracles, prophecies, and knowledge as divination) is in rapid and widespread retreat.
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PAGAN, NICHOLAS O. "Inside Fateh Azzam's Baggage: Monologue and Forced Migration." Theatre Research International 32, no. 1 (March 2007): 16–31. http://dx.doi.org/10.1017/s0307883306002483.
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The work of Palestinian playwright Fateh Samih Azzam arises from his experience growing up as a refugee and from his strong commitment to human rights. His latest play, Baggage, is set in a crowded airport where a lone Traveler re-enacts the Catastrophe of 1948 and its consequences. This article begins by positioning Azzam's work in relation to post-1948 Palestinian theatre. It then looks in detail at how Baggage, written as a monodrama, incorporates a number of devices including airport announcements and other voiceovers to imbue monologue with dialogue. The question of the relationship between monologue and dialogue is examined in the context of the emergence of the ‘political’ in performance and especially in relation to Jon Erickson's recent contention that dialogues facilitate the representation of conflicting world views whereas monologues tend to be ‘vehicles for the overarching world view of the playwright’. Next, it discusses a recent staging of Baggage in Famagusta, North Cyprus, focusing in particular on the way in which the production was able to embellish and extend devices contained in the written text of the play to facilitate a movement from monologue to dialogue. In its conclusion, the article returns to the prevalence of monologue in Palestinian drama and to Erickson's idea that monologue involves partiality to one side of a dispute. The article contends that productions of Baggage, which, like the one in Famagusta, accentuate the dialogical, will make it clear that the play is not just a memory play for Palestinians, but that it also cries out for all those forced out of their homes and into what Edward Saïd has called ‘the trauma of exile’. Furthermore, it argues that the Traveler's monologues need to be heard and should initiate dialogues, which in some parts of the world have not yet even begun. Finally, it suggests that the universal appeal of this and other Palestinian plays could be even more striking were the heavy use of politically oriented symbolism counterbalanced by a more minimalist Beckett-like aestheticism.
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Dipuja, Diah Anugrah. "PERSEPSI MAHASISWA TERHADAP VIDEO MONOLOG SEBAGAI ALTERNATIF TUGAS DALAM PEMBELAJARAN DARING." Tunjuk Ajar: Jurnal Penelitian Ilmu Pendidikan 3, no. 2 (August 18, 2020): 114. http://dx.doi.org/10.31258/jta.v3i2.114-129.
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The purpose of this study was to determine students' perceptions of monologue videos as alternative tasks in online learning. Monologue videos are one of various online learning alternatives which are assumed to increase student activity and creativity in learning so that online learning becomes more effective. Information about student perceptions regarding the effectiveness of monologue videos in online learning is needed to develop online learning to become better. This research was conducted by giving a questionnaire via google form to Biology education students as research respondents. From the research that has been done, the results showed that the application of monologue videos by students is considered effective as an alternative to online learning because it could increase student activity, creativity and motivation. However, there were some challenges and obstacles such as difficulties in making video scripts and video editing as well as network constraints and internet quota. Thus, it can be concluded that the application of video monologues as an alternative task in online learning were considered effective by students and can be developed further in other subjects.
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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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van der Mije, Sebastiaan R. "Bad Herbs—the Snake Simile in Iliad 22." Mnemosyne 64, no. 3 (2011): 359–82. http://dx.doi.org/10.1163/156852511x505079.
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AbstractAt the beginning of the 22nd Book of the Iliad, Hector is standing alone outside Troy, seemingly determined to fight Achilles. His parents try to prevail on him to enter Troy, but he neither answers nor complies. In the following simile (vv. 92-7), he is compared to a snake at its hole. The ensuing monologue reveals Hector’s thoughts and feelings. Close reading of the text, especially the simile, reveals that Hector’s ambivalence, which surfaces in the monologue, is already indicated by the narrator in the simile. Hector’s decision to await Achilles is irrational and he knows it. This sets it off from the decisions reached in similar ‘fight or flight’ monologues and explains why Hector’s fighting spirit breaks down under acute threat.
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Khonineva, Ekaterina. "A Review of MATT TOMLINSON, JULIAN MILLIE (eds.), THE MONOLOGIC IMAGINATION. Oxford: Oxford University Press, 2017, X+272 pp." Antropologicheskij forum 16, no. 47 (December 2020): 216–28. http://dx.doi.org/10.31250/1815-8870-2020-16-47-216-228.
