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1
Madi, Nasrullah La, i Sulami Sibua. "Pelatihaan Monolog dengan Teknik Permodelan bagi MGMP Bahasa Indonesia Kota Ternate". Sasambo: Jurnal Abdimas (Journal of Community Service) 5, nr 1 (1.02.2023): 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, nr 1 (1.01.2012): 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.
3
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, nr 1 (15.02.2021): 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
4
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), nr 100 (25.09.2021): 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, nr 1 (1.12.2020): 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, i Richard Paul Knowles. "Dialogic Monologue: A Dialogue". Theatre Research in Canada 15, nr 2 (styczeń 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, nr 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, nr 1 (6.01.2023): 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., i Z. Usupova. "On text typology in Russian as a foreign language". Philology and Culture, nr 1 (20.03.2023): 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, nr 2 (17.09.2021): 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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C.Arnett, Ronald. "Civic Dialogue: Attending to Locality and Recovering Monologue". Journal of Dialogue Studies 2, nr 2 (2014): 71–92. http://dx.doi.org/10.55207/bodf6711.
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This essay examines civic dialogue that is connected to local roots. The conceptual emphasis suggests that locality often houses what one might term monologic tendencies. The conviction of this essay is that without acknowledgment and understanding of what matters to another, that is, of the importance of monologue, the possibility of maintaining a vital public sphere that is open to a multiplicity of ideas and positions is minimal. In this essay, the term monologue is not to be confused with a particular style of communication, but IS the ground of the conviction that one takes into a given discourse. Monologue houses the ground of the conviction that shapes what we seek to protect and promote in a given communicative exchange. Monologue is the creative engine of conviction that shapes the uniqueness of our participation and contribution to any potential dialogic interaction.2 To illustrate this point, I turn to the Scottish Enlightenment and the insights of Adam Ferguson as he wrote them in An Essay on the History of Civil Society. The essay explicates a series of implications that arise from Ferguson’s work and have relevancy to an understanding of civic dialogue that accounts for the local. Ferguson’s distinct contribution was his refusal to dismiss the monologic sentiments of places of particularity.
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Dipuja, Diah Anugrah. "PERSEPSI MAHASISWA TERHADAP VIDEO MONOLOG SEBAGAI ALTERNATIF TUGAS DALAM PEMBELAJARAN DARING". Tunjuk Ajar: Jurnal Penelitian Ilmu Pendidikan 3, nr 2 (18.08.2020): 114. http://dx.doi.org/10.31258/jta.v3i2.114-129.
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The purpose of this study was to determine students' perceptions of monologue videos as alternative tasks in online learning. Monologue videos are one of various online learning alternatives which are assumed to increase student activity and creativity in learning so that online learning becomes more effective. Information about student perceptions regarding the effectiveness of monologue videos in online learning is needed to develop online learning to become better. This research was conducted by giving a questionnaire via google form to Biology education students as research respondents. From the research that has been done, the results showed that the application of monologue videos by students is considered effective as an alternative to online learning because it could increase student activity, creativity and motivation. However, there were some challenges and obstacles such as difficulties in making video scripts and video editing as well as network constraints and internet quota. Thus, it can be concluded that the application of video monologues as an alternative task in online learning were considered effective by students and can be developed further in other subjects.
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Pepperberg, Irene M., Katherine J. Brese i Barbara J. Harris. "Solitary sound play during acquisition of English vocalizations by an African Grey parrot (Psittacus erithacus): Possible parallels with children’s monologue speech". Applied Psycholinguistics 12, nr 2 (czerwiec 1991): 151–78. http://dx.doi.org/10.1017/s0142716400009127.
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ABSTRACTAn African Grey parrot, Alex, who had learned to use English speech in studies on referential interspecies communication and animal cognition, produced English monologues in both the presence and absence of human receivers. This study examines one component of Alex’s monologue behavior, private speech, while he was being taught new vocalizations. His private speech during those time periods included a small percentage of novel utterances, not yet used in the presence of his caretakers, that were phonologically related to, but not exact reproductions of, the new vocalizations. His monologues also contained utterances that were part of the general daily routine as well as the specific training paradigm, but rarely included verbatim reproductions of the training scenario. Alex’s behaviors were comparable to those of children in the early stages of language acquisition. Because monologue behavior has been characterized as a form of practice that facilitates human language development, the data are discussed in terms of the possible functions of monologues during Alex’s acquisition of novel vocalizations.
