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’êtreThis thesis investigates the literary phenomenon known as “interior monologue” from a grammatical point of view, and is based on a clear distinction between “interior monologue” and what is called “stream of consciousness”, both phenomena usually being seen as the same. The main objectives are therefore to define what we call “interior monologue” in order to confront this definition with English language literary texts, and to analyse the various linguistic techniques used to represent this special discourse. Interior monologue is therefore seen not as a linguistic technique but as a narratological category. This particular discourse is represented using different linguistic techniques: “immediate discourse” but also some of the reported speech techniques, with (free) direct speech as the core of the category, and indirect speech at its periphery, free indirect speech navigating between those two poles. These techniques differ both in their form and in the conception of the interior discourse they convey, but they always create the illusion of giving access to the (fictional) original discourse. It is for this reason that we want to show the possibility for the author or the narrator to use a syntactic form suggesting a reported discourse seemingly closely linked to the original discourse, to represent something that sometimes cannot be considered as verbal
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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 BicksIn the last ten years, Eve Ensler’s The Vagina Monologues has morphed from a successful off-Broadway production into an activist movement that fosters fundraising productions of the play by community and campus groups in almost every country. In this thesis, I examine how the ‘body stories’ told by actual women made it to community stages all over the world through a series of translations: first, how Ensler poetically/theatrically interprets their stories; second, how the monologic form (and the current multiple-actor form) of the play affects the meaning of those stories; third, projecting how the audience reacts to those stories; and last, suggesting possibilities for broadening the audience’s experience into community discussion and social change
Thesis (BA) — Boston College, 2010
Submitted to: Boston College. College of Arts and Sciences
Discipline: English Honors Program
Discipline: College Honors Program
Discipline: English
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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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Chen, Shu-I. "The dialogicality of interior monologue in 'Ulysses'." Thesis, Royal Holloway, University of London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327048.
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Getova, Radosveta Valtchanova. "Monologue and dialogue in French revolutionary rhetoric." Thesis, University of Southampton, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.398825.
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Conley, Sara J. "Inner Monologue: Relationship to Personality and Psychopathology." Otterbein University Distinction Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=otbndist1620462072270782.
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Cuénin-Lieber, Mariette. "Corneille et le monologue : tradition et evolution." Strasbourg 2, 1996. http://www.theses.fr/1996STR20086.
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Le role que joue le monologue dans le theatre de corneille est caracterise a la fois par la permanence d'une tradition et par une evolution novatrice qui semble propre au poete. Le livre premier de la these est consacre a la naissance, au developpement de la tradition fort ancienne dont corneille a herite, et aux questions que l'existence meme du monologue a posees aux auteurs et aux theoriciens qui mediterent au xviie siecle sur le genre dramatique (chapelain, d'aubignac, lamy et corneille lui-meme). Dans le second livre est etudie ce que corneille a fait des usages qu'il a recueillis. Au cours de sa longue carriere, il est passe d'une fidelite a la tradition. Fidelite qui s'accompagnait deja de choix personnels (rejet du procede de l'ecoute, de la tirade-monologue), a un abandon progressif du monologue. Cet abandon, qui parait volontaire, n'est pas denue de sens. Il a sa source dans les gouts de corneille qui ne le portaient pas a abuser de l'emploi du monologue, mais aussi dans l'evolution du heros et de l'univers mis en scene par le poete, univers moral et politiqueThe thesis deals with monologue in pierre corneille's plays. It is divided into two parts. In the first one, as an introduction to the investigation of corneille's plays, we have studied the building up of the tradition of monologue, t the practice of soliloquy from the greek tragic poets to alexandre hardy, corneille's nearest predecessor and also several writings on monologue in the seventeenth century (written by chapelain, d'aubignac, lamy and corneille himself). In the second part, we have examined how corneille first followed the tradition of monologue. In his comedies, the monologues are numerous and nearly play the same part as in hardy's pastorals. Later the number of monologues in corneille's dramas gradually diminishes until the monologue completely disappears in the last plays. We have studied how corneille replaces the monologue as greater importance is taken by the scenes with the confident. We have also tried to explain the meaning of this important change that was probably voluntarily made by corneille as well as the relation between the evolution of corneille's hero and the disappearance of monologue in his drama
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Matsubara, Shigeki, Masaki Murata, and Tomohiro Ohno. "Linefeed Insertion into Japanese Spoken Monologue for Captioning." ACL(Association for computational linguistics), 2009. http://aclweb.org/anthology/.
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Kirk, Steven J. "Second language spoken fluency in monologue and dialogue." Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/38421/.