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Due to the influence of Mikhail Bakhtin on the Western anthropology of the last decades, researchers focused their attention on polyphony and the dialogic bases of social life that resulted in a neglect of monologic speech forms and practices. Meanwhile, in many political and religious cultures, monologic genres attribute to some value; the authors of the reviewed collection of articles suggest not to ignore this fact. In the outlined studies based on observations in various ethnographic contexts, the monologue is seen as a special language ideology, a category of social imagination, a speech genre, and a metaphor. The book also aims to recall, once again, the dialogic dimension of monologic practices and connect them to other relevant anthropological concepts and theories. This project should be recognized as successful and unique in its design, but it seems that the authors are inspired by Bakhtin’s language and see in it a significant opportunity to reflect on the usual anthropological problems of social control, resistance, community formations in new terms rather than continuing Bakhtin’s work and fitting into his analytical program.
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Wang, Zehua, and Feifei Han. "Developing English language learners’ oral production with a digital game-based mobile application." PLOS ONE 16, no. 1 (January 5, 2021): e0232671. http://dx.doi.org/10.1371/journal.pone.0232671.
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This study examined the effect of using a digital game-based language learning mobile application “Liulishuo” (speaking English fluently) to develop complexity, accuracy, and fluency of English monologic oral production among 30 English language learners in China. Monologic oral production was measured using the same narrative picture description task in pre- and post-tests. The learners followed the “Imitation of English Monologues” game 30 minutes each time, twice a week, for 20 weeks. The oral production was measured using six indices: the mean words per T-unit and lexical density (i.e., complexity), the mean repairs and errors per 100 words (i.e., accuracy), speech rate and the mean length of pauses (i.e., fluency). The paired sample t-tests showed that the participants produced more complex monologic speech, had significantly fewer errors, and increased speech rate, but the mean repairs and mean length of pauses remained unchanged. The unchanged repairs and pauses could be possibly due to the non-proceduralized linguistic knowledge in oral production, which may require a more extended period of treatment. Our study showed positive effects of using a digital game-based language learning mobile application on the improvement of complexity, accuracy, and fluency of English language learners in China’ monologic oral production with varying effects.
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Jankov, Sonja R. "THE ROLE OF POETRY IN POST-THEATRE OF MILENA MARKOVIĆ." ZBORNIK ZA JEZIKE I KNJIŽEVNOSTI FILOZOFSKOG FAKULTETA U NOVOM SADU 1, no. 1 (December 2, 2011): 193. http://dx.doi.org/10.19090/zjik.2011.1.193-203.
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U prvom delu rada teorijski se razmatraju postmoderno pozorište i odrednica„postdramsko”. Uz književno-istorijski pregled razvoja modernog teatra i karakteristika koje su uticalena estetiku savremene drame, posebna pažnja se pridaje monologu. Drugi deo rada su analizedramskih tekstova Milene Marković, iz kulturološke, filozofske i lingvističke perspektive. Na krajuse tematika i građa replika i monologa dovode u vezu sa poezijom spisateljice, a istovremeno seispituje i pojava žanrovskog sinkretizma.
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Druzhchenko, Tetiana, and Olena Tkachenko. "DIFFERENTIATED TEACHING OF ENGLISH ORAL MONOLOGIC PRODUCTION TO LAW STUDENTS: OBJECTIVES AND CONTENT." АRS LINGUODIDACTICAE, no. 4 (2019): 24–34. http://dx.doi.org/10.17721/2663-0303.2019.4.04.