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Syahala Fizky Alrhychard i Onok Yayang Pamungkas. "Kritik Sosial dalam Siber Sastra Monolog Whynesia pada Kanal Youtube Tretan Universe". Protasis: Jurnal Bahasa, Sastra, Budaya, dan Pengajarannya 2, nr 2 (24.11.2023): 12–30. http://dx.doi.org/10.55606/protasis.v2i2.96.
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This research seeks to find out how social criticism is in cyber literature, the Whynesia monologue on the Tretan Universe YouTube channel. This research method uses descriptive qualitative methods. The data used are three cyber videos of Whynesia monologue literature on the Tretan Universe YouTube channel. This research data was collected using the listening and note-taking method. The results of the research show that Whynesia's cyber literary monologue on the Tretan Universe YouTube channel has deep social criticism regarding the phenomena currently occurring. Through the flow of the monologue delivered, the narrator presents a discourse of social criticism regarding social problems that occur in Indonesia. This monologue presents the importance of social criticism which acts as a tool to maintain societal stability. Strong and courageous monologues in conveying criticism, stimulate thinking about the importance of creating stable conditions in society, where people must express their voice or social criticism regarding problems in the environment. The implication of the findings is the importance of social criticism to maintain the stability of society and the importance of new media such as research objects to revive literary works as a medium for social criticism. Therefore, society must fight so that existing inequalities or problems can be voiced to create stability and regeneration of literary works as a medium used in society.
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Adullah, Soran Mamand. ""The Art of Monologue" is published in The Short Novel of Mullazm Tahsin and other things by Farhad Pirbal." JOURNAL OF LANGUAGE STUDIES 7, nr 3 (30.11.2023): 83–114. http://dx.doi.org/10.25130/lang.7.3.5.
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This study، titled "The Art of Monologue" is published in The Short Novel of Mullazm Tahsin and Other Things by Farhad Pirbal. It is clear that the art of monologue between narrative theories in modern and modern literature is unique، because it has direct contact with other elements within the novel، especially the characters. Although this art existed in other classical narrative genres، it only included a simple and more external form of the characters، so along with the appearance of theories. Psychologists and psychoanalysis (Freud، Jung and Adler... He has been involved in literary studies in general and novels in particular. The art of monologue is separated by the use of cross-sections and personal pronouns according to the type of monologue that changes، sometimes it wants the writer to express a monologue in a way that the writer makes a sound، and he speaks in his face، because many writers think that it is a disorder of the monologue. Among them is Adon، so monologue is a very important technology، and for today the novel is very important by the novelists، because the individual can go deep inside the character، the thought، the mind، the heart، the mind، the heart، he is the one who hears the word، and he hears it. It has expanded into novels. In this study، it is briefly mentioned that some of the important opinions of foreign and Kurdish scholars and writers about monologues and genres in novels، so it is important for us to understand how Kurdish literature and our novelists felt the importance and necessity of this technical art of narration، as well as how Farhad Pirbal embodied and reflected it in his short novel (Molazm Tahsin and Other Things).
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Krylova, Mariia Nikolaevna. "Euphemisms in satirical monologues (S. T. Altov, M. N. Zadornov, L. M. Izmailov, V. M. Koklyushkin, A. A. Trushkin)". Филология: научные исследования, nr 11 (listopad 2020): 1–10. http://dx.doi.org/10.7256/2454-0749.2020.11.34129.
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This article examines the usage of euphemisms in the language of one of the genres of humor discourse – the satirical monologue. The subject of this research is the functions fulfilled by euphemisms in the monologues of S. T. Altov, M. N. Zadornov, L. M. Izmailov, V. M. Koklyushkin, A. A. Trushkin). Euphemisms in satirical monologue have not yet been the objects of linguistic research, although the analysis of their specificity would broaden the knowledge on the functions of this linguistic means. The methods of observation, continuous sampling, description, analysis, and synthesis were applied for studying euphemisms. As a result, the author determines that in humor discourse, the euphemisms become not only the means for concealing the forbidden content, but also effective elements for creating humor. In the genre of satirical monologue, the author and the performer traditionally create a vivid image of the character, and usage of euphemisms depends on the nature of this image, first and foremost, on the level of its education and culture. Moreover, euphemisms harmonize with other means of creating humor (puns, repetitions, metaphor, metonymy, outplaying of precedent phenomena, and stylistic contrast), forming a distinct satirical space in each of the monologues. Satirists tend to uniqueness with regards to structuring euphemisms.