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Although second language spoken fluency has long been recognized as a major component of language proficiency, it has never been clearly defined. It has been shown that fluency is a complex phenomenon, with a host of relevant factors, and it has been suggested that it might be better separated into multiple concepts, such as cognitive fluency and utterance fluency. There is also evidence that fluency has a dialogic aspect, that is, that the fluency of a conversation is a co-construction of the two speakers, rather than simply alternating monologues. This can be observed in the confluence created by smooth turn exchanges, which results in minimizing gaps and avoiding overlap. The present study seeks to examine the co-construction of dialogic fluency through a parallel case study of two Japanese learners of English. One learner was of lower-intermediate proficiency, and the other was of higher proficiency, but both were able to create good impressions of fluency in conversations with native speakers of English. The case study design was semi-experimental in that it involved a story-retelling task done in monologue and dialogue, which was repeated to take into account the effect of practice. The case study allowed the close examination of the construction of fluency in the story-retelling task moment-by-moment through the course of the retellings, taking into account all relevant factors. The semi-experimental, parallel case study design allowed the findings to be compared (1) between monologue (where the learner recorded herself telling the story alone) and dialogue (where the learner told the story to a native speaker interlocutor), and (2) between the two learners of differing proficiency. This study was also mixed-methods in that it combined a qualitative, grounded theory approach to data analysis involving discourse analytic techniques, with quantitative comparisons of temporal variables of fluency. It was also multi-modal in that video was employed to take into account gaze, gesture, and head nods. Results of quantitative analyses revealed that the dialogues were comparatively more fluent than the monologues in terms of speech rate, articulation rate, and length of silences, for both speakers, although the higher-proficiency subject had faster speech and articulation rates than the lower-proficiency learner. This implies that narrative in dialogue is not just a listener occasionally backchanneling while the speaker delivers a monologue. The qualitative analyses revealed that the co-construction of smooth conversation was facilitated by the alignment of rhythm between the speaker and listener, supported by gaze, gestures, and head nods. The learners in these case studies were able to employ different fluency techniques for stressing words in phrases to create rhythm in spite of lower speech rates, and were able to adjust those techniques to maintain rhythm with even lower speech rates at difficult points of the story. These results confirm previous research that some apparent “dysfluencies” in speech should be considered as speech management phenomena, that positively contribute to the co-construction of fluent conversation. They also suggest that alignment between the speakers in terms of rhythm of speech and gaze are important in conversation, confirming previous research showing alignment at these and other levels of interaction. Finally, it appears that fluency is a multi-level construct, and that dialogic fluency should be considered a separate construct from cognitive fluency, of equal or more importance. This has implications for language testing, such that fluency may not be able to be captured with single test types, and for language teaching and learning more generally.
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Chatard, Virginie. "Le monologue dans le théâtre de Michel Tremblay." Bordeaux 3, 1997. http://www.theses.fr/1997BOR30048.
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La premiere partie de l'etude s'intitule : qu'est-ce qu'un monologue ? cette question en apparence naive renvoie a toute la problematique du sujet : a la fois forme et genre, cette manifestation du langage dramatique ne beneficie pas, comme son pendant le dialogue, d'une seule definition simple et precise mais de plusieurs, variant selon les perspectives historiques, litteraires et linguistiques qui l'approchent. Un survol historique de la forme, tant dans le theatre occidental que dans les productions culturelles quebecoises, s'imposait alors afin de mieux extraire une definition permettant d'aborder plus precisement le theatre tremblayen. Et puisque les problemes de definition du monologue ont trait au statut du destinataire, les pieces de tremblay sont etudiees, dans la deuxieme partie, en fonction des personnages presents sur scene, c'est-a-dire qu'elles sont subdivisees entre pieces monologiques, pieces a deux personnages et enfin pieces a plusieurs personnages. Une telle decoupe etait obligatoire puisque presque toutes les pieces de michel tremblay contiennent ou ne sont que des monologues. Apparait alors la fonction fondamentale du monologue, qui n'est plus une simple forme mais participe de la structure meme de la piece. Dans la troisieme et derniere partie, les variations formelles du monologue sont analysees. Dans le cas de tremblay, elles deviennent omnipresentes et quasi systematiques en integrant dans le discours solitaire des pratiques monologiques telles que la chanson, la conversation telephonique. . . Etc. Le monologue devient donc inherent a tout le discours tremblayen et une etude du monologue dans les romans de l'auteur permet de se rendre compte de l'importance de la forme dans l'oeuvre, qui revele sa coherence grace a ce mode d'expression. Le monologue, expression proteiforme, et participant a la fois de l'interiorite et de l'exteriorite, devient donc la justification de toute l'oeuvre de michel tremblay qui fait indifferemment evoluer les memes personnages a travers le theatre et dans les romansThe first part of this study is entitled : what is a monologue ? this seemingly naive question refers to the core of the subject : both as a form and genre, but unlike its conterpart dialogue, this kind of dramatic language doesn't have a single accurate and simple definition. It has several which vary according to historical, literary and linguistic perspectives. A historical survey of the form within western drama and quebecoise cultural productions was a necessary basis for the development of a definition that would serve as an enlightening introduction to our study of tremblay's drama. And, since the difficulties ancountered in defining monologues are linked to the addressee's status, in the second part of the study tremblay's plays are studied according to the nombre of characters on stage ; a distinction is made between plays with one, two or more characters on stage. Such a division is necessary since almost all of michel tremblay's plays contain monologues or are mere monologues. The fondamental fonction of the monologue is thus put into relief : it is no longer a simple form but become a structural pattern. In the third and last part the variations of the form are analysed. In tremblay's case, they are omnipresent and almost systematic ; practices such as songs and telefone conversations are introduced into the field of solitary discourse. Monologues thus become inherent in tremblay's discourse and the study of the form in the writer's novels highlights its importance in the entire work which owes its coherence to this mode of expression. As a protean form, partaking of both inner and outer worlds, monologues therefore become the justification for all the works of michel tremblay who develops the same characters indiscriminately through drama and fiction
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Painter, Megan G. "The dramatic monologue aesthetic and the reader experience /." free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9901268.
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Der, Staay Elisabeth van. "Le Monologue intérieur dans l'oeuvre de Valéry Larbaud." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37601691d.
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Stevens, Blake Christopher. "Solitary persuasions : the concept of the monologue in French opera from Lully to Rameau /." May be available electronically:, 2007. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.
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Paul, Jean-Nicolas. "La pensée romanesque suivi de La ballade d'un schizophrène." Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/39416.
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Cette thèse de recherche-création se divise en trois parties.
La première présente une recherche sur le monologue intérieur en tant que genre littéraire. Il s’agit, pour sortir des apories critiques entourant le monologue intérieur, de remonter aux origines de la notion de genre et de définir le monologue intérieur par ses finalités plutôt que par ses traits formels. D’abord, un des effets propres de ce genre romanesque est de donner au lecteur le sentiment d’une reconnaissance échouée. L’expression littéraire de cet échec de la reconnaissance amène à sa suite une esthétisation des processus spéculatifs reposant sur l’aperception, la mémoire et la fabulation. Il en découle également que l’un des thèmes centraux du monologue intérieur est la question de l’identité personnelle.
La deuxième partie de la thèse est une fiction d’environ quarante mille mots utilisant le monologue intérieur. Ce récit débute alors que le héros est au volant de sa voiture, la nuit, et qu’il voit un poids lourd venir en sens inverse ; il envisage de tourner le volant pour traverser la ligne jaune et réaliser un face-à-face mortel, mais hésitant au dernier moment, il poursuit sa route en se replongeant dans ses souvenirs et ses pensées. On apprend rapidement que le personnage principal vient de commettre un crime.
La troisième partie de la thèse vise, dans un dialogue critique et constructif entre composition et théorisation, à évaluer la force productive des concepts proposés dans la première partie.
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Watson, Matthew E. "Reference frame selection and representation in dialogue and monologue." Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/25291.
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This thesis is an investigation into the use and representation of reference frames. A reference frame is an axial co-ordinate system that is represented by the setting of at least four parameters: origin, orientation, direction and scale (Logan & Sadler, 1996). The reference frame parses space into different regions around an object (reference object) so that the location of other objects (figure objects) can be described in relation to the reference object. There are at least three different types of reference frame recognised in the literature (e.g. Levinson, 2003; Logan & Sadler, 1996; Miller & Johnson-Laird, 1976): the absolute reference frame, based upon directional features of the environment (e.g. gravity), the intrinsic reference frame, based upon the intrinsic direction of the reference object, and the relative reference frame, based upon the intrinsic sides of a viewer. This thesis is split into three separate sections each investigating how it is that reference frames are employed to allow us to describe the location of objects. The first section investigates the use of reference frames in dialogue. There has been little work investigating how interlocutors communicate object location to each other. Research investigating the use of non-spatial language in dialogue has shown that interlocutors come to speak in a similar fashion to one another (e.g. Branigan, Pickering & Cleland, 2000; Garrod & Anderson, 1987). Pickering and Garrod (2004) have argued that this is evidence that interlocutors align representations during dialogue. The first section investigates whether or not interlocutors align reference frames. If a speaker uses an intrinsic reference frame is an addressee more likely to then use an intrinsic reference frame? The results show that interlocutors do align reference frames and this is interpreted in terms of the interactive alignment model of dialogue (Pickering & Garrod, 2004). The second part of the thesis uses a dialogue paradigm, and the fact that interlocutors are more likely to use the same reference frame as just used by a partner than an alternative, to investigate different taxonomies of reference frames. The experiments investigate the different predictions made by Levinson’s (1996, 2003) taxonomy of reference frames and the Traditional taxonomy of reference frames (Miller & Johnson-Laird, 1976). The results support the Traditional taxonomy of reference frames over Levinson’s taxonomy, but future research is suggested to help separate the contribution of different aspects of reference frames to the alignment effect in dialogue. The final part of the thesis is an investigation into how the distance parameter is set. These experiments show that a functional interaction between the figure and the reference object leads to the distance parameter being set as shorter than if the two objects are not interacting.
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Thompson, Susan Elizabeth. "Presenting research : a study of interaction in academic monologue." Thesis, University of Liverpool, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.393678.
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Stephan, Hayek Christelle. "Linguistique et rhétorique du monologue dans le théâtre racinien." Paris 3, 2008. http://www.theses.fr/2008PA030042.
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Nous avons abordé la forme langagière particulière qu’est le monologue pour nous intéresser, plus particulièrement, à la place qu’occupe cette forme dans le théâtre racinien. Défini intuitivement comme un discours que se tient un personnage à lui-même, le monologue devient, au fil de l’analyse, un puits inépuisable de richesses langagières, pragmatiques et rhétoriques. Or, le meilleur moyen d’analyser une forme langagière est de s’intéresser à la langue qui en constitue la trame ainsi qu’aux composantes qui en font une forme de discours. Nous avons tenté, dans une première partie, de définir le monologue, en partant des définitions lexicologiques et étymologiques pour aboutir à une caractérisation dramaturgique de cette forme particulière du discours théâtral ; le deuxième chapitre a été exclusivement consacré aux monologues raciniens abordés sous divers aspects, alors que dans le troisième, nous avons établi une comparaison entre les monologues raciniens et cornéliens. Nous nous sommes ensuite intéressés, dans une deuxième partie, aux seuls monologues de Racine à travers une analyse linguistique pointue des trente monologues que contiennent ses pièces, dévoilant un à un les mécanismes de la métrique, de la syntaxe et du lexique qui les régissent, et explorant les spécificités de la communication dans cette forme de discours si particulière. La troisième partie, quant à elle, a été consacrée à l'analyse rhétorique et conversationnelle du monologue, abordé selon les concepts de la pragmatique et de la rhétorique classiqueWe have approached the particular form of language which is the monologue, to concentrate our interest on the place occupied by this form in Racine’s plays. As the analysis progressed, the monologue, that was intuitively defined as a speech held by a character to itself, became an inexhaustible mine of linguistic, pragmatic and rhetorical richness. However, the best way to analyze a linguistic form is to focus on the language that constitutes its framework, as well as on the components that turn it into a form of speech. We have tried, in the first part, to define the monologue starting from the lexicological and etymological definitions and ending up with a dramaturgical characterization of this particular form of theatrical speech; the second chapter has been exclusively dedicated to various aspects of the Racine’s monologues. In the third chapter, we have established a comparison between our corpus and the Cornelian monologues. Then, in the second part, we have only been interested in the Racine’s monologues, throughout a narrow linguistic analysis of the thirty monologs contained in his plays, revealing one by one, each of the ruling metric, syntactic and lexical mechanisms, and exploring the specificities of the communication in this so particular form of speech. The third part has been dedicated to the analysis of Racine's monologues using the concepts of rhetoric and pragmatic
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Triau, Christophe. "Dramaturgies du monologue dans le théâtre du XVIIe siècle." Paris 10, 2003. http://www.theses.fr/2003PA100097.
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Cette thèse étudie les statuts et les utilisations dramaturgiques du monologue dans le théâtre français du XVIIe siècle, de 1616 à 1677. Elle analyse d'abord son évolution numérique, sa place dans les discours théoriques et ses spécificités scéniques (performance, métadramaticité). Elle l'aborde à travers les oeuvres de Racan, Viau, Corneille (de Mélite à Rodogune), Molière et Racine (et, incidemment, Mainfray, Mairet, Rotrou). Il y apparaît comme un élément problématique de la mimèsis dramatique, point d'ancrage du jeu sur les points de vue internes et leurs contradictions : dans la succession du défilé pastoral, par l'établissement de commentaires singuliers sur la fiction comique, ou au sein de la perspective tragique qu'il complexifie ; et comme le lieu privilégié d'exposition de la persona, et donc de l'adhésion du spectateur à celle-ci, qu'il l'impose par l'affirmation tautologique et hyperbolique, ou, avec la scission particulier/public, puisse jouer à la rendre labileThis study is about the status and the dramaturgical uses of the monologue in French seventeenth century theatre, from 1616 to 1677. It first analyses its numerical evolution, how theory talks about it, and its specificities on the stage (performance, metadramaticity). It studies it through the works of Racan, Viau, Corneille (from Mélite to Rodogune), Molière and Racine (and, sometimes : Mainfray, Mairet, Rotrou). The monologue appears as a problematical element of the dramatic mimesis, a base of the game on the internal points of view and their contradictions : in the pastoral defile, by constructing singular commentaries of the comic fiction, or inside the tragic perspective it makes more complex ; it also appears as a privileged way of the exposition of the persona, and, so, of the relation the audience can build with her, wether it “imposes” her in a tautological and hyperbolic way or, in these times of split between public and particulier, it plays with making her uncertain
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Lemonnier, Anne-Frédérique. "Aux sources du monologue intérieur :"Les lauriers sont coupés"." Bordeaux 3, 2007. http://www.theses.fr/2007BOR30078.
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Kakavoulia, Maria. "Interior monologue and its discursive formation in Melpo Axioti's Dyskoles nychtes." München : Institut für Byzantinistik und Neugriechische Philologie der Universität, 1992. http://books.google.com/books?id=N2ZiAAAAMAAJ.
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Lezcano, Tosca Hugo. "El género del soliloquio en la literatura hispánica, desde San Agustín a Lope de Vega /." Madrid : Universidad autónoma de Madrid, 2006. http://catalogue.bnf.fr/ark:/12148/cb40219363x.
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INAGAKI, Yasuyoshi, Hideki KASHIOKA, Shigeki MATSUBARA, and Tomohiro OHNO. "Simultaneous Summarization of Japanese Spoken Monologue for Real-time Captioning." IEEE, 2007. http://hdl.handle.net/2237/15087.
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Inagaki, Yasuyoshi, Takehiko Maruyama, Hideki Kashioka, Shigeki Matsubara, and Tomohiro Ohno. "Dependency Parsing of Japanese Spoken Monologue Based on Clause Boundaries." ACL(Association for computational linguistics), 2006. http://aclweb.org/anthology/.
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Inagaki, Yasuyoshi, Naoto Kato, Hideki Kashioka, Shigeki Matsubara, and Tomohiro Ohno. "Incremental Dependency Parsing of Japanese Spoken Monologue Based on Clause Boundaries." ISCA(International Speech Communication Association), 2005. http://hdl.handle.net/2237/15105.
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Lin, Chonghui. "Le théâtre de monologue (1900-1990) : une voie vers la création." Paris 4, 1996. http://www.theses.fr/1996PA040021.
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Le phénomène curieux du théâtre de monologue est né au sein du XXème siècle dans le bouleversement radical du théâtre. Visant une création pure, ce théâtre n'hésite pas à bousculer les idées déjà établies sur l'esthétique théâtrale afin de la faire évoluer. La division des pièces utilise une autre technique faite de tableaux et de montages. Dans un cadre spatial et temporel flou, indéfinissable presque insaisissable, les dramaturges présentent un "anti-héros" - un homme déchiré, défiguré- qui est en fait un "moi", le "moi" universel. Grâce à un langage de style plébéien, le côté sombre de l'homme contemporain est exposé de façon violente, nerveuse et crue. Le monologue est en réalité un propos rare qu'on arrache au silence et l'aspect hystérique du langage corporel témoigne sans équivoque de ce silence angoissant, oppressant, insoutenable. Le théâtre de monologue peut être considéré comme une quête utopique vers un théâtre pur. Sans ce désir fou de rêver, sans cette frénésie de vouloir créer, aucun art ne peut existerOut of the XXth century complete topsy-turvy theatre came the strange "theatre of monologue" whose main purpose was to get to a "true creation". The construction of the play is unusual: it moves off the classical way and turns to "tableaux" or "montages". The dramatist chooses a vague, nebulous and indefinable space and time setting to introduce an "anti-hero"- a mentally tortured, greatly distressed man who is actually an ego, the universal ego. The use of spoken language lays stress on the gloomy side of the nowadays man in a violent frenetical and coarse way. The monologue is in fact a rare speech drawn out the silence and the frenetical body movements show evidence of the anguish, oppression and torpor hidden behind that silence. So the theater of monologue may be regarded as an impossible search for a pure theatre. No art can exist without any strong desire for dream and without a frantic urge to create
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Kakavoulia, Maria. "Interior monologue and its discursive formation in Melpo Axioti's "Duskoles nuhtes" /." München : Institut für Byzantinistik und neugriechische Philologie der Universität, 1992. http://catalogue.bnf.fr/ark:/12148/cb357139538.
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Lütteken, Laurenz. "Das Monologische als Denkform in der Musik zwischen 1760 und 1785 /." Tübingen : M. Niemeyer, 1998. http://catalogue.bnf.fr/ark:/12148/cb39956009r.
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Robinson, Torrey W. "A manual for the preparation and delivery of first-person expository sermons." Theological Research Exchange Network (TREN) Access this title online, 2001. http://www.tren.com/search.cfm?p068-0267.
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Garrett, Jennifer. "Reconceptualising the dramatic monologue : the interlocutory dynamics of Carol Ann Duffy's poetry." Thesis, Lancaster University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414957.
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Miller, Courtney. "All alone avec soi-même : énonciation et identité dans le monologue fransaskois." Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/29930/29930.pdf.
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Dans « La littérature franco-ontarienne à la recherche d’une nouvelle voie : enjeux du particularisme et de l’universalisme » (2002), Lucie Hotte signale que les artistes francophones minoritaires, ayant longtemps puisé dans l’esthétique particulariste, optent maintenant pour une esthétique de l’univeralisme. Jane Moss confirme l’hypothèse de Hotte dans son article, « Francophone Theatre in Western Canada : Dramatic Tales of Disappearing Francophones » (2009). Moss observe qu’au sein du théâtre francophone dans l’Ouest canadien s’opère une transition quant à la représentation de l’identité francophone minoritaire vers un courant postmoderne où les dramaturges, mettant de côté les récits mémoriels nostalgiques, se penchent plutôt sur des thématiques plus universelles. Tout de même, le questionnement identitaire demeure latent à travers ces pièces. Par ailleurs, dans La distance habitée (2003) François Paré remarque que les énonciateurs minoritaires retiennent souvent une mémoire de migration et d’itinérance; que cette distance métaphorique les « habite »; et qu’ils se voient constamment forcés de négocier cette « distance » entre eux et la communauté majoritaire où ils vivent. Partant du constat du Moss, ce mémoire analyse l’énonciation de trois personnages/énonciateurs dans trois monologues fransaskois contemporains, soit Il était une fois Delmas, Sask... mais pas deux fois! d’André Roy, Elephant Wake de Joey Tremblay et Rearview de Gilles Poulin-Denis. Nous examinerons leur identité complexe, riche et problématique. Pour analyser l’énonciation de chacun des personnages, nous nous appuyons sur l’analyse de discours telle que développée par Dominique Maingueneau. Ce faisant, nous visons à combler une lacune importante dans la recherche sur le théâtre fransaskois.
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Roche-Jacques, Shelley J. "Time, space and action in the dramatic monologue : men, women and mice." Thesis, Sheffield Hallam University, 2013. http://shura.shu.ac.uk/20287/.
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This thesis combines critical and creative writing in an inquiry into the presentation of time, space and action in the dramatic monologue, positing that the conventions surrounding the presentation of time and space in lyric poetry affect the interpretation of the communicative context of dramatic monologue. A critical discussion and analysis in five chapters is followed by a collection of original poetry, the production of which informed the critical investigation. The first chapter gives an overview of the critical field and is concerned with definitions of the genre. A definition of the Browningesque dramatic monologue is offered, one which places the idea of 'action in the present' at the centre. Chapter two outlines the methodology of the project; primarily that of deictic analysis. Keith Green's work on the occurrence and behaviour of deixis in lyric poetry (in particular his concepts of 'coding' and 'content' time and place) is used as a starting point to consider how deictic elements might operate differently in the context of the dramatic monologue. The third and fourth chapters apply this methodology to specific texts. Chapter three provides original readings of Robert Browning's 'Soliloquy of the Spanish Cloister' and 'A Grammarian's Funeral'. These serve to highlight Browning's 'dramatic' approach. Chapter four offers new readings of poems from 'The World's Wife' by Carol Ann Duffy, revealing a lyric, rather than dramatic, employment of time and space. Finally, a reading of Julia Copus' poem 'The Particella of Franz Xaver Sussmayr' enables further examination of dramatic devices and their effects in the context of contemporary poetry. The fifth chapter offers an analysis of Men, Women and Mice, the accompanying volume of poetry. It is therefore suggested that the collection of poetry is read between chapters four and five. The collection of poetry and chapter five jointly address issues such as the status of the addressee, the border between the lyric and the dramatic, and problems surrounding the signalling of the dramatic in contemporary poetry. The discussion of these practice-related issues enables further conclusions to be reached regarding the operation and employment of deixis in the Browningesque dramatic monologue.
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Panero, Maria Eugenia. "Rating the Acting Moment: Dissociation, Flow, and Empathy after a Monologue Performance." Thesis, Boston College, 2018. http://hdl.handle.net/2345/bc-ir:107956.
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Thesis advisor: Ellen WinnerActors make imagined characters in imaginary circumstances come alive, as if they were real. What cognitive processes make it possible for actors to accomplish this feat? The goal of this dissertation was to examine three characteristics that actors may possess and that might make this possible: dissociation, flow, and empathy. Acting students (n = 44) and non-acting students (n = 43) first completed a baseline measure of dissociation, and then performed a monologue that was given to them. This performance was recorded and later rated on dimensions of acting. Participants next completed self-report measures of dissociation, flow, and empathy. It was hypothesized that acting students would score higher than non-acting students on all three measures, and that dissociation of all participants would increase post-performance. I also assessed whether acting experience, dissociation, flow, empathy, and/or the time taken to prepare the monologue for performance predicted performance ratings. The results revealed that acting students scored significantly higher than non-acting students on flow (and some of its subscales) and empathy (and some of its subscales). Although no group differences emerged on pre-performance levels of dissociation, only acting students significantly increased their level of dissociation post-performance. Finally, acting experience was the only significant predictor of performance ratings for both acting and non-acting students. This research demonstrates that, compared to non-acting students, acting students report higher levels of empathy and flow immediately after performing a monologue. Additionally for acting students, levels of dissociation rise after performing the monologue. Empathy and dissociation are likely important tools used by actors to “become” a character, and flow is likely the result of actors’ ability to immerse themselves fully in the performance. Nevertheless, acting experience is the strongest predictor of how a performance will be rated
Thesis (PhD) — Boston College, 2018
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Psychology
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大野, 誠寛, Tomohiro Ohno, 茂樹 松原, Shigeki Matsubara, 岳彦 丸山, Takehiko Maruyama, 秀紀 柏岡, et al. "節境界に基づく独話文係り受け解析の効率化." 情報処理学会, 2004. http://hdl.handle.net/2237/6679.
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Farenc, Christine. "Penser l'acteur francais contemporain (hypothèses pour une pédagogie)." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030101.
