Relevant bibliographies by topics / Monologue

Academic literature on the topic 'Monologue'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Monologue"

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Madi, Nasrullah La, and Sulami Sibua. "Pelatihaan Monolog dengan Teknik Permodelan bagi MGMP Bahasa Indonesia Kota Ternate." Sasambo: Jurnal Abdimas (Journal of Community Service) 5, no. 1 (February 1, 2023): 152–66. http://dx.doi.org/10.36312/sasambo.v5i1.928.

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Monolog memiliki kompleksitas dan kekhususan tersendiri karena meskipun merupakan wicara seorang diri, wicara ini disapaikan di hadapan orang lain. Perkembangan monolog perlu diikuti dengan pembinaan agar sekolah dan masyarakat tidak memandangnya sebagai pementasan drama yang ala kadarnya. Monolog perlu disikapi sebagai genre pementasan drama, yang bila dikemas dengan sungguh-sungguh dapat menjadi tontonan teter yang menarik.Permasalahan yang dihadapi adalah masih banyak guru Bahasa Indonsia belum memeiliki ketrampilan dalam bermonolog. Pelatihan ini dilaksanakan di laboratorium Komputer SMA 4 Kota Ternate yang merupakan kerja sama Tim PKM Fakutas Keguruan dan Ilmu Pndidikan Universitas Khairun dengan Musyawarah Guru Bahasa Indonesia Kota Ternate yang berjumlah 24 orang. Tujuannya agar setelah mengikuti peltihan, peserta pelatihan dapat mementaskan monolog dengan baik dan dapat melatih siswa bermonolog dalam kegitan pembelajaran Bahasa Indonesia. Kegiatan Pelatihan Monolog dilaksanakan dengan menggunakan Teknik Permodelan. Pelatihsn dilakukan melalui 3 tahapan yaitu tahap pertama tahap penyajian materi, kemudian tahap pementasan atau permodelan monolog dan yang ketiga adalah praktek monolog oleg guru-guru peserta pelatihan.Hasil yang diperoleh yaitu berdasarkan hasil pengamatan, nara sumber menilai sebagian besar guru yang tampil sudah bagus dalam bermonolog. Hanya ada bebarap guru saja yang kelihatan agak malu sehngga kurang bisa berekspresi secara maksimal. Selain itu, hasil evaluasi menunjukkan bahwa sebagian besar guru sudah bisa bermonolog dengan baik. Terlihat dari tabel hasil evaluasi kemampuan guru dalam bermonolog terdapat 6 orang atau 33,3% guru yang termasuk dalam kriteria sangat baik, 11 orang atau 61,1% guru yang berkemampuan baik, 1 orang atau 5,5% yang masuk dalam kriteria kurang baik dalm bermonolog, dan tidak ada guru atau 0% yang termasuk dalam kriteria sangat kurang. Ini menunjukkan bahwa solusi atau harapan kegiatan pelatihan agar 75% guru yang ikut dalam pelatihan ini dapat bermonolog dengan baik bisa tercapai Monologue Training with Modeling Techniques for Indonesian Language MGMP Ternate City Monologue has its own complexity and specificity because even though it is a solo speech, it is delivered in front of other people. The development of monologues needs to be followed by coaching so that schools and communities do not view them as perfunctory drama performances. Monologue needs to be considered as a genre of drama performance, which if properly packaged can become an interesting tethered spectacle. The problem faced is that there are still many Indonesian teachers who do not have the skills in monologue. This training was carried out in the Computer laboratory of SMA 4 Ternate City which is a collaboration of the PKM Team of the Faculty of Teacher Training and Education at Khairun University with the Indonesian Language Teacher Conference of Ternate City, totaling 24 people. The goal is that after attending the training, the trainees can perform monologues well and can train students in monologues in Indonesian language learning activities. Monologue Training Activities are carried out using Modeling Techniques. The training is carried out through 3 stages, namely the first stage of presenting the material, then the stage of staging or modeling the monologue and the third is the practice of monologue by the trainee teachers. The results obtained are based on observations, resource persons assessed that most of the teachers who performed were good in monologues. There are only a few teachers who look a little embarrassed so they can't express themselves optimally. In addition, the results of the evaluation showed that most of the teachers were able to monologue well. It can be seen from the table that the results of the evaluation of the ability of teachers in monologue are 6 people or 33.3% of teachers who are included in the very good criteria, 11 people or 61.1% of teachers who have good abilities, 1 person or 5.5% who fall into the criteria are not good in monologue, and there is no teacher or 0% which is included in the very poor criteria. This shows that the solution or hope of training activities so that 75% of teachers who participate in this training can monologue well can be achieved.
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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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Stelmakh, D. "Assessment and peer assessment of foreign speaking production competence of the 1st year pre – service teachers." Science and Education a New Dimension IX(256), no. 100 (September 25, 2021): 26–30. http://dx.doi.org/10.31174/send-pp2021-256ix100-05.