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Background: Among numerous issues of differentiated teaching, the problem of building competence in oral monologic production in Law students – considering the level of independence and knowledge of students – has not been studied in depth yet. This causes difficulties for providing qualitative foreign language (FL) education to Law majors who have not attained the appropriate level in FL communicative competence in conditions of homogenous training groups. Purpose. The article aims to define objectives and content of differentiated teaching of English oral monologic production to Law students. Results. The paper has proved that Law students shall be able to make up monologues in the genre of report-presentation of the three functional types, i.e. narration, description, reasoning (justification and retraction), having mastered their lingual and extralingual peculiarities. Lexico-semantic and grammatical characteristics of each of the three functional types of monologues have been defined. The report-presentation is determined as a short report up to ten minutes (based on well-studied sources of information) supported with the demonstration of the objects, which are the subject matter of the report. The triad of the categories of monologic production is essential when teaching law students, namely those of the quantity of information, the quality of information and the means of information submission. To enhance English monologic production skills in Law students, individual and psychological characteristics of learners, their cognitive needs, communicative abilities, motivation, independence, professional mindset as well as professional activity should be taken into account. Discussion. A set of criteria to evaluate the outcomes of the learning process and assess individual progress of students has been developed. The following criteria as for the assessment of spontaneous oral production were defined: the ease of production, the scope of the utterance, the meaningful completeness and the level of realization of the communicative intent, the contextual and grammatical integrity, linguistic literacy. Prepared oral production was evaluated based on the criteria of informativeness, adherence to the compositional peculiarities of a certain functional type of a report, the contextual completeness and the level of realization of communicative intent, the contextual and grammatical integrity, linguistic literacy). The category of the quantity of information provides for the integration of monologic production with professional knowlege of a lawyer who has to be able to use both: declarative and procedural knowledge – facts, data, models as well as the algorithms of solving professional tasks. While developing monologues, a Law student shall represent the sufficient amount of information for the theme exposure, for the justification or retraction of their thoughts. The category of quality of information in the lawyer’s speech is regulated by the criteria of relevance and novelty. According to the category of the means of information submission, the student has to choose those verbal means of communication, which can reflect the author’s idea, can be appropriately understood by native speakers, correspond to the style of communication, provide its cohesion and coherence.
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Kazandjian, Seta, Joan C. Borod, and Adam M. Brickman. "Facial Expression During Emotional Monologues in Unilateral Stroke: An Analysis of Monologue Segments." Applied Neuropsychology 14, no. 4 (December 6, 2007): 235–46. http://dx.doi.org/10.1080/09084280701719153.
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Wiandari, Fadhillah. "DRAMATIC MONOLOGUE IN ROBERT BROWNING’S POEM “ANDREA DEL SARTO”." JL3T ( Journal of Linguistics, Literature and Language Teaching) 3, no. 1 (January 12, 2018): 1–10. http://dx.doi.org/10.32505/jl3t.v3i1.326.
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Robert browning and the form of poetry known as “dramatic monologue†inevitably go togather. It is already made known that dramatic monologue is esssentially a narrative spoken by a single character. We are to imagine that it is being listened to but never answered; it is a dialogue of which we are to hear only one side. It gains added effect and dimensions through the character’s comments on his own story and the circumtances in which he speaks. It is through the single character’s speech that Browning present the plot, characters and scenes. It is through the words of Andrea that the reader can feel the presence of the plot, characters and scenes. This article tries to describe how Robert Browning handles his three objects in writing dramatic monologue through his poem entitled Andrea Del Sarto.
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Coello Hernández, Alejandro. "El monólogo como práctica dramatúrgica feminista en los años ochenta: el ejemplo de Maribel Lázaro (La fosa y La defensa)." Clepsydra. Revista de Estudios de Género y Teoría Feminista, no. 19 (2020): 43–61. http://dx.doi.org/10.25145/j.clepsydra.2020.19.03.
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The visibility and recognition of Women playwrights in Spanish theater did not occur until the eighties after the conquests of feminist movements. For that reason, women playwrights explore in their works new ways of thinking about subjectivity. The monologue provides them with a way of exploring themselves and with a form of engaged theater. This textual corpus is studied in this article in a global way in order to contextualize feminist dramaturgies and in particular the dramatic proposals of Maribel Lázaro, who in 1986 wrote two monologues La fosa [The pit] and La defensa [The defense]. Therefore, we analyze the terminological problem around the concept of «monologue». Moreover, we reflect on the dramatic structure in which the denunciation, self-recognition and negation of the discourse of the female character coexist in a paradox that opens the path to a consolidation of the feminist theater in Spain.