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Dans un théâtre subventionné en crise, l’acteur français se pense aujourd’hui comme un hyper-citoyen, lui qui fut si longtemps privé de citoyenneté. Tout l’enjeu contemporain de la parole de l’acteur s’incarne dans la quête, nostalgique et militante à la fois, de l’éthos et de la transcendance perdus dans le statut d’infâme. En rejaillissant sur l’existence de l’acteur, l’infamie a cristallisé des affects tenaces, passés dans l’inconscient collectif, modelant l’hexis des comédiens, influençant les pratiques scéniques. Elle a contribué à consolider certaines particularités françaises en matière de pédagogie du jeu, comme la défiance vis-à-vis de la méthode stanislavskienne et du monologue. A cet égard, la comparaison avec l’école de jeu anglaise est instructive. C’est au moment de la laïcisation de l’État, il y a cent ans, qu’un nouveau théâtre fait des choix éthiques et esthétiques encore largement opératoires aujourd’hui, et achève la conversion de l’acteur : d’ancien damné, il deviendra sauveur, missionné par l’État auprès d’une nation-public. Contrairement aux apparences, la mise en infamie de l’acteur a toujours cours. Avec la sécularisation de la société française, elle a quitté le champ métaphysique, pour investir le champ méta-économique. Elle prend sa source dans le rapport statutaire de l’acteur à l’État et impose son coût historique. Un véritable "Complexe d’infamie" de l’acteur est en effet à l’œuvre sur les scènes françaises, assorti d’un tabou de l’intériorité et d’un interdit d’adresse directe au public, agissant comme un grand Sur-moi actoral. Infâme parmi les infâmes, l’acteur alter-ethnique est un cas redoublé du "Complexe d’infamie". L’acteur français noir, en particulier, est un révélateur des contradictions affectant "visiblement" la condition esthétique du comédien et la citoyenneté républicaine. Dans le contexte du quadruplement du nombre des acteurs en France depuis 1980, ce "Complexe d’infamie" éclaire la nature de l’indécision de la pédagogie dramatique. Il gagnerait à être sublimé ou subverti avant toute tentative de refondation pédagogiqueAt a time when subsidised theater is in crisis, the French actor, after being considered a second-rate citizen for such a long time, thinks of himself today as a super-citizen. The contemporary challenge of speech ("parole") of the actor is embodied in the quest, both nostalgic and militant, for ethos and transcendence, lost in the state of infamy. Rebounding on the existence of the actor, infamy has crystallised stubborn affects, slipped into the collective unconsciousness, shaping the hexis of actors and influencing stage practices. It has helped to consolidate French peculiarities in acting pedagogy, such as mistrust of the Stanislavski method and the monologue. In this respect, comparison with the English school of acting is informative. A hundred years ago, at the time of the secularisation of the State, a new theater made ethical and aesthetic choices, which are still largely operative today, and completed the conversion of the actor: formerly a damned soul, he has become a savior, sent by the State before a national audience. Contrary to appearances, the situation of infamy still exists. It is just that, with the secularisation of French society, the meta-economic field replaced the metaphysical one. Its roots can be found in the statutory relationship between the actor and the State and imposes its historical cost. A "Complex of infamy" for the actor is indeed present on the French stage, together with a taboo on interiority and a prohibition against directly addressing the public, representing a big actorly Super-ego. Infamous among the infamous, the alter-ethnic actor suffers from a doubled "Complex of infamy". The black French actor, in particular, is a mirror of the contradictions "visibly" affecting the aesthetic condition of the actor and republican citizenship. Given the context where the number of actors in France has quadrupled since 1980, this "Complex of infamy" points out the indecisive nature of teaching drama. It needs to be sublimated or subverted before ever attempting any educational reform
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Kelley, John Robert. "From monologue to dialogue? : U.S. public diplomacy in the post-9/11 era." Thesis, London School of Economics and Political Science (University of London), 2007. http://etheses.lse.ac.uk/2705/.
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In comparing a considerable amount of the reportage, analysis and candor preceding this study, there is one conclusion that virtually all evaluations on United States public diplomacy after September 2001 would agree on: the consolidated efforts of the U.S. government to inform, influence and engage with foreign publics in pursuit of its national interest are deeply flawed. This gloomy outlook is borne out by identified deficiencies in strategy, coordination and organization, which have furthermore attracted intense scrutiny in response to opinion polls showing consistently low favorability towards the United States by foreign populations. A wide range of observers has drawn attention to various aspects of the overall diagnosis, and consequently formed an active segment of the general scholarship on public diplomacy. What enriches the discussion on the U.S. case is when the focus turns to positing solutions, as the ensuing debate invokes historical, theoretical and futuristic perspectives on the processes, roles, and activities considered within public diplomacy's scope. This study isolates two broad explanations for the failure of post-9/11 U.S. public diplomacy. The advocacy model represents the American public diplomacy 'tradition' of campaign style, one-way information flows, while the advisory model represents a two-way, 'dialogic' mode that has been championed by proponents of the 'new' public diplomacy. This study views American public diplomacy as situated at a crossroads as it solves the riddles of its failures - to further embrace tradition or adopt a new path.
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Walker, Tonya. "Rich attractive people doing attractive things in attractive places : a monologue from Hell /." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/992.
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Rich, Attractive People in Attractive Places Doing Attractive Things is a fictional memoir of a dead Manhattan socialite from the 1950's named Sunny Marcus. The novel is Sunny's monologue from Hell and features many well-known figures from American pop culture including Truman Capote, Ernest Hemingway, Clark Gable, William Powell and Babe Paley. It traces the upward trajectory of Sunny's life from a modest childhood in 1920's Los Angeles to the heights of social success in the unforgiving world of Café Society to her murder.
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Salazar, Orvig Anne. "Analyse des stratégies langagières de patients psychotiques dans le dialogue et le monologue." Lille 3 : ANRT, 1986. http://catalogue.bnf.fr/ark:/12148/cb37600987r.
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Parker, Herb. "A Monologue is an Outrageous Situation!: How to Survive the 60-Second Audition." Digital Commons @ East Tennessee State University, 2016. https://www.amzn.com/1138120014.