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The article focuses on the assessment and peer – assessment of the foreign language speaking production skills of the 1st year pre – service teachers. The analysis of the existing evaluative tasks for speaking assessment has been done and best tasks for 2 types of monologues – a monologue – description and a monologue – narration have been collected. Successful assessment requires definite criteria to be chosen. In this paper criteria have been established and explained and 2 rating scales for a monologue – description and a monologue – narration have been developed.
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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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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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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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Arumi, Faoziah. "Patriotism Ideology in Anthology 100 Monologues by Putu Wijaya." International Journal of Social Science Research and Review 6, no. 1 (January 6, 2023): 65–78. http://dx.doi.org/10.47814/ijssrr.v6i1.730.

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This study aims to determine: (1) the form of patriotism ideology in Putu Wijaya's 100 Monologues anthology, (2) the meaning of patriotism ideology in Putu Wijaya's 100 Monologues anthology, and (3) representation of patriotism ideology which is realized at the microstructure level, meso, and macro in Putu Wijaya's 100 Monologue anthology. This type of research is descriptive analytical research. The primary data sources in this study were Putu Wijaya's monologues, namely (1) "Apakah Kita sudah Merdeka??” (2) "Demokrasi", and (3) "Nationality". The results of this study are, first, the form of patriotism includes appreciating the services of heroes, and striving to advance Indonesia. The two meanings of the ideology of patriotism are, among others, respect for Indonesian heroes, and being willing to sacrifice. Third, in the micro structure, metaphorical and hyperbolic figure of speech are found, then in the meso structure there is an intertextual element referring to texts such as the text of the proclamation of independence and previous literary works, the interdiscursive element, which refers to the conversation of previous figures represented in the same sentence or in the form of character's attitude. In the ideological macro structure found the ideology of patriotism. The next macro structure is power, in the monologue “Apakah Kita sudah Merdeka?” the element of power lies in the grandfather character, the monologue "Demokrasi" the element of power lies in the factory director, and the monologue "nationality" the element of power lies in the grandmother figure.
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Gordeeva, L., and Z. Usupova. "On text typology in Russian as a foreign language." Philology and Culture, no. 1 (March 20, 2023): 156–60. http://dx.doi.org/10.26907/2782-4756-2023-71-1-156-160.

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Systematic work on the text, when working with international students, contributes to the formation of their communicative and aspect speech skills. It is one of the conditions for regular language practice, which helps foreign language listeners to orient themselves in another country. The article discusses the comprehensive teaching of foreign students to work on a monologue. Since monologues differ in content and design, the purpose of our research is to study a typology of texts and ways of working with monologue utterances in the process of teaching Russian to students of the pre-university level. The article considers the types of monologues, the thematic scope of their use and the communicative component of the texts, we prove that the development of monologue speech skills should be combined with lexical and grammatical activities in almost every lesson of the Russian language, starting with the elementary stage. The conducted research confirms the idea that reasoning on scientific topics requires more attention. Effective and systematic work on a monologue statement contributes to the international students’ ability both to retell what they have read and to express their thoughts. It develops the student’s logic through answering questions, composing dialogues and solving new situational tasks.
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Kosinova, Olena. "Historical aspects of monologue stage speech." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 304–10. http://dx.doi.org/10.32461/2226-3209.2.2021.240109.