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Ronfard, Jean-Pierre. "Monologue". L’Annuaire théâtral: Revue québécoise d’études théâtrales, nr 28 (2000): 143. http://dx.doi.org/10.7202/041443ar.
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Bruck, Édith, i Joëlle Gardes. "Monologue". Po&sie N° 164, nr 2 (2018): 17. http://dx.doi.org/10.3917/poesi.164.0017.
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THUCYDIDES, C. "Monologue". Lancet 344, nr 8939-8940 (grudzień 1994): 1784. http://dx.doi.org/10.1016/s0140-6736(94)92930-0.
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Shercliff, Emma. "Monologue". Journal of Writing in Creative Practice 6, nr 1 (1.03.2013): 103–5. http://dx.doi.org/10.1386/jwcp.6.1.103_1.
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Mukhammadjonova, Guzalkhan. "PSYCHOLOGICAL ANALYSIS FROM PORTRAIT". CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES 02, nr 05 (31.05.2021): 79–84. http://dx.doi.org/10.37547/philological-crjps-02-05-18.
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The article examines the issue of the portrait of a creative person and its role in psycho-psychological analysis on the basis of the interpretation in literature of the great thinker, sheikh, a great representative of mystical literature, the poet Ahmad Yassaviy. Methods of creating portraits and experiments in this area are interpreted on the form of comparative-analytical method. The combination of images of the hero and his biography highlights the creative human psyche. The monologues, in particular, highlight the artistic-aesthetic and artistic-conceptual role of monologue-memory and monologue-video in illuminating the heroic spiritual-psychological world.
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Moon, Sarah. "The “Knocking Heart”". Pedagogy 24, nr 1 (1.01.2024): 95–115. http://dx.doi.org/10.1215/15314200-10863019.
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Abstract This article argues that the oral performance of personal monologues in first-year composition courses allows students to identify meaningfully with one another across difference at a time when the American political climate too often forecloses such opportunities. The author considers the opportunity personal monologue provides for parrhesia that recontextualizes the space in which deliberative discourse occurs. Drawing on a case study of the author's food-based composition course, this article provides supporting evidence for the power of performed personal monologue to encourage mutual identification among students that creates a new foundation for subsequent discourse.
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PAGAN, NICHOLAS O. "Inside Fateh Azzam's Baggage: Monologue and Forced Migration". Theatre Research International 32, nr 1 (marzec 2007): 16–31. http://dx.doi.org/10.1017/s0307883306002483.
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The work of Palestinian playwright Fateh Samih Azzam arises from his experience growing up as a refugee and from his strong commitment to human rights. His latest play, Baggage, is set in a crowded airport where a lone Traveler re-enacts the Catastrophe of 1948 and its consequences. This article begins by positioning Azzam's work in relation to post-1948 Palestinian theatre. It then looks in detail at how Baggage, written as a monodrama, incorporates a number of devices including airport announcements and other voiceovers to imbue monologue with dialogue. The question of the relationship between monologue and dialogue is examined in the context of the emergence of the ‘political’ in performance and especially in relation to Jon Erickson's recent contention that dialogues facilitate the representation of conflicting world views whereas monologues tend to be ‘vehicles for the overarching world view of the playwright’. Next, it discusses a recent staging of Baggage in Famagusta, North Cyprus, focusing in particular on the way in which the production was able to embellish and extend devices contained in the written text of the play to facilitate a movement from monologue to dialogue. In its conclusion, the article returns to the prevalence of monologue in Palestinian drama and to Erickson's idea that monologue involves partiality to one side of a dispute. The article contends that productions of Baggage, which, like the one in Famagusta, accentuate the dialogical, will make it clear that the play is not just a memory play for Palestinians, but that it also cries out for all those forced out of their homes and into what Edward Saïd has called ‘the trauma of exile’. Furthermore, it argues that the Traveler's monologues need to be heard and should initiate dialogues, which in some parts of the world have not yet even begun. Finally, it suggests that the universal appeal of this and other Palestinian plays could be even more striking were the heavy use of politically oriented symbolism counterbalanced by a more minimalist Beckett-like aestheticism.