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A Monologue is an Outrageous Situation! How to Survive the 60-Second Audition explains how to successfully tackle the "cattle call" acting audition with a sixty-second monologue. Through Q&As, tips, director’s notes, and a glossary full of outrageous actions meant to inspire the actor into truly connecting with the piece, this book shows actors where and how to find a monologue, edit it, and give the best audition possible.https://dc.etsu.edu/etsu_books/1155/thumbnail.jpg
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Salazar, Orvig Anne. "Analyse des stratégies langagières de patients psychotiques dans le dialogue et le monologue." Paris 5, 1986. http://www.theses.fr/1986PA05H003.
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Cette thèse constitue une analyse des productions langagières de trois patients psychotiques suivant deux aspects complémentaires: analyse du fonctionnement dialogique à partir de l'étude d'entretiens cliniques et analyse de l'organisation monologique des discours avec des interlocuteurs et des thèmes différents. Il s'agit de rendre compte des organisateurs de ces discours, établir les stratégies langagières des patients et de réfléchir sur la pertinence d'une approche linguistique en psychopathologie mais aussi sur les modes d'élaboration langagière a l'œuvre dans tout discours. En opposition a des orientations dominantes dans les recherches du domaine du langage en psychopathologie - dont il est fait une étude bibliographie - il ne s'agit ni de dégager des indices linguistiques de la psychopathologie ni de rendre compte d’opérations mentales ou psychiques sous-jacentes aux productions langagières mais de caractériser ces sujets en tant qu'énonciateurs. En parlant de stratégies, on rend compte non pas de constructions explicites du sujet mais des affinités qui se construisent dans le texte, de sa sémiologie, des figures par lesquelles se dessinent les places des sujets. L’analyse est divisée en deux parties; la première est consacrée aux stratégies dialogiques. À partir de l'étude des différents niveaux d'organisation du dialogue se dégage une caractérisation de base de l'entretien clinique et des jeux de place différents des patients dans leur relation au discours de l'autre. La deuxième partie étudie les différents organisateurs discursifs non directement induits par la parole de l'interlocuteur. Par l'étude des structures syntaxiques, actantielle, des modalités de l'énonciation et des connecteurs, on peut reconstruire les différentes modalités de la relation du locuteur aux autres et au monde mais aussi a son propre discoursThis thesis is an analysis of the language productions of three psychotic patients through two complementary approches : dialogical study of clinical interviews and the analysis of monological organisations (syntactic caracteristics, wording manifestations of the relations to the world ant to others, different modes of relations of the speaker with his own discourse,etc) of the discourses in different situations. Our aim is to work on the discourse organisators establishing the language strategies of these patients and to ponder over the pertinence of a linguistic approach in psychopathology as over the modes of linguistic elaboration in any discourse
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Nyström, Julia. "Fräulein Else : Textanalyse aus psychologischer und epochentypischer Perspektive." Thesis, Mälardalens högskola, Akademin för utbildning, kultur och kommunikation, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-53689.
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This literary work has been chosen to focus on a novel called Fräulein Else and is written by Arthur Schnitzler. The author has chosen to focus the work on comparing the work with theera of the time the book was written and analyze the plot and character Else from apsychoanalytic perspective. The title of the paper is therefore ”Fräulein Else-Textanalyse aus epochentypischer Perspektive und Analyse der Hauptfigur auspsychologischer Sicht”. By collecting and reading student literature that touches on factsabout literature of the era: the millennium literature and literature on psychoanalysis, theauthor has been able to begin the analysis of the book, Fräulein Else and then be able toanswer her questions. The sources for the work come mainly from student literature but alsofrom copywriters who intend to spread knowledge. This study results in a deep characteristicanalysis of the main character as well as a comparison of the book and epoch-makingfeatures.
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Повалій, Тетяна Леонідівна, and Tetiana Leonidivna Povalii. "Актуальність формування компетентності у професійно спрямованому англомовному монологічному мовленні майбутніх хореографів." Сумський державний педагогічний університет імені А. С. Макаренка, 2017. http://repository.sspu.sumy.ua/handle/123456789/3218.
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Висвітлюється професійно спрямований підхід до формування компетентності у англомовному монологічному мовленні, який передбачає підготовку майбутніх хореографів до іншомовного спілкування в конкретних професійних, ділових, наукових сферах, а також у ситуаціях із урахуванням особливостей професійного мислення. Розкриваються основні комунікативні ситуації, в рамках яких має формуватися іншомовна комунікативна компетентність майбутніх хореографів у монологічному мовленні.The professionally oriented approach to the formation of competence in the English monologue speech, which involves the preparation of future choreographers for foreign language communication in specific professional, business, scientific spheres, as well as in situations taking into account the peculiarities of professional thinking, is covered. The main communicative situations are revealed, within the framework of which the communicative competence of future choreographers in the monologue broadcast should be formed.
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Frobenius, Maximiliane [Verfasser], and Neal R. [Akademischer Betreuer] Norrick. "The pragmatics of monologue: interaction in video blogs / Maximiliane Frobenius. Betreuer: Neal R. Norrick." Saarbrücken : Saarländische Universitäts- und Landesbibliothek, 2014. http://d-nb.info/1058586467/34.
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