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The purpose of the article is to explore the historical aspects of monologue stage speech as the most difficult type of psychophysical action of the actor. The research methodology involves the use of an integrated approach with the use of analytical, systematic methods, comparative, which allows to distinguish the features of monologue stage speech in the work of the actor. The scientific novelty of the work is to deepen the study of individual acting in the context of the development of monologue speech and analysis of historical aspects of its formation and development in acting. Conclusions. It is emphasized that the masterful performance of monologues from a classical or modern play is a manifestation of the professional creative growth of the actor. Historical digression and research of methods of work on the monologue is an extremely important and useful source of obtaining the right techniques, principles, skills, a way to acquire professional knowledge of monologue stage speech. Text notes of extended monologue speech (if such are sometimes permissible) should be made carefully, carefully, together with the director-producer. It is noted that to master verbal action, its expressive possibilities is the main task, which is always faced by actors and directors of professional and amateur theaters.
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Dissertations / Theses on the topic "Monologue"

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Landry, Jenny. "Quand le monologue dialogue, le discours monologique d'Yvon Deschamps, 1968-1980." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0028/MQ41936.pdf.

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Branco, Elizabeth Hey. "Molly's monologue in Ulysses." reponame:Repositório Institucional da UFPR, 2010. http://hdl.handle.net/1884/24339.

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Kashioka, Hideki. "ANALYSIS FOR STRUCTURE OF MONOLOGUE." INTELLIGENT MEDIA INTEGRATION NAGOYA UNIVERSITY / COE, 2006. http://hdl.handle.net/2237/10412.

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Ohno, Tomohiro, and Shigeki Matsubara. "Corpus-based Speech Monologue Parsing." INTELLIGENT MEDIA INTEGRATION NAGOYA UNIVERSITY / COE, 2005. http://hdl.handle.net/2237/10367.

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

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Ce travail se propose d’étudier, sous un angle grammatical, le phénomène romanesque connu sous le nom de "monologue intérieur", qu’il convient d’emblée de distinguer du "stream of consciousness", auquel il est souvent ramené. Afin de mieux cerner et de définir ce qu’est le monologue intérieur, nous confrontons les définitions qui en sont généralement données à des textes de fiction anglophones, et nous analysons les techniques linguistiques utilisées pour représenter ce discours particulier. Il apparaît donc que le monologue intérieur n’est pas une technique linguistique mais doit plutôt se concevoir comme une catégorie narratologique. Ce discours s’incarne grâce à diverses techniques linguistiques : le discours immédiat mais aussi certaines des techniques du discours rapporté, avec en son centre le discours direct (libre) et à sa périphérie le discours indirect classique. Le discours indirect libre, quant à lui, navigue entre les deux. Ces différentes techniques reposent donc sur une conception particulière du discours intérieur qu’elles véhiculent, et leur étude permet d’étudier la possibilité offerte à l’auteur ou au narrateur de détourner leur forme afin de servir une stratégie narrative, avec parfois pour but de faire passer pour verbal ce qui ne peut l’être
This thesis investigates the literary phenomenon known as “interior monologue” from a grammatical point of view, and is based on a clear distinction between “interior monologue” and what is called “stream of consciousness”, both phenomena usually being seen as the same. The main objectives are therefore to define what we call “interior monologue” in order to confront this definition with English language literary texts, and to analyse the various linguistic techniques used to represent this special discourse. Interior monologue is therefore seen not as a linguistic technique but as a narratological category. This particular discourse is represented using different linguistic techniques: “immediate discourse” but also some of the reported speech techniques, with (free) direct speech as the core of the category, and indirect speech at its periphery, free indirect speech navigating between those two poles. These techniques differ both in their form and in the conception of the interior discourse they convey, but they always create the illusion of giving access to the (fictional) original discourse. It is for this reason that we want to show the possibility for the author or the narrator to use a syntactic form suggesting a reported discourse seemingly closely linked to the original discourse, to represent something that sometimes cannot be considered as verbal
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Kammensjö, Helene. "Discourse connectives in Arabic lecturing monologue /." Göteborg : Acta Universitatis Gothoburgensis, 2005. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=014821132&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Danan, Joseph. "Transpositions du monologue intérieur au théâtre." Paris 3, 1994. http://www.theses.fr/1994PA030155.

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L'apparition du monologue interieur romanesque coincide, au theatre, avec celui d'une dramaturgie de la subjectivite dont on peut suivre les developpements a la fin du xixe siecle et tout au long du xxe. Peu d'auteurs ont exolicitement cherche ( comme o'neil ) a transposer au theatre le monologue interieur romanesque. Le detour par la theorisation ebauchee par eisenstein, qui se demanda comment transposer le monologue interieur au cinema, permet pourtant de mieux reperer, dans le foisenement des formes theatrales modernes, ces "monologues interieurs de sons et d'images" qui se donnent pour tache plus ou moins implicte de restituer, par le jeu du montage et du contrepoint, le mouvement de la pensee. De quelle pensee s'agit-il? celle, saisie, comme le voulait dujardin, "en son etat naissant", que le recours a l'image autorise a mieux reduire a ses aspects non rationnels, non logiques? ou bien le "monologue interieur" peut-il etre le creuset ou s'elabore, comme le laissait entendre eisenstein, une pensee plus "haute", eventuellement detachee de la subjectivite d'un moi conduit par beckett (comme le monde que ce moi reflete) au bord de l'extinction?
The apparition of the novelistic stream of consciousness coincides, in theatre, with a dramatur5gy of subjectivity whose developments can be witnessed since the end of the nineteenth century and throughout the twentieth century. Few authors have explicitly attempted (as o'neil did) to transpose the novelistic steam of consciousness within theatre. However. Turning for a time to the theorization initiated by eisenstein, who reflected on how to transpose stream of consciousness within film, helps identify among the proliferation of modern theatrical forms these "streams of consciousness of sounds and images" intended more or less implicity to restore the movement of thought through the interplay of montage and couterpoint. What form of thought is it? the one, as dujardin wished, captured "in its nascent state", where recourse to the image gives licence to further reduce thought to its non-rational, non-logical aspects? or rather, as eisentein suggested, can "streams of consciousness" be the crucible where "higher" thought is formed, and is then possibly detached from the subjectivity of a self driven (like the word that this self reflects) to the brink of extinction, as in beckett's work?
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Kammensjö, Helène. "Discourse connectives in Arabic lecturing monologue /." Göteborg : Göteborg university, 2005. http://catalogue.bnf.fr/ark:/12148/cb402440269.

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Carr, Margaret A. "“Say Me/See Me/Say It”: Staging Stories and Transforming Communities in The Vagina Monologues." Thesis, Boston College, 2010. http://hdl.handle.net/2345/1207.

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Thesis advisor: Caroline Bicks
In the last ten years, Eve Ensler’s The Vagina Monologues has morphed from a successful off-Broadway production into an activist movement that fosters fundraising productions of the play by community and campus groups in almost every country. In this thesis, I examine how the ‘body stories’ told by actual women made it to community stages all over the world through a series of translations: first, how Ensler poetically/theatrically interprets their stories; second, how the monologic form (and the current multiple-actor form) of the play affects the meaning of those stories; third, projecting how the audience reacts to those stories; and last, suggesting possibilities for broadening the audience’s experience into community discussion and social change
Thesis (BA) — Boston College, 2010
Submitted to: Boston College. College of Arts and Sciences
Discipline: English Honors Program
Discipline: College Honors Program
Discipline: English
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Šimkutė, Dalia. "Monologo raida lietuvių dramaturgijoje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2007. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2007~D_20070816_160018-29936.

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Magistro darbo tikslas – aptarti monologą XIX a. pab. – XXI a. pr. lietuvių dramaturgijoje. Monologų sklaida išryškina skirtingų lietuvių dramaturgijos laikotarpių bendrąsias tendencijas: vyraujančių charakterių pobūdį, prasmines slinktis, žanrines, stilistines ypatybes, specifinį estetinį psichologinį poveikį, ryšį su adresatu. Vaižgantas, Keturakis, Žemaitė įtvirtino realistinį tikrovės vaizdavimo būdą. Romantinėse pjesėse formuojamas „aukštasis“, poetinis dramos stilius. Realistiniams kūriniams būdingas šnekamosios kalbos imitavimas. Monologams būdinga funkcija – atpasakoti pasibaigusius įvykius ir buvusius išgyvenimus. Dramaturgai neoromantikai siekė dramaturgiją pakreipti romantinio atsinaujinimo linkme. Pasak J. Lankučio, pradėta tolti nuo įprastinio patriotinių jausmų deklaravimo, istorinės, socialinės iliustracijos. Skirtingai nei mėgėjiškosios dramaturgijos laikotarpiui, neoromantizmo dramaturgijai būdingas žanrinis sinkretizmas. Apie žanrinių ribų maišymąsi byloja paantraštės (pavyzdžiui, V. Krėvės „Šarūnas“ – „Senųjų dienų gyvenimo pasaka“). Monologų analizė išryškina V. Krėvės, V. Mykolai�����io-Putino dramų orientaciją į poezijos žanrą, į jos stilistiką. Neoromantinių kūrinių monologe ryškus lyrinis pradas: personažai pasakoja apie šios akimirkos būsenas ar įvykius. Atsiranda poetiškumas, lyrinis subtilumas, vaizduojami ryškūs, individualizuoti charakteriai. Išskiriamas savitas kalbėjimo būdas: stilizuojama lietuvių liaudies daina. „XX a. 3 – 4 dešimtmečių... [toliau žr. visą tekstą]
V. Summary ‘‘Development of the monologue in Lithuanian dramaturgy“ In this study was analised the monologue in XIX century end – XXI century beginning dramaturgy. At the beginning of the work, conception of the monologue is given. In it different attitudes of dramatists to monologue is emphasized. Some dramatists think, that certain elements of monologue forms are negatyve, not acceptable (statics of thoughts and thinking, outburst of emotions) and the monologues in their dramas are not used often. The others think, that monologues have merit and use them in drama. A. Samulionis, P. Pavi give the classification of the monologues, though it is not detailed. In monologues problematics, themes of “Amateurish dramaturgy“ the realistic reality representing way (the dramas of Žemaitė, Keturakis, Vaižgantas) and romantic-patriotic (A. Fromas-Gužutis) are often used. The main functions of the monologue: informational, dinamical, pushing the act of the drama further, characterising the personage who is taking, structural-compositional. The orientation to poetry stilistics and genre of V.Krėvė, V. Mykolaitis-Putinas reveals in neoromantical drama: mithology, lyrism. In monologues distinct individualised characters are pictured in the historical dramaturgy. Of the middle of the XX century (J. Grušas, J. Marcinkevičius) the monologues show universal, crossing the concrete historical times problematics. The language is characterised with didactical tones, passionativenes. K. Saja... [to full text]
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Books on the topic "Monologue"

1

Pinter, Harold. Monologue. London]: Bloomsbury, 2014.

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Friedman, Ginger Howard. The perfect monologue. New York: Bantam Books, 1990.

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Calaferte, Louis. Le monologue. [Paris]: Gallimard, 1996.

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

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Kohlhaas, Karen. The monologue audition: A practical guide for actors. New York: Limelight Editions, 2000.

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Kohlhaas, Karen. The monologue audition: A practical guide for actors. London: Nick Hern, 2000.

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

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Dabrowski, Kristen. My second monologue book.: 101 monologues for young children. Hanover, NH: Smith and Kraus, 2008.

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1946-, Roy Irène, Garand Caroline 1972-, Borello Christine, and Bochow Jörg, eds. Figures du monologue théâtral, ou, Seul en scène. Québec: Nota bene, 2007.

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Langbaum, Robert Woodrow. The poetry of experience: The dramatic monologue in modern literary tradition. Chicago: University of Chicago Press, 1985.

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Book chapters on the topic "Monologue"

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Biagini, Enza. "L’io nello sguardo dell’altra. L’arte del monologo di Claudio Magris." In Biblioteca di Studi di Filologia Moderna, 211–52. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-338-3.20.

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The current essay aims to highlighting a few aspects of the fine ‘art of the monologue’ practiced by Claudio Magris in his remarkable theatrical achievements (three dramatic monologues and two choral plays), in particular, on his most compelling play, Lei dunque capirà (2006). On one hand, the play highlights his masterly use of the stylistic/dialogic capacity of the monologue on stage and, on the other, it offers an unprecedented and extraordinary (parodic) re-actualization of the myth of Orpheus.
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Slinn, E. Warwick. "Dramatic Monologue." In A Companion to Victorian Poetry, 80–98. Oxford, UK: Blackwell Publishers Ltd, 2008. http://dx.doi.org/10.1002/9780470693537.ch4.

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Tucker, Herbert F. "Dramatic Monologue." In The Palgrave Encyclopedia of Victorian Women's Writing, 1–4. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-02721-6_84-1.

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Tucker, Herbert F. "Dramatic Monologue." In The Palgrave Encyclopedia of Victorian Women’s Writing, 428–32. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78318-1_84.

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Alburger, James R. "The Monologue." In The Art of Voice Acting, 186–97. 7th ed. New York: Focal Press, 2023. http://dx.doi.org/10.4324/9781003335160-15.

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Longacre, Robert E. "Monologue Discourse." In The Grammar of Discourse, 7–31. Boston, MA: Springer US, 1996. http://dx.doi.org/10.1007/978-1-4899-0162-0_2.

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Longacre, Robert E. "Monologue Discourse." In The Grammar of Discourse, 33–50. Boston, MA: Springer US, 1996. http://dx.doi.org/10.1007/978-1-4899-0162-0_3.

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Basu, Jayanti. "Internal Monologue." In Encyclopedia of Personality and Individual Differences, 2335–37. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-24612-3_689.

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Basu, Jayanti. "Internal Monologue." In Encyclopedia of Personality and Individual Differences, 1–3. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-28099-8_689-1.

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Smith, Barbara. "Dramatic Monologue." In The Portable Poetry Workshop, 131–36. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-60596-2_19.

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Conference papers on the topic "Monologue"

1

Yeletskaya, Olga V., and Victoria V. Dubra. "Features of monologue speech in preschoolers with intellectual disability." In Особый ребенок: Обучение, воспитание, развитие. Yaroslavl state pedagogical university named after К. D. Ushinsky, 2021. http://dx.doi.org/10.20323/978-5-00089-474-3-2021-59-64.

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The article presents the results of an experimental study of the monologic speech of older preschoolers with intellectual disability of cerebral-organic genesis. The structure of the methodology for studying the monologic speech of older preschoolers with intellectual disability is presented and theoretically substantiated. The revealed features of monologue speech in children of this category are analyzed in the course of the research
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Stepikhov, Anton, and Alexander Shipilo. "Sentence boundary modelling in spontaneous monologue." In 45th International Philological Conference (IPC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/ipc-16.2017.126.

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Kikuo, Maekawa. "Five Evidences Suggesting Large Lookahead in Spontaneous Monologue." In The 9th Workshop on Disfluency in Spontaneous Speech. ELTE Faculty of Humanities, 2019. http://dx.doi.org/10.21862/diss-09-003-maekawa.

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Ji, Zhong, and Yu-Ting Su. "News Monologue Shot Detection using Conditional Random Fields." In 2007 International Conference on Machine Learning and Cybernetics. IEEE, 2007. http://dx.doi.org/10.1109/icmlc.2007.4370598.

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Liang, Zhengzhong, Steven Bethard, and Mihai Surdeanu. "Explainable Multi-hop Verbal Reasoning Through Internal Monologue." In Proceedings of the 2021 Conference of the North American Chapter of the Association for Computational Linguistics: Human Language Technologies. Stroudsburg, PA, USA: Association for Computational Linguistics, 2021. http://dx.doi.org/10.18653/v1/2021.naacl-main.97.

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Ohno, Tomohiro, Masaki Murata, and Shigeki Matsubara. "Linefeed insertion into Japanese spoken monologue for captioning." In the Joint Conference of the 47th Annual Meeting of the ACL and the 4th International Joint Conference. Morristown, NJ, USA: Association for Computational Linguistics, 2009. http://dx.doi.org/10.3115/1690219.1690221.

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Teleguz, A. A., and L. I. Tolstobrova. "Monologue speech as an important component communicative competence." In International Research Conference on Technology, Science, Engineering & Management. Seattle: Professional science, 2021. http://dx.doi.org/10.54092/9781794859401_47.

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Peldszus, Andreas, and Manfred Stede. "Rhetorical structure and argumentation structure in monologue text." In Proceedings of the Third Workshop on Argument Mining (ArgMining2016). Stroudsburg, PA, USA: Association for Computational Linguistics, 2016. http://dx.doi.org/10.18653/v1/w16-2812.

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Burakova, Daria, Oksana Sheredekina, Maya Bernavskaya, and Elena Timokhina. "Video Sketches as a Means of Introducing Blended Learning Approach in Teaching Foreign Languages at Technical Universities." In 14th International Scientific Conference "Rural Environment. Education. Personality. (REEP)". Latvia University of Life Sciences and Technologies. Faculty of Engineering. Institute of Education and Home Economics, 2021. http://dx.doi.org/10.22616/reep.2021.14.005.

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The topicality of the article is determined by the widespread use of blended learning approaches in higher education, especially in studying foreign languages. With the limited number of classroom hours proposed for teaching foreign languages at technical universities, it became very relevant to introduce various alternative out-of-class monitoring methods. The aim of the research is to investigate the effectiveness of introducing video sketches as the way to improve the process of foreign language studying at technical universities. The authors assume that recording video monologues could facilitate students’ speaking abilities, reduce the level of their anxiety compared to delivering monologues in class and could stimulate the effective use of classroom hours for teaching foreign languages. To prove this hypothesis the authors of the study conducted an experiment in Peter the Great St. Petersburg Polytechnic University during the autumn term of 2019-2020 academic year with the total number of 232 participants randomly chosen from 1-course students of technical specialties with different levels of English language proficiency. The possibility to record a monologue instead of delivering it face-to-face was considered as the IV (independent variable) of the experiment. Such research method as an open-close questionnaire was used afterwards to identify the students’ satisfaction with the proposed alternative as well as the analysis of the exam results at the end of the course. These results as the part of the students’ academic performance represented the DV (dependent variable) of the experiment. The obtained data showed that students of the experimental group passed their exam significantly better than the students of the control group. Thus, the present survey proved that students of the experimental group would prefer to record video sketches instead of delivering monologues face to face and that making video monologues improved their fluency and helped overcome some psychological barriers. On the basis of the research and the results obtained during the experiment, the authors conclude that the application of video monologues in the process of teaching foreign languages is highly promising.
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Chen, Lei, Gary Feng, Michelle Martin-Raugh, Chee Wee Leong, Christopher Kitchen, Su-Youn Yoon, Blair Lehman, Harrison Kell, and Chong Min Lee. "Automatic Scoring of Monologue Video Interviews Using Multimodal Cues." In Interspeech 2016. ISCA, 2016. http://dx.doi.org/10.21437/interspeech.2016-1453.

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