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Maulina, Oktalifa Hanna, Suyitno Suyitno, and Nugraheni Eko Wardani. "GENETIC STRUCTURALISM AND VALUE OF CHARACTER EDUCATION IN THE MONOLOGUE MATINYA TOEKANG KRITIK, THE DEATH OF CRITICIZERS BY AGUS NOOR." IJOLTL: Indonesian Journal of Language Teaching and Linguistics 3, no. 1 (January 27, 2018): 89–102. http://dx.doi.org/10.30957/ijoltl.v3i1.411.
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The aims of this research are to describe writer’s point of view of Agus Noor on monologue Matinya Toekang Kritik, the Death of Criticisers, text structure, social structure, and tolerance attitude as the character building values in the work. This research is the descriptive qualitative research. Data were validated using theory triangulation and data triangulation. The data were analyzed using interactive analysis techniques and content analysis. The results are: (1) Drama writer group’s point of view is social humanism, (2) Monolog text structure describes demonstrative life with Javanese values that found through structuralism analysis approach, (3) Monologue text structure is divided into harmony, honourability, the lifestyle of priyayi and wong cilik and also the relationship between priyayi and government, and (4) The most dominant character building is tolerance shown explicitly or implicitly by the players.
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Бартош, Ірина. "ПРОФЕСІЙНО ОРІЄНТОВАНЕ НІМЕЦЬКОМОВНЕ УСНЕ МОВЛЕННЯ СОЦІАЛЬНИХ ПРАЦІВНИКІВ: ЛІНГВІСТИЧНИЙ АСПЕКТ." Педагогічні науки: теорія, історія, інноваційні технології, no. 7(101) (September 28, 2020): 129–40. http://dx.doi.org/10.24139/2312-5993/2020.07/129-140.
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Introduction. In order to develop an effective teaching methodology of professionally oriented German oral speech for the future social workers, it should be considered the linguistic features of professionally oriented oral speech. Purpose. To determine the general characteristics of oral speech, identify specific types of dialogical and monologic speech that will be recommended for teaching future social workers, the analysis and linguistic characteristics of isolated oral speech types. Methods. The study was conducted on the basis of the analysis of national and foreign works for the possibility of an effective characteristics of linguistic features of the oral speech of social workers. Results. An analysis of the features of social workers’ oral speech has shown that oral speech plays a dominant role for the professional activity of a specialist. Features of dialogical speech are defined, such as two-sided character of speech, motivation, spontaneity, situationality, and monologic speech is inherent in coherence of thought, consistency, logic, unidirectionality and contextuality. Researching the oral speech of the professional sphere of the social worker, we identified the types of the dialogical speech (dialogue-story, dialogue-discussion) and the monologic speech (monologue-story, monologuepresentation) that are recommended for teaching future social workers. Based on the obtained results, the linguistic characteristics of the presented types of dialogical and monologic speech was conducted. Conclusion. Consequently, the results of the study have shown that the predominant role in the professional activity of the social worker is occupied by dialogical speech, but monologic speech also takes place. The described linguistic characteristics made it possible to identify the main features of dialogical and monologic speech, which will be considered in the development of teaching methods of the professionally oriented German oral speech.
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Jäger, Maren. "Die Konstituierung der monologischen Prosa Wolfgang Hildesheimers." Literatur für Leser 38, no. 3 (January 1, 2015): 209–23. http://dx.doi.org/10.3726/90073_209.
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,,Monologische Prosa“ ist Band II der Gesammelten Werke Wolfgang Hildesheimers überschrieben, der Tynset und Masante enthält. Dies ist nur konsequent, denn der Autor besteht darauf, dass die Gattungsbezeichnung ,Roman‘ dem Experiment Tynset, das er als ,,Nichtroman“ bezeichnet,1 unangemessen ist: ,,Ja, darin ist Tynset gelungen: es ist kein Roman geworden. Was es geworden ist, weiß ich nicht, mir scheint, Sie wüßten es besser, aber vielleicht wollen Sie es mir nicht sagen. Nein, bitte, bemühen Sie sich nicht!“2 Hildesheimer bevorzugt für Tynset und Masante die Bezeichnung ,,Monologe […], aber, wie gesagt, der Monolog ist keine literarische Gattung.“3
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Sawayama, Ikuo, and Motoko Miyake. "Are Monologue-Like Tweets Monologues in Undergraduate Students?: Focusing on Relation to Speech Tendency." Japanese Journal of Personality 27, no. 1 (July 1, 2018): 31–41. http://dx.doi.org/10.2132/personality.27.1.5.
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Kuncewicz, Dariusz, Dorota Kuncewicz, and Wojciech Kruszewski. "Stability of hidden stories." Narrative Inquiry 29, no. 1 (July 2, 2019): 82–98. http://dx.doi.org/10.1075/ni.17080.kun.
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Abstract We refer to the concept of the hidden story as a story about one’s own life, internalized in the mind and knowable “indirectly”, through a monologue and inference, using linguistic and literary theory tools. The aim of the study was to determine whether the hidden story thus reconstructed would be stable in time. A twenty-one-year-old woman was asked to deliver a ten-minute monologue on her upbringing. After two years the test was repeated. Both monologues were transcribed, analyzed and interpreted to isolate a hidden story from each of them. We reconstructed the earlier and later stories. Two threads: “rebellion” and “heritage” appeared in both stories, but they combined to form a more coherent narrative only in the later one. The “closeness with parents” thread, present in the earlier story, was replaced with the “marital love” thread. The character and pattern of the changes illustrate changes that result from developmental factors.
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Hartikaningsih, NFN, NFN Andayani, and Prasetyo Adi Wisnu Wibowo. "HEGEMONI PENGUASA TERHADAP WANITA DALAM PERTUNJUKAN KIDUNG SRI BEDHAYA." Widyaparwa 47, no. 2 (December 31, 2019): 162–72. http://dx.doi.org/10.26499/wdprw.v47i2.196.
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Monologue drama performances in Javanese seem rarely found. The monologue drama Song of Sri Bedhaya created by Trisno Santoso applies feminism as his approach. The purpose of this research is to describe and explain the form of ruler's hegemony towards women in the performance of the Song of Sri Bedaya by Trisno Santoso. The research method used in this research is descriptive qualitative with literature study and is not tied to the place of research. The results of the discussion in this study found 4 forms of authority hegemony towards women in the Song of Sri Bedhaya by Trisno Santoso, among others tend to say rude to subordinates, give threats to abdi, orders to meet personal affairs and play with women.Pertunjukan drama monolog dengan bahasa Jawa sepertinya jarang ditemukan. Drama monolog Kidung Sri Bedhaya yang diciptakan oleh Trisno Santoso menerapkan feminisme sebagai pendekatannya. Tujuan penelitian ini adalah mendeskripsikan dan menjelaskan bentuk hegemoni penguasa terhadap wanita dalam pertunjukan Kidung Sri Bedaya karya Trisno Santoso. Metode penelitian yang digunakan dalam penelitian ini adalah deskriptif kualitatif dengan studi pustaka dan tidak terikat dengan tempat penelitian. Hasil pembahasan dalam penelitian ini ditemukan 4 bentuk hegemoni penguasa terhadap wanita dalam pertunjukan Kidung Sri Bedhaya karya Trisno Santoso, antara lain cenderung berkata kasar terhadap bawahan, memberikan ancaman kepada abdi, perintah untuk memenuhi urusan pribadi dan mempermainkan wanita.
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Petrunina, S. P., and N. V. Petrunina. "WAR AND WORK IN KUZBASS PEASANTRY REMINISCENCES: A SKETCH OF LINGUISTIC AND CULTURAL BACKGROUND." Bulletin of Kemerovo State University, no. 4 (November 26, 2016): 219–23. http://dx.doi.org/10.21603/2078-8975-2016-4-219-223.
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The submitted paper acts as a presentation of the second issue of ‘Kuzbass Peasantry Speaking’ – a collection of monologues devised by Siberian local countryside dwellers. The collection has recently been published (January, 2016) and includes the results of a fifty-year-long research aimed at recording and cameral processing of dialect speech. The recorded monologues reflect the specific local peculiarities of phonetics, lexis, and grammar, as well as the diverse complexity of Siberian dwellers’ being and living. A close attention is paid to the topics of war and work. The research is aimed at a) examination of predominant topical elements within this or that monologue; b) linguistic and cultural markers able to structure the collective image of an average Siberian countryside dweller. The main methods employed by the authors involve the linguistic personality depiction; historical and cultural commentary; the general scientific methods of continuous observation and factual description. Conclusion. The chief characteristic features of the book involve topical dominants, gender factor significance, emotive links, absence of direct evaluation, and hypertextuality. Significance. The monologues included into the present collection can serve as a source base for further pieces of research on Russian dialect studies [2; 6; 8] (e. g., dialect syntax and theory of dialect personality) or on regional studies in general.
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Calas, Frédéric. "De la syntaxe à la pragmatique : étude de l'interrogation dans deux monologues de Bérénice (Monologue d'Antiochus, 1, 2 ; Monologue de Titus, IV, 4)." L Information Grammaticale 68, no. 1 (1996): 11–15. http://dx.doi.org/10.3406/igram.1996.3016.
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Lozan, Tatyana. "Methodologic specificities of developing Russian-speaking students’ monologic skills in Ukrainian." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2020, no. 1 (130) (February 7, 2020): 36–44. http://dx.doi.org/10.24195/2617-6688-2020-1-5.
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The article deals with the problems related to the peculiarities of teaching the Ukrainian language to Russian-speaking students under conditions of Pridnestrovie. The relevance of this study is to create a methodology for the development of the Ukrainian monologic speech of Russian-speaking students as a necessary condition for the development and functioning of the official Ukrainian language. The purpose of the article is to consider the psycholinguistic and methodological aspects of the development of one of the speech competence components – oral monologic speech of Russian-speaking students, to determine the ways, means and methods of developing and improving students’ skills to build monologic statements dedicated to everyday and professional topics. The objectives of the study are as follows: analysis of educational and scientific literature on the problem dealing with the development of the Russian-speaking students’ Ukrainian monologic speech. Taking into account the concretization of the tasks, the study involved a theoretical analysis of scientific and pedagogic literature, which allowed us to find out the modern approaches of scholars to the development of monologic speech within a foreign language environment. These methods were used: analysis, comparison, generalization and systematization of data of educational and scientific literature, pedagogical experience, conceptual provisions of the problem under study, and defining of the main concepts of the study. The article substantiates the importance of optimal selection and expediency of using General didactic and linguo-didactic principles, methods and techniques for effective developing of oral Ukrainian speech of the first-year students who speak Russian as their mother tongue. It is determined that the universal didactic and special principles make it possible to build an optimal system of methods and techniques, means and forms of organization and implementation of the task of monologic skills development. It is found out that the effectiveness of improving the students’ monologic speech depends on the appropriate choice and application of various linguo-didactic methods and techniques, their features and classification approaches. The teaching methods were elaborated based on the principles described in the article which, in its turn, determine the training methods and techniques as well as substantiate the selection of appropriate exercises, tasks, and other means; they constitute the linguo-didactic support for the process related to the developing of Ukrainian oral monologue.
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Myers, Casey Y., and Janice Kroeger. "Scribbling Away the Ghosts: A Bakhtinian Interpretation of Preschool Writers and the Disruption of Developmental Discourses." Contemporary Issues in Early Childhood 12, no. 4 (January 1, 2011): 297–309. http://dx.doi.org/10.2304/ciec.2011.12.4.297.
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Using Mikhail Bakhtin's conceptions of dialogue, monologue, and chronotope, the authors ask readers to consider how different values and actions ultimately create the teaching and learning spaces in which children are recognized as literate. Using qualitative data that focus on the relational writing practices of two preschoolers, this ethnographic work explores how authoritative monologues of development and risk commonly structure our thinking about and interaction with young writers. The article offers an alternative interpretation of children as writers engaged within a relational and dialogic writing space, wherein dominant developmental beliefs are rejected and relationships between children and teachers are reinterpreted. The authors argue for the creation of dialogic classroom spaces that afford children opportunities for multiple possible futures as whole persons.
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Jin, Lili. "Problems of historical memory and its preservation, responsibility, forgiveness. From the novel “Silence” to the story “Relatives” by Y.V. Bondarev." Neophilology, no. 27 (2021): 503–11. http://dx.doi.org/10.20310/2587-6953-2021-7-27-503-511.
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Based on two relatively early works by Y.V. Bondarev, the novel “Silence” and the story “Relatives”, investigated the problems of spiritual and moral meaning, which were fundamental for the front-line writer throughout his difficult, long-term creative path. We trace the beginning of their artistic and philosophical development in the synthesis of “peace–war” in the named works of 1960s based on the development of some characters, both major and minor, specific situations, collisions. We note the main artistic and philosophical aspects: synthesis of the past, present, future, sacredness of memory, peaceful “silence” and psychological extreme. We analyze poetic techniques developed by the author that help to solve the assigned tasks: dream–reality, polyphonic monologues, “dialogue in a monologue”, etc.
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Tyryguina, Valentina. "“Otherˮ in the Genre ‘Letter to the Editor’." Nizhny Novgorod Linguistics University Bulletin, no. 50 (June 30, 2020): 75–90. http://dx.doi.org/10.47388/2072-3490/lunn2020-50-2-75-90.
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Scholars see dialogue as the primary natural form of language communication; monologue is recognized as secondary to dialogue. The purpose of this article is to analyze the texts of the genre ‘Letter to the Editor’ (LTE) in terms of material presence in them of “the otherˮ as a signal of the dialogic category manifestation in the monologic text. The hypothesis is that in LTE texts “the other” – the addressee, vis-à-vis of the LTE subject – is not only implied, but actually materially, verbally explicated. The novelty of the study is determined by the choice of the approach, which makes the dialogic category overt at the level of not only the deep, but also of the superficial structure. The choice of research material and methods in this study is conditioned by M. Bakhtin’s understanding of dialogue as a universal property of speech. In monologic speech one is met with dialogue in the broader sense of the word, which may be understood as the mutual relationship, interaction between the position of the addresser and the addressee. The material for the research was taken from the corpus of texts assigned to the LTE genre and published by British daily periodicals, The Times, The Daily Telegraph, and The Independent. LTE is an essential and integral part in the generic system of media discourse as it invites feedback from the recipient. In order to achieve the intended objective of this research project, the author identified dialogic markers in the monologic text at textual, grammatical and lexical levels, extrapolating distinctive linguistic features from the dialogic form of speech into the monologic form of speech. The study has shown that a wide range of endodialogic markers, from pretextual (morphological, syntactical, lexical) to textual (architectonic) levels, manifests the presence of “the otherˮ in the monologic text. The results of the study have theoretical significance for a number of related areas of modern linguistics and, above all, media discourse (in terms of projecting the institutional and role-specific aspects), linguistic genre studies (in relation to the genre-forming specificity of the addressee), linguistic pragmatics (the addressее factor in the light of situational conventions), etc. Practically, these research results may be used in teaching specialized courses of the university curricula.
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Kong, Сhunxia. "UNPREPARED READING AS A TYPE OF SPONTANEOUS SPEECH (on Signs of Spontaneity in Reading in a Non-Native Language)." Вестник Пермского университета. Российская и зарубежная филология 13, no. 2 (2021): 36–46. http://dx.doi.org/10.17072/2073-6681-2021-2-36-46.
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The article discusses unprepared reading in a non-native language and shows it to have all the signs of spontaneity that are traditionally considered integral characteristics of any spontaneous speech: hesitation pauses, both physical (ɭ) and filled with non-speech sounds (uh, m-m), word breaks, reading the whole word or part of it by syllables, vocalization of a consonant, and so forth. The material for the analysis included 40 monologues of reading the story by M. Zoshchenko Fantasy Shirt and a non-plot excerpt from V. Korolenko’s story The Blind Musician recorded from 20 Chinese informants. All the monologues are included in the block of Russian interfering speech of the Chinese as part of the monologic speech corpus Balanced Annotated Text Library. As the analysis showed, it is more often that there is not one sign of spontaneity but a whole complex of such signs, and together they fill hesitation pauses, help the speaker to control the quality of speech or correct what was said, etc. In addition, the occurrence of various signs of spontaneity in the course of unprepared reading is closely related to the individual characteristics of the speaker/reader. In general, we have found that there are more signs of spontaneity in the speech of men (3,244 cases; 40.7 %) than in the speech of women (2,049; 27.7 %), in the speech of informants with a lower level of proficiency in Russian B2 (2,993; 37.9 %) than in the speech of informants with a higher level C1 (2,300; 30.8 %), in the speech of extroverts (1,521; 38 %) than in the speech of ambiverts (1,694; 35,2 %) and introverts (2,078; 31,7 %). As to the type of the source text, there turned out to be more signs of spontaneity in monologues of reading a plot text than in monologues of reading a non-plot text (3,031; 40.3 vs 2,283; 31 %). The paper concludes that reading should be recognized as a spontaneous type of speech activity.
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Csapo, Eric. "Plautine Elements in the Running-Slave Entrance Monologues?" Classical Quarterly 39, no. 1 (May 1989): 148–63. http://dx.doi.org/10.1017/s0009838800040556.
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Despite a growing body of evidence to the contrary, the running slave (‘servus currens’), and particularly the often lengthy entrance monologue of the running slave, is generally considered a distinctly Roman phenomenon, an exuberant growth of the Latin soil, albeit from Greek seed.1 There are two reasons for this. One reason is the frequency with which the motif appears in the comedies of Plautus and Terence, in sharp contrast with the absence of any single undisputable New Comic example. The second reason is Eduard Fraenkel'sPlautinisches im Plautuswhich, sixty-five years after its publication, remains the most authoritative scholarly work in the field of Roman comedy. In this book Fraenkel argues that Plautus' running-slave scenes, particularly the monologues of theCurculio(280–98) and theCaptivi(790–828), are a veritable nexus of original Plautine traits.
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Gacoin-Marks, Florence. "Prevajalec in meje med diskurzi: prevajanje francoskega "pripovedovanega monologa" v slovenskih prevodih Flaubertove Madame Bovary." Linguistica 53, no. 1 (December 1, 2013): 129–41. http://dx.doi.org/10.4312/linguistica.53.1.129-141.
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Pripovedovani monolog (narrated monologue) je mnogokokrat dvoumna in večglasna (polifonska) oblika diskurza, ki je pogosta v Flaubertovih romanih, zlasti v Madame Bovary. Ta postopek, ki je v francoščini znan kot prosti odvisni govor in je še danes predmet preučevanja tako jezikoslovcev kot naratologov, tujim prevajalcem francoske književnosti povzroča resne, včasih prav nerešljive težave. Zaradi razlik med francoskim in slovenskim jezikom, zlasti zaradi odsotnosti sosledice časov med spremnim in odvisnim stavkom v odvisnem govoru oz. za veznikom "da", se slovenski pripovedovani monolog oz. t.i. polpremi govor jasno razlikuje od drugih oblik diskurzov, ki sestavljajo književno besedilo. Slovenski polpremi govor se od francoskega prostega odvisnega govora razlikuje tudi po tem, da v njem ne moreta soobstajati pripoved pripovedovalca in poročani govor literarnega lika, kar pomeni, da je tako rekoč povsem enoglasen (monofonski). Zaradi napisanega mora slovenski prevajalec med prevajanjem francoske proze, med drugim Flaubertovih romanov, vedno posegati v izvirno besedilo in določati meje med različnimi oblikami diskurza ter pretvoriti večglasni prosti odvisni govor bodisi v pripovedni govor bodisi v slovenski enoglasni polpremi govor. Poleg tega je prisiljen k tolmačenju dvoumnih glagolskih oblik znotraj francoskega prostega odvisnega govora, zlasti pogojnika, saj ta ne izraža vedno samo prihodnjega časa v preteklosti.
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Abdullayev, Hotamjon Khamroevich. "ARTISTIC AESTHETIC FUNCTION OF MONOLOGUES." CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES 02, no. 07 (July 30, 2021): 16–19. http://dx.doi.org/10.37547/philological-crjps-02-07-05.
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Bruck, Édith, and Joëlle Gardes. "Monologue." Po&sie N° 164, no. 2 (2018): 17. http://dx.doi.org/10.3917/poesi.164.0017.
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Ronfard, Jean-Pierre. "Monologue." L’Annuaire théâtral: Revue québécoise d’études théâtrales, no. 28 (2000): 143. http://dx.doi.org/10.7202/041443ar.
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THUCYDIDES, C. "Monologue." Lancet 344, no. 8939-8940 (December 1994): 1784. http://dx.doi.org/10.1016/s0140-6736(94)92930-0.
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Shercliff, Emma. "Monologue." Journal of Writing in Creative Practice 6, no. 1 (March 1, 2013): 103–5. http://dx.doi.org/10.1386/jwcp.6.1.103_1.
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