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Alshehri, Nada. "Investigating the Correlation between English Spoken Fluency and Working Memory Capacity in both Dialogic and Monologic Presentations". Asian Journal of Education and Social Studies 50, nr 4 (16.03.2024): 329–44. http://dx.doi.org/10.9734/ajess/2024/v50i41335.
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Studies on second language (L2) speech fluency recommend studying fluency in a dialogic context. In response to the researchers' calls, this study introduced monologic and dialogic tasks to investigate the various aspects of speed, breakdown, and repair fluency in the oral performancemost L2 fluency studies have looked at oral fluency in a monologic task. Dialogue is the more authentic and natural way of communication, which is apparent in everyday language use. Currently, there is a scarcity of research examining dialogue fluency in non-native bilingual speakers who share the same L2. The existing body of research on language learning and processing has underscored significant connections between individual differences (IDs) in working memory capacity (WMC) and models of L2 speech production in both first language (L1). Nevertheless, it remains unclear whether variations in WMC are linked to dysfluency in L2 monologue and dialogue. Therefore, this study also aimed to fill this gap in the literature by investigating the correlation between utterance fluency in both monologue and dialogue and WMC. A total of 64 undergraduate Saudi students were given various tasks as part of the study. An argumentative task was presented as a monologue focused on a prevalent topic in the participants’ country. In contrast, during a dialogic discussion task, 32 pairs engaged in exchanging opinions on a popular subject in their country. Additionally, participants underwent two challenging working memory (WM) tests: the Operation Span Test and the Backward Digit Span Test. The findings aligned with prior research, indicating that L2 participants demonstrated greater fluency in dialogue compared to monologue, as evident in speed and breakdown measures of utterance fluency. Interestingly, WMC did not emerge as a robust predictor for variations in L2 oral performances between monologue and dialogue.
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Raoufzadeh, Narges, Fatemeh Sadat Basirizadeh i Shahrzad Mohammad Hosein. "The Study of Interior Monologue in Houshang Golshiri’s Shazdeh Ehtejab, Virginia Woolf’s Two Selected Novels, Mrs. Dalloway and to the Lighthouse; A Comparative Study". Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences 3, nr 2 (8.05.2020): 761–67. http://dx.doi.org/10.33258/birci.v3i2.888.
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This paper aims to compare interior monologue which is a modern technique in three selected novels. Comparing Houshang Golshiri’s Shazdeh Ehtejab with Virginia Woolf’s Mrs. Dalloway and To the Lighthouse. Golshiri has made use of both direct and indirect interior monologues in his master piece, Shazdeh Ehtejab. An early example in Persian fiction which has a great emphasis on form and techniques of narrating the story. The present study will examine, in detail the creation of interior monologue through the minds of characters with reference to Golshiri’s Shazdeh Ehtejab and Virginia Woolf’s two selected novels, Mrs. Dalloway and To the Lighthouse. Focusing on the narrative techniques used by these two modernist writers and deals with illustrations from the novel and its explanations. The aim of this study is to show how Golshiri and Woolf try to move deeply into the character’s consciousness. They use the narrative technique, Interior Monologue, in their novels that deals with the flow of ideas, thoughts, feelings, and sensation.
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Shaw, W. David. "Lyric Displacement in the Victorian Monologue: Naturalizing the Vocative". Nineteenth-Century Literature 52, nr 3 (1.12.1997): 302–25. http://dx.doi.org/10.2307/2933997.
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Though a venerable lyric tradition of apostrophizing the breeze, the dawn, or the nightingale celebrates the Romantic poet's words of power, only inmates of mental hospitals actually talk to birds, trees, or doors-much less to holes in a wall, as Pound's speaker does in "Marvoil." This essay shows how Victorian dramatic monologues substitute human auditors for nonhuman ones in an effort to naturalize a convention that nineteenth-century poets find increasingly obsolete and archaic. Instead of talking to the dawn, Tennyson's Tithonus addresses a beautiful woman, the goddess who becomes the silent auditor of his dramatic monologue. Like Coleridge's conversation poems, Browning's and Tennyson's monologues are poems of one-sided conversation in which a speaker's address to a silent auditor replaces Shelley's vocatives of direct address to the west wind or Keat's apostrophes to autumn. In recuperating an archaic convention of lyric apostrophe by humanizing the object addressed, the Victorian dramatic monologue illustrates John Keble's theory of the mechanisms by which genres are disturbed, displaced, and transformed. The dramatic monologue becomes an ascendant genre in post-Romantic literature partly because it is better equipped than lyric poetry to oppose the dogmas of a secular and scientific age in which an antiquated belief in "doing-by-saying" (including a belief in oracles, prophecies, and knowledge as divination) is in rapid and widespread retreat.
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Dashkina, Alexandra I. "Teamwork in the preparation of a foreign language description of an artistic image as a means of forming a connection between the linguistic and discursive components of foreign language communicative competence". Tambov University Review. Series: Humanities, nr 1 (2023): 73–88. http://dx.doi.org/10.20310/1810-0201-2023-28-1-73-88.
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Definitions of linguistic and discursive components of foreign language communicative competence are given, and the problem of forming a connection between them is analyzed. The principle of relying on visibility and group work as means to help students to activate their knowledge in the process of speech communication are considered. The order of description of the image has been developed, as well as the criteria for evaluating the monologue description have been determined. An experiment was conducted during which students prepared a monologue description of an image based on reference vocabulary and grammar as a homework assignment. The control groups performed the task independently, while the experimental groups worked in teams of 3 people on a remote platform, conducting discussions in English. At the next classroom lesson, monologues were checked in the frontal mode. At the beginning of the experiment, a diagnostic monologue was conducted a description of the image. The average point scored by students was approximately the same in all groups. At the end of the experiment, the students delivered a final monologue-description in the same format. The average point in the experimental groups was higher, because in the process of working in teams, students conducted discussions in English, receiving additional conversational practice. Since each participant contributed to the compilation of the monologue, there was an interchange of knowledge and ideas. In the psychologically comfortable atmosphere of small groups, students felt more at ease and participated in the discussion without fear of making a mistake. The results of the study allow us to conclude that the compilation of a monologue description based on the reference vocabulary in the conditions of group work contributes to the formation of a connection between the linguistic and discursive components of foreign language communicative competence.
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Haltrin-Khalturina, Elena. "Revisiting the Brownings’ Poetry in the Pages of Neo-Victorian Novels and their Russian Translations". Izvestiia Rossiiskoi akademii nauk. Seriia literatury i iazyka 82, nr 5 (2023): 78. http://dx.doi.org/10.31857/s160578800028329-7.
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The neo-Victorian novels of our time (by A.S. Byatt, Maggie Power, Laura Fish, et.al) reverberate with echoes from English poetry of the 19th century, and not in the least, from famous dramatic monologues (the genre, which came into existence thanks to Robert Browning and Alfred Tennyson). According to the present-day scholarship, the term "dramatic monologue" denotes the versified speech of a character, who suffers from a mental disorder and tries to combine the frankness of confession with the art of argument and seduction. This monologue is usually addressed to another character – a silent interlocutor, in front of whom the speaker, in a burst of eloquence, reveals the unsightly sides of his perverted doings or his character. In Victorian England, dramatic monologues featured the same marginal characters, which figured in sensation fiction. The article dwells on the ways dramatic monologues are employed in “Possession” (1990) by A.S. Byatt and “Strange Music” (2008) by Laura Fish. The writers not only include extensive quotes from R. Browning and E. Barret-Browning, but also create their own variations of dramatic monologues in verse and prose. Of particular interest are Victorian and neo-Victorian artistic approaches to the criteria of ‘normality’, to the rhetoric of justification, to the methods of argumentation.
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Harahap, Ahmad Bengar, Hafniati i Indah Aini. "The Development of German Monologies in the Pandemic Time Based on Short Stories into Prose Anthologies as Teaching Materials of German Literature". Britain International of Linguistics Arts and Education (BIoLAE) Journal 4, nr 3 (21.10.2022): 225–34. http://dx.doi.org/10.33258/biolae.v4i3.779.
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Monologue is a literary work that is included as a prose study which was created not only to be understood, but more than that monologue must be enjoyed, lived and interpreted. The study of monologue is part of literary learning that can be performed in a stage or performance through the process of show a single drama with various sources as a script, one of which is a short story. During the current phenomenal Covid 19 pandemic, the impact is very significant in affecting all aspects of life, but there are many prose literary works that can be performed by literary actors, including students, in appreciating the pandemic atmosphere. Short stories in German literature can be performed through monologue performances both online and offline as a concept for the study of prose studies during a pandemic. The output can produce an anthology of monologues as an interesting prose literature teaching material to be discussed and investigated in research. Therefore, this study aims to; (1) to develop teaching materials for German literature or literature to improve the skills of German-language students in prose studies, (2) to become learning models or practical learning models in German literature or literature courses. The model used in this study is Model Richey and Klein (2007). From the results of the research, it will be obtained that the German monologue anthology book during the covid19 pandemic time as teaching materials and digital media for learning literary practice and its output also becomes an indexed journal article or proceedings on a national and international scale.
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Aguilar Ávila, Josep Antoni. "La «coberta volta» de Bernat de Rocafort: en torno al uso del monólogo interior de tipo deliberativo en la Crònica de Muntaner". Zeitschrift für romanische Philologie 139, nr 3 (11.09.2023): 639–90. http://dx.doi.org/10.1515/zrp-2023-0025.
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Abstract This article focuses on the use of the deliberative interior monologue in Ramon Muntaner’s Crònica and is based mainly on an analysis of Chapter 230 of the work. In this chapter, Muntaner employs this narrative technique in order to convey the thoughts of Bernat de Rocafort, one of the key characters in his account of the Catalan expedition to Byzantium (1303–1311). Other examples of similar monologues in the Crònica, attributed to characters such as King Charles of Anjou (Chapter 72) or Roger de Flor (Chapter 199), are also taken into account. In all these cases, the article provides an examination of the narrative context, the main rhetorical and literary characteristics of the monologue, and its role in the psychological characterization of the character. The analysis reveals a common compositional pattern in the fragments studied, as well as the fact that the deliberative monologue is chiefly employed by Muntaner to describe the plans or schemes of characters who are described as wise or astute in the narrative.
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van der Mije, Sebastiaan R. "Bad Herbs—the Snake Simile in Iliad 22". Mnemosyne 64, nr 3 (2011): 359–82. http://dx.doi.org/10.1163/156852511x505079.
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AbstractAt the beginning of the 22nd Book of the Iliad, Hector is standing alone outside Troy, seemingly determined to fight Achilles. His parents try to prevail on him to enter Troy, but he neither answers nor complies. In the following simile (vv. 92-7), he is compared to a snake at its hole. The ensuing monologue reveals Hector’s thoughts and feelings. Close reading of the text, especially the simile, reveals that Hector’s ambivalence, which surfaces in the monologue, is already indicated by the narrator in the simile. Hector’s decision to await Achilles is irrational and he knows it. This sets it off from the decisions reached in similar ‘fight or flight’ monologues and explains why Hector’s fighting spirit breaks down under acute threat.
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Izutsu, Mitsuko Narita, i Katsunobu Izutsu. "On and off the common ground: Japanese final particles as (un)grounding devices". Lingua Posnaniensis 63, nr 2 (15.12.2021): 7–32. http://dx.doi.org/10.14746/linpo.2021.63.2.1.
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The notion of “common ground” (Clark & Brennan 1991; Clark 1996) presupposes communication or conversation as “the basic setting for language use” (Clark 1996: 11). The serialisation of Japanese sentence-final particles is highly sensitive to the likelihood of the relevant utterance being part of the common ground. This paper reconsiders the conception of common ground and grounding processes, investigating monologic as well as conversational discourse. A case study of two modernist texts which contain internal monologue (interior monologue) illustrates how three facets of grounding activities (the establishment, confirmation, and cancellation of common ground) are tactfully realised by means of the final-particle marking of a distinction between monologic and conversational discourse. Our analysis reveals that Japanese final particles (specifically, -ne and -na(a)) play an essential role in encoding the speaker’s intention to ground or unground his/her utterance (i.e., to make the utterance on or off the common ground).
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Booth, Marilyn, Nawal El Saadawi i Sherif Hetata. "Dramatic Monologue". Women's Review of Books 20, nr 4 (styczeń 2003): 11. http://dx.doi.org/10.2307/4024033.
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Gamache, Chantal. "Monologue polyphonique". Études françaises 23, nr 3 (1987): 55. http://dx.doi.org/10.7202/035726ar.
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Messer, Richard E. "Dream Monologue". Psychological Perspectives 52, nr 2 (27.05.2009): 255. http://dx.doi.org/10.1080/00332920902881059.
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Chen, Lisa. "Interior Monologue". Iowa Review 28, nr 1 (kwiecień 1998): 78–79. http://dx.doi.org/10.17077/0021-065x.4956.
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Wheeler, S. M. "OVIDIAN MONOLOGUE". Classical Review 50, nr 2 (październik 2000): 442–43. http://dx.doi.org/10.1093/cr/50.2.442.
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Grayson, Martin. "Cafe Monologue". Journal of Chemical Education 73, nr 1 (styczeń 1996): 3. http://dx.doi.org/10.1021/ed073p3.
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Hallett, Terry, i James Steiger. "Automated Analysis of Spoken Language". International Journal for Innovation Education and Research 3, nr 5 (31.05.2015): 6–13. http://dx.doi.org/10.31686/ijier.vol3.iss5.353.
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We studied the number of words spoken by adult males versus females throughout a six-hour day and during three structured monologues. The six-hour samples were captured and analyzed using an automated speech monitoring and assessment system. The three monologues required different language tasks, and analyses of syntactic and semantic complexity were performed for each. There were no significant gender differences except during a reminiscent monologue when males spoke significantly more words and sentences than females. These results conflict with past research and popular (mis)conceptions.
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Myltseva, Margarita Victorovna, Ekaterina Alexandrovna Drozdova, Marina Georgiyevna Sergeeva i Dmitry Vladimirovich Lukashenko. "Level-oriented modular training within teaching monologic speech to junior students". Revista Tempos e Espaços em Educação 14, nr 33 (22.07.2021): e16095. http://dx.doi.org/10.20952/revtee.v14i33.16095.
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The expansion of the spheres of political, trade, economic and cultural cooperation between Russia and other countries creates real preconditions for intercultural professional communication in all areas of language experts’ activity: teaching, researching, translating, interpreting and speaking for the peers. In these conditions, learning to provide a monologue in different world languages is becoming increasingly important to future linguists. According to the requirements of the new Federal Standard for Higher Professional Education, a linguist must be able to perform intercultural communication in various professional fields, conduct business negotiations, be an active participant in conferences, workshops and roundtable discussions using several working languages and search for topical information to improve his/her professional skills in the field of intercultural communication. Thus, the standard reflects the strategy of modern foreign-language education aimed to form the cultural and linguistic personality of the language expert who has reached a high level of the foreign-language professional communicative competence, which manifests itself in speech culture, an open-minded attitude to unfamiliar traditions and ways of life, along with the abilities for monologue and international professional communication. High-quality monologic speech is a personally and professionally significant skill, due to which specialists do not have difficulties with business conversations, reports, public messages and presentations in Microsoft PowerPoint and freely participate in discussing the course and prospects of joint activities. Mastering such skills begins at the very beginning of learning a foreign language in a higher educational institution to be able to work with complicated scientific texts and prepare creative monologues as a postgraduate student.
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Meiyan, Wang, i Natalia P. Pinezhaninova. "Monological Speech Methods of Solving the Internal Conflict of a Character (Based on the Material of V. V. Nabokov’s Novels ‘King, Queen, Knave’, ‘Camera Obscura’, ‘Despair’)". Вестник Пермского университета. Российская и зарубежная филология 15, nr 3 (2023): 25–33. http://dx.doi.org/10.17072/2073-6681-2023-3-25-33.
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The concept of internal conflictis concretized in psychology and literary criticism. How-ever, the problem of linguistic embodiment of a character’s inner speech remains insufficiently studied. Within the framework of text linguistics, internal conflict is considered as a subjective linguistic factor of text formation, chosen by the author to most adequately reflect the contradictions of the character’s thinking in the described situation. The article aims to determine the speech methods and linguistic means of express-ing and resolving the internal conflict in the monologues of the main characters in the series of novels by V.V. Nabokov. The article analyzes the main types of monologic speech of the characters: the internal mon-ologue in the novel Camera Obscura, the polytypic monologue inthe novel King, Queen, Knave, integrating direct and free direct speech, and the stream of consciousness in the novel Despair. We revealed a three-component syntactic structure of communicative registers in the implementation of an intrapersonal conflict,where, depending on the type of monologue, there is noted an emotional reaction to what is happening, or sensible comprehension of the existing state of affairs, or an impulse to reconsider or change the conflict sit-uation. The paper notes binary oppositions of properties inherent in an internal conflict, shows the role played in the formation of internal contradictions by linguistic factors such as negation, opposition, compari-son as well as emotional, evaluative, and expressive elements. Particular attention is paid in the article to ways of resolving the conflict in terms of linguo-pragmatic parameters: rational and emotional, abnormal and stereotypical, real and unreal.
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Wiandari, Fadhillah. "DRAMATIC MONOLOGUE IN ROBERT BROWNING’S POEM “ANDREA DEL SARTO”". JL3T ( Journal of Linguistics, Literature and Language Teaching) 3, nr 1 (12.01.2018): 1–10. http://dx.doi.org/10.32505/jl3t.v3i1.326.
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Robert browning and the form of poetry known as “dramatic monologue†inevitably go togather. It is already made known that dramatic monologue is esssentially a narrative spoken by a single character. We are to imagine that it is being listened to but never answered; it is a dialogue of which we are to hear only one side. It gains added effect and dimensions through the character’s comments on his own story and the circumtances in which he speaks. It is through the single character’s speech that Browning present the plot, characters and scenes. It is through the words of Andrea that the reader can feel the presence of the plot, characters and scenes. This article tries to describe how Robert Browning handles his three objects in writing dramatic monologue through his poem entitled Andrea Del Sarto.
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Ismailov Jahongir Jaloliddinovich. "Discourse Interpretation in Linguistics". Texas Journal of Philology, Culture and History 27 (11.02.2024): 7–10. http://dx.doi.org/10.62480/tjpch.2024.vol27.pp7-10.
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It is known that dialogic discourse can also be part of monologic speech. There are several types of it. Monological discourse is methodologically neutral and is directed from the third person to the second person. Sometimes in monologic discourse, the third person refers to himself and the second person. In addition, dialogic discourse is also found in monologic discourse. In this case, monologic discourse and dialogic discourse are given in relation to each other. In a conversational monologue, the speech is directed from the first person to the second person, drawing the addressee's attention to the speech process
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Coello Hernández, Alejandro. "El monólogo como práctica dramatúrgica feminista en los años ochenta: el ejemplo de Maribel Lázaro (La fosa y La defensa)". Clepsydra. Revista de Estudios de Género y Teoría Feminista, nr 19 (2020): 43–61. http://dx.doi.org/10.25145/j.clepsydra.2020.19.03.
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The visibility and recognition of Women playwrights in Spanish theater did not occur until the eighties after the conquests of feminist movements. For that reason, women playwrights explore in their works new ways of thinking about subjectivity. The monologue provides them with a way of exploring themselves and with a form of engaged theater. This textual corpus is studied in this article in a global way in order to contextualize feminist dramaturgies and in particular the dramatic proposals of Maribel Lázaro, who in 1986 wrote two monologues La fosa [The pit] and La defensa [The defense]. Therefore, we analyze the terminological problem around the concept of «monologue». Moreover, we reflect on the dramatic structure in which the denunciation, self-recognition and negation of the discourse of the female character coexist in a paradox that opens the path to a consolidation of the feminist theater in Spain.
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Tang, Ziqing. "The Thematic Interpretation of Robert Brownings Renaissance Dramatic Monologue". Communications in Humanities Research 19, nr 1 (7.12.2023): 141–47. http://dx.doi.org/10.54254/2753-7064/19/20231219.
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Robert Brownings dramatic monologue is a unique form in British Victorian literature. Its unique style reflects various characteristics of that time, and therefore, by analyzing Brownings dramatic monologues, various aspects of Victorian society and culture, as well as individual roles and struggles, can be deeply understood. Moreover, Brownings works provide rich materials and profound thinking for literary research, and hold an important position in the field of literature. In order to better explain the styles of his works, this article provides an in-depth analysis of Brownings two famous poems, My Last Duchess and The Bishop Orders His Tomb at Saint Praxeds Church. These current article examine characters, themes, and historical backgrounds, showcasing Brownings unique approach to Renaissance content. In addition, this study compared Brownings Renaissance dramatic monologues with three Renaissance poets: Shakespeare , John Milton and William Wordsworth , this comparative analysis highlights the uