Academic literature on the topic 'Monologue the lyrics'
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Journal articles on the topic "Monologue the lyrics"
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Hadad, Astrid. "Lyrics and monologue fragments." Women & Performance: a journal of feminist theory 11, no. 2 (January 2000): 145–48. http://dx.doi.org/10.1080/07407700008571337.
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Abdullayeva, Umida. "ROLE-PLAYING LYRICS IN THE WORKS OF USMAN AZIM." Scientific Reports of Bukhara State University 5, no. 5 (December 30, 2021): 167–78. http://dx.doi.org/10.52297/2181-1466/2021/5/5/15.
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Introduction. In today's new Uzbekistan, the vast opportunities created in all areas of science are making an invaluable contribution to their development. In particular, recent research in the field of literature has helped students who have read the new Uzbek literature and its theoretical updates to understand their ideological content through the analysis of poetic genres. The main part of the theory of Uzbek literature consists of lyrical, epic and dramatic works of modern modern Uzbek literature, the main theme of which is the idea of analyzing the work of art in terms of form and content. This article is devoted to the interpretation of works with the content of role-playing lyrics, introduced as a novelty in the new Uzbek literature. The essence of the concept of role-playing lyrics in the article is to study and resolve the contradictions arising from the approach to the concept of role-playing lyrics according to the content of works in the new Uzbek literature, as well as the emergence of various studies of role-playing lyrics. An attempt was made to unravel the mystery. It helps to understand the ideas and philosophical ideas put forward in the examples of role-playing lyrics in the new Uzbek literature. It clarifies the reader's perception of the content of Osman Azim's works and helps to fully, accurately and easily understand them. Research method. In the new Uzbek literature, in particular, samples of role-playing lyrics in the works of the poet Usmon Azim have been identified and analyzed. Poems depicting the role of the lyrical hero, his image of time and space, the content and essence of the role play, the lyrical image of the heroes of myths and legends in the work of the poet It is recommended to introduce the concept of role-playing lyrics in Uzbek literature. Research results and discussion. In secondary schools, lyceums and universities, it serves as a material for the analysis and reading of works of art in terms of theory and content. The lyrical works available in the new Uzbek literature are divided into genres according to their form and content. In the 60's in the Uzbek literature there were poems (in the textbook of the literary scholar D. Kuronov - role-playing lyrics (in Russian literature "rolevaya lyrica"), which clearly showed the incompatibility of the poet's personality with the lyrical hero. The reason why such poems are called role-playing lyrics is that in them the poet enters into the psyche of another person, as if he plays his role and depicts his heart in the play. One of the most important issues today is whether current lyric samples are accepted as a genre, what their characteristics are as a genre, and how existing lyrical samples are expressed in world and Uzbek literature. Opinions in this area require a clear scientific conclusion. In this research, we aim to explore and explore the content of examples of role-playing lyrics available in the new Uzbek literature. To this end, our research has the following objectives: - Comparative and analytical study of approaches to the concept of role-playing lyrics; - explain the differences between role-playing lyricism and monologue speech on a scientific basis, study the views of scholars on the theory of role-playing lyricism; - To study the skill of the poet Usmon Azim to create a sample of performing lyrics and to study the content of such poems; - to think about the art and ideas of poems, which express the harmony of folklore and role-playing lyricism; - Comparative and analytical study of examples of role-playing lyrics in world and Uzbek literature; - Comparative analysis of samples of role-playing lyrics according to their content. Conclusion. The types of lyricism in the new Uzbek literature, in particular, the concept of role-playing lyricism, have been scientifically studied through the opinions of scholars. The diversity of ideas in the samples of performing lyrics in world and Uzbek literature was examined in the example of creative work. In terms of content analysis, it has been scientifically proven that role-playing lyricism is a genre, which in turn serves to reveal the poet's personality. In this type of lyric poetry, the poet's poetic conclusion is explained through the work of Osman Azim. The content of the samples of performing lyrics was analyzed for the first time through the work of representatives of the new Uzbek literature. The lyrical protagonist and the performing lyrical image have been studied on a scientific basis. A new method was used to explain ideas such as the poet's personality and his ability to convey his thoughts in the image of another person. Samples of role-playing lyrics in Uzbek and world literature were compared.
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Aprilia Susanti, Slamet Setiawan,. "Sexuality In Dangdut Lyrics: A Critical Discourse Analysis." Psychology and Education Journal 58, no. 1 (January 1, 2021): 3286–95. http://dx.doi.org/10.17762/pae.v58i1.1268.
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Dangdut is claimed to be the original music genre of Indonesia has been undergoing radical change lately in both rhythm and lyric. The latter is manifested into sub-genre called dangdut koplo which manipulates the rapid beat of ketipung ‘tom-tom’. The latter is expressed by altering message of the lyric to be blatant vulgar which leads to sexuality. This study investigated mainly on the latter case; the language expression and linguistic features used in dangdut lyric to exploit sexuality, the form of relation among the participants, and socio-cultural phenomena reflected within dangdut lyric with sensual content. The qualitative analysis using Critical Discourse Analysis (CDA) proposed by Fairclough (1995) were used to be the conceptual framework. There were 19 controversial dangdut songs lyric considered as sensual and exploit sexuality were taken as the source of the data and twenty listeners were interviewed. The results of the study show that: Firstly, the lyrics employed Bahasa Indonesia and Javanese, figurative language in both dialogue and monologue, narrative text, rhymes, rhetorical question, seducing expression, and incomplete sentence structure. Secondly, the songs talked about man and woman relationship, sensual desire, and gender stereotype. Finally, the songs concern on the justifiability of the sensual content and economy motive. Besides, free sex and gender stereotype are the reflection of sociocultural phenomena.
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Cheng, Guangrui. "Leslie's Love for Life with Its Musical and Lyrical Stylizations." BCP Education & Psychology 9 (March 29, 2023): 407–11. http://dx.doi.org/10.54691/bcpep.v9i.4715.
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This study chooses famous Hong Kong artist Leslie Cheung's song Love for Life for a detailed analysis of the musical and performance culture of that time. The song this study chooses has the style of Feng Yansi’s Song Poems Ye Jinmen, with a strong literati atmosphere, beautiful and colorful, euphemistic and implicit. Love for Life not only has good lyrics, but the music also exquisitely embodies the artistic conception of the lyrics. Through Leslie's singing, he sings such classical poetic lyrics in a monologue poet's voice. The live version of his 1988 concert, complete with medieval prince costumes, is quite Romeo style, reminiscent of Lam Yihua's words 'If there is a Romeo in the world, I think he is similar to you'. Apart from the analysis of Leslie, this study also draws some attention to the other contributors such as Zhong Xiaoyang. It is argued that through the cooperation of these artists, the song successfully represented the golden age of Hong Kong and one of the peaks of Cantonese culture.
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Moroz, L. V. Moroz. "ROLE-HERO IN TARAS SHEVCHENKO’S POETRY." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 3(55) (April 12, 2019): 22–28. http://dx.doi.org/10.31471/2304-7402-2019-3(55)-22-28.
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The article deals with the artistic phenomenon of role lyrics as a poetic text constructed in the form of a holistic speech statement and organized from a person who is distanced from the author and can not be identified taking into consideration biographical, socio-historical or gender status of the speech subject as well as the range of moral, ethical, ideological, aesthetic, existential values and representations submitted by him.
A separate type of role lyrics includes poetic texts that are generally constructed in the form of the expression of one or more characters while the author's representation is minimized in them to some separate and fragmentary replicas which function as a specific frame element that formally combines submitted representational forms. On the contrary, it does not transfer them into the artistic plane concerning auto-psychological form of expression. This type of role-playing lyricism is constructed in the form of a monologue or a dialogue with two or more characters or a role dramatic scene where the author's voice acts as a remark linking the voices of poetic speech subjects.
The article analyzes the problems of literary critics’ theoretical searches in their studies related to the lyrics subject organization specifics. It makes an attempt to characterize the spectrum of poetic speech subjects in role lyrics.
An attempt is also made to typologize the role types of author's consciousness expression in T. Shevchenko’s lyrics. The varieties of the hero’s character actual role-type (i.e. personalized and personified) are analyzed as well.
The hero’s actual role-type is defined as the type when degree of objectification confirms his categorical (at least, outwardly declared) non-identity with the author himself motivated by biographical, socio-professional, existential, etc. incompatibility.
The article also deals with the problems related to the methods of composite and speech design of poetic role-text. It outlines conceptual and substantive points which reveal themselves at the level of ideological and thematic concepts of expression.
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Larkovich, Dmitry V. "Types of addressing in Gavrila Derzhavin’s lyrical discourse." Tekst. Kniga. Knigoizdanie, no. 34 (2024): 6–21. http://dx.doi.org/10.17223/23062061/34/2.
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The article deals with the specifics of communicative strategies and dialogical intentions of Derzhavin the lyricist. In the context of this scientific problem, the author of the article identifies five types of addressing (sacred, political, ideological, friendly, erotic), which determine the genre, intonation and thematic conditionality of Derzhavin's lyrical utterance and establish the nature of the relationship between the subject of speech and its addressee. Sacred addressing in Derzhavin's lyrics is carried out in the speech situation of the dialogue of the lyrical subject with the Creator, who acts as an invisible, but quite tangible Interlocutor, embodied in his creation. The subjective activity of Derzhavin's lyrical utterance is stimulated by the feeling of direct involvement in the active subjectivity of the Divine Addressee, the comprehension of whose essence opens up the possibility for the lyrical subject to comprehend himself. Political addressing is actualized in situations where Derzhavin's lyrical hero addresses royal persons and statesmen. Formally, this type of addressing fits into the odic genre tradition and serves as a means of poetic declaration of the author's civic position. However, in Derzhavin, this stable rhetorical model takes on the character of personally engaged communication, which implies a high degree of intimacy in the relationship between the sender and the addressee, which is especially pronounced in poems dedicated to Catherine II. Ideological addressing is practised by Derzhavin in those cases when the poet pursues the goal of a public discussion of issues of ethical, epistemological or aesthetic content. From the point of view of referential attitudes, a communicative strategy of this kind of addressing can be polemical, declarative (manifestation) or heuristic. Friendly addressing is mainly inherent in poems written in the genre of a friendly message. In lyrical works of this type, along with the main subject of speech, another subject-object instance (addressee) often appears, as a result of which a situation of value plurality arises, in the dialectical unity of which the author's value position is determined. Poems containing erotic addressing are purely monologue in terms of the structure of speech constructions and masked in terms of the nature of subjectivity. This type of addressing develops from the expression of rhetorically conditional forms of love experience, oriented to the tradition of Alexander Sumarokov's poetic school, to personally engaged subjective statements, often marked by features of the author's selfirony. The presented typology of addressing in Derzhavin's lyrics demonstrates a wide range of communicative strategies of the poet, striving to establish a truly dialogic relationship with his reader. The author declares no conflicts of interests.
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Zenevich, Ekaterina Vasilievna. "Reception of the Christian tradition of "cleansing" prayer in the lyrics of Julia Zhadovskaya." Litera, no. 5 (May 2024): 198–207. http://dx.doi.org/10.25136/2409-8698.2024.5.70669.
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Due to the constant interest in the study of religious images and motifs in literary works, it becomes relevant to study the motifs contained in literary texts on religious subjects. One of the key features of the work of the poetess of the mid – 19th century Yu.V. Zhadovskaya (1824-1883) is an artistic reinterpretation of the Christian traditions of spiritual weeping and "cleansing" prayer. The subject of the study is the motif of prayer tears as an external sign of "cleansing prayer" in the lyrics of Yu.V. Zhadovskaya. The object of the research is the texts of religious and spiritual subjects of the first lifetime collection of poems "Temptation" (1845), "Calmly over me Again" (1846), "Monologue" (1846), "When reading the History of Peter the Great" (1846), the texts of the second lifetime collection of poems "Wonderful Minute!" (1847), "Night... Chu! into the shady Garden" (1846), "The Awakening of the Heart" (1848), "Who are my relatives" (1850) and unpublished texts "I remember that evening and quiet and beautiful", "Who loved and believed passionately", "The curly birches are noisy, noisy". To conduct the research, the method of historical and philological analysis, the biographical method, the comparative method, as well as the method of complex text analysis were used. A special contribution of the author to the study of the topic is the identification in the lyrics of Yu.V. Zhadovskaya of a group of poems of religious and spiritual themes, the lyrical event of which is focused on the Orthodox prayer tradition. The main conclusions of this study are the identification of the religious component of the author's worldview. Turning to the Christian tradition of spiritual purification allows, on the one hand, to define the basic framework of readers' expectations, and on the other hand, to violate the peculiar genre canon of "cleansing" prayer, embodying the poetess's special worldview, which consists in a "dual" worldview: the desire to find inner harmony and tranquility is combined with a tragic sense of God-abandonment. The artistic reinterpretation of the tradition of Orthodox prayer is primarily associated with the use of such an element of "cleansing" prayer as crying and tears in the lyrics. A special prayerful state and poetic communion with God in lyrical situations containing the motif of prayer tears are a sign of entering the "field of purity" for spiritual purification and prayer, as well as a sign of inner transformation. The novelty of the research lies in conducting a systematic analysis of the motive of prayer tears in religious and spiritual texts.
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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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Roche-Jacques, Shelley. "‘Out of the forest I come’: Lyric and dramatic tension in The World’s Wife." Language and Literature: International Journal of Stylistics 25, no. 4 (November 2016): 363–75. http://dx.doi.org/10.1177/0963947016663585.
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This article looks at lyric and dramatic modes of poetic expression in Carol Ann Duffy’s collection The World’s Wife. The book is of particular interest because it is Duffy’s only volume devoted entirely to the dramatic monologue. In the opening sections of this article, lyric and dramatic modes are defined and discussed, and the work of Keith Green on deixis and the poetic persona is considered in relation to the dramatic monologue. Of particular use is Green’s elaboration on the traditional deictic categories of ‘time’ and ‘place’. Green incorporates the concepts of ‘coding time and place’ and ‘content time and place’ into his analysis of lyric poetry. These concepts are used here as tools to consider and describe the communicative contexts established in lyric and dramatic poetry respectively. Ina Beth Sessions’ early, taxonomic approach to defining the dramatic monologue, in particular her idea of ‘action in the present’, is also found to be useful in the identification of the ‘dramatic’. The next section of the article is a close analysis of two poems from The World’s Wife, ‘Little Red Cap’ and ‘Mrs Sisyphus’. Other poems, and the communicative context evoked by the collection as a whole, are also considered in the light of Green, Sessions and the lyric and dramatic traditions in poetry. The work of Duffy examined here is found to be more clearly rooted in lyrical and narrative than dramatic traditions. It is suggested that the indexicalisation of the symbolic elements of deictic terms is essential to the building of the dramatically realised coding environment necessary for a Browningesque dramatic monologue. A call is made for further work to be carried out in identifying the ‘dramatic’ in poetry, and for a more meaningful employment of the term dramatic monologue.
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Zharylgapov, Zh, and D. Omirbekova. "The lyrical prose in the Kazakh literature." Bulletin of the Karaganda University. Philology series 98, no. 2 (June 30, 2020): 64–69. http://dx.doi.org/10.31489/2020ph2/64-69.
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The article analyzes the experiments of theoretical research of lyrical prose. Scientific views on lyrical prose in the theory of world and national literature are systematized. Various aspects of the study of lyrical prose in Kazakh literary studies are considered. The authors turn to the analysis of the ratio of epic and lyrical components in prose, the relationship between lyricism and psychology, the relationship between the author's worldview and the character. The place of lyrical prose in the art of modern Kazakh writers is determined. The methods and techniques of using lyrical prose in the poetic system are specified. Provisions on the connection of lyricism with realism and romanticism have been developed. Special attention paid to the analysis of the functions of internal monologue and landscape in modern lyrical prose. Ideological and aesthetic features, typological aspects of Kazakh lyrical prose are revealed.
Dissertations / Theses on the topic "Monologue the lyrics"
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Stinton, Nicole Desiree. "Acting as song: A holistic pedagogy for sung characterisation in music theatre." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2025. https://ro.ecu.edu.au/theses/2925.
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Acting as song is a new philosophical approach to music theatre training enabling student actors to integrate singing and acting offering holistic, embodied acting-singing methods. Acting as song demands we abandon thinking that singing and acting are mutually exclusive, and that a character cannot be true-to-life because they are singing. Rather, singing is considered acting. Through practice based research, I show that acting as song results in more holistic, authentic, believable characterisation. It requires that acting and singing be integrated in multiple ways, that dramaturgical music analysis is made accessible to all students and embodied learning is used across educational contexts.
Books on the topic "Monologue the lyrics"
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Barnett, Snowdon. Now is as it pitches: Poetic monologue as reflective lyric. Lewiston, N.Y: Edwin Mellen Press, 2004.
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Archive, Internet, ed. Collection: 30 minutes of Apparition Poems, including 1345, 1488, 1613, on mp3 on Internet Archive. 3rd ed. Philadelphia, PA: Internet Archive, 2013.
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Beck, Barbara, ed. Apparition Poem #1488: jpeg image reproduced from print journal, issue 15, page 17. Paris, France: Upstairs at Duroc, 2014.
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Hairpiece, Dara's Barnyard, and The Seattle Star, eds. Dara's Barnyard Hairpiece: Apparition Poem #1488: (jpeg extrapolated from Seattle Star ed. of #1488). Seattle/Plymouth Meeting: Dara's Barnyard Hairpiece, 2020.
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Side, Jeffrey, ed. Apparition Poems #s 1326, 1327, 1328. London, UK: The Argotist Online/UK WA, 2009.
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Fieled, Adam. Apparition Poems (original Blazevox book pdf '10). Edited by Geoffrey Gatza. Buffalo, New York, USA: Blazevox Books, 2010.
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Star, The Seattle, ed. Apparition Poem #1488. Seattle, Washington: The Seattle Star, 2015.
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Post, P. F. S., ed. Apparition Poem #1613. Philadelphia/Conshohocken, Pa: P.F.S. Post, 2010.
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Devil, Stoning the, ed. Apparition Poem #534 (Sisters). Philadelphia, PA: Stoning the Devil, 2009.
Find full textBook chapters on the topic "Monologue the lyrics"
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Bryant, Marsha. "Killer Lyrics: Ai, Carol Ann Duffy, and the Media Monologue." In Women’s Poetry and Popular Culture, 149–73. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230339637_6.
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Hadad, Astrid, Roselyn Costantino, and Lorna Scott. "Selected Lyrics and Monologue Fragments." In Holy Terrors, 181–86. Duke University Press, 2003. http://dx.doi.org/10.1215/9780822385325-012.
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"Selected Lyrics and Monologue Fragments." In Holy Terrors, 181–86. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822385325-013.
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HADAD, ASTRID. "Selected Lyrics and Monologue Fragments." In Holy Terrors, translated by Roselyn Costantino and Scott Lorna, 181–86. Duke University Press, 2003. http://dx.doi.org/10.2307/j.ctv11hpqrn.17.
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Noel-Tod, Jeremy. "Dramatic Monologue." In Forms of Late Modernist Lyric, 215–42. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781789622423.003.0010.
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The poetry of R. F. Langley was preoccupied with the dramatic nature of lyric speech as a composite of perspectives and voices, from Shakespeare to the newspaper. Central to this understanding of lyric was Robert Langbaum’s The Poetry of Experience: The Dramatic Monologue in Modern Literary Tradition (1957), which proposed that the irony inherent in Romantic subjectivity developed into Robert Browning’s dramatic monologues, giving rise in turn to the polyphonic modernism of Eliot and Pound. Langley’s earliest poems experiment with fragmentary free verse as a way of giving ‘dramatic monologue-like’ form to the epistemological relativism of this tradition, in which the lyric subject is replaced by a bricolage of consciousness. His later development of more structurally regular ‘persona’ poems, and the invention of the Shakespearean figure of ‘Jack’, see him responding poetically to Richard Wollheim’s proposal that ‘painting metaphorizes the body’. Finally, Langley’s last poems of ‘epiphany’ seemingly dispense with all dramatic masks to speak in the autobiographical voice of his Journals (2006). But this itself is an artful masking, which explores Wollheim’s notion of ‘the spectator in the picture’ in order to experiment with the dramatic monologue’s poetics of presence through ekphrastic encounters with art and nature.
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Noel-Tod, Jeremy. "Dramatic Monologue:." In Forms of Late Modernist Lyric, 215–42. Liverpool University Press, 2021. http://dx.doi.org/10.2307/j.ctv22tnmsq.15.
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McRae, Calista. "Coming to Terms with Our Self." In Lyric as Comedy, 146–78. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501750977.003.0006.
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This chapter draws together multiple aspects of lyric. It discusses how Morgan Parker, Natalie Shapero, and Monica Youn assert the value of humor to a record of personal experience and consider how to handle feeling that is bound up with gendered expectations and critical discourse around mainstream poetry. It also mentions how Parker splices lyric with extraliterary enumerative forms and with dramatic monologue in order to document the experience of contemporary black womanhood in the United States. The chapter analyses Shapero's incorporation of splinters of the well-wrought formalist poem that convey ambivalence about a tumultuous contemporary world. It then explains how Youn dissects romantic obsession and reflects how it has been depreciated by avant-garde and traditional criticism.
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Thomas, Jayne. "Tennyson’s ‘Tithonus’ and the Revision of Wordsworth’s ‘Tintern Abbey’." In Tennyson Echoing Wordsworth, 163–87. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474436878.003.0006.
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This chapter examines the Wordsworthian echoes and borrowings in the 1860 dramatic monologue ‘Tithonus’, revealing ‘Tithonus’, and, in part the earlier ‘Tithon’ on which it is based, as a rewriting of the relationship between mind and nature, of the self reencountering itself in time, as it appears in Wordsworth’s ‘Tintern Abbey’ (1798). In reworking Wordsworth’s interaction between mind and nature, ‘Tithonus’ is consolidating a new poetic alongside revising what has ostensibly become an outdated poetic trope. The revisions, in part, free Tennyson from the universal subjectivity of the lyric speaker, thereby strengthening the strategies of the monologue. Yet, Tennyson’s borrowings and echoes create effects that the poet cannot fully control, feeding, compromising, directing, and, ultimately, supporting the poem.
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Thain, Marion. "Desire Lines: Subjectivity and Collectivity." In The Lyric Poem and Aestheticism. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474415668.003.0009.
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Chapter 8 is the first of three chapters that make up ‘Part III’ of the book. This part focuses on issues of lyric subjectivity. As the first chapter in this part, Chapter 8 builds a conceptual and theoretical basis that will underpin the poetic case studies offered in the subsequent two chapters. This chapter sets up a frame that positions aestheticist lyric between the legacy of an introspective Hegelian lyric subjectivity that surfaced in British Romantic poetics, and the growing anxiety that prompted the discovery of more communal poetic forms within lyric. Complicating scholarly narratives that see mid-century dramatic monologues as the quintessential nineteenth-century response to such anxieties, this chapter proposes the model of ‘desire lines’ (taken from urban geography) to recognise the capacity of lyric poems of the period to invoke models of lyric chorus, rather than lyric solipsism.
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Thain, Marion. "A. C. Swinburne in the Round: Drama, Personae and Lyric Subjectivity." In The Lyric Poem and Aestheticism. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474415668.003.0010.
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The first case study of this part of the book teases out of Swinburne’s metrical masochism a perversely chaste account of lyric community, in which poetic form works to imagine a chorus of voices. Starting with poem ‘Anactoria’, one of the best known poems of Poems and Ballads (1866), the chapter analyses the questions of genre and poetic community posed in Swinburne’s early work. Reading on through his oeuvre this impulse might find a natural outlet within Swinburne’s politically-engaged work of the 1870s, but what about the more Parnassian ‘A Century of Roundels’ (1883)? Close reference to this volume, enables the chapter to demonstrate models of lyric collectivity in poems that are far from any ’dramatic monologue’ model—and ultimately provides the tools to offer a fresh engagement with ‘Anactoria’. Comparison with the poems of Oscar Wilde helps focus the issues of poetic subjectivity and connect with Wilde’s infamous d commentary on Swinburne’s poetic subjectivity.
Conference papers on the topic "Monologue the lyrics"
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Курочкина, Анжелика. "LYRICAL MONOLOGUE-CONFESSION - THE BASIS NARRATIVE MANNER IN B. ZAYTSEV'S EARLY PROSE." In Slavic ethnic groups, languages and cultures in the modern world. Baskir State University, 2021. http://dx.doi.org/10.33184/seyaikvsm-2021-09-23.42.
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Vyatkina, Svetlana V. "INTERROGATIVE SENTENCE IN A LITERARY TEXT (ON THE LAST FIVE YEARS STORIES MATERIAL)." In 49th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2022. http://dx.doi.org/10.21638/11701/9785288062353.09.
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The article presents the results of the analysis of the functions of interrogative sentences in modern experimental (fragmented) fiction, that reflects the processes of disintegration, based on the works of small prose (about 5 % of all short story texts) published in the magazines “Znamya”, “Octyabr’” and “Novyj mir” in the last 5 years. The selection of the material is based on the author’s definition of the narrative genre (short story, small prose, other prose, prose), on the formed discreteness of the text (various types of rubrication at the level of macro-syntax, at the level of microsyntax — the dismemberment of the syntagmatic chain of the sentence, the elimination of connectivity indicators, the use of alternative punctuation), on the identification of non-standard metagraphemics as the design piece of art’s means. A comprehensive analysis of the disintegration degree of small volume texts with interrogative sentences (question marks), pragmatics (types of questions), structural features (single questions, chains of interrogative sentences, combination with parcellation), the context of the introduction (position in the structure of the text and the presence/absence of a direct answer in a question-and-answer situation) allows you to determine the following functions of interrogative sentences in the text of experimental prose of small form 1) complication of the subject perspective of the text by removing the traditional punctuation of the parties of speakers in dialogues and including private questions in them; 2) metalanguage narrator’s reflection performing in the text with the help of existential rhetorical questions and unanswered questions; 3) the performance of the text-forming function of interrogative sentences in lyric monologues reflecting auto-communication. The revealed features of questions in modern prose reflect the author’s search for a means of compensation for disintegration, the increasing colloquialism of a literary text and the change in the recipient’s perception of his narrative (the desire to remove distance, modeling online communication), which is predetermined by the orientation to the modern reader, the search for new forms of artistic communication. Refs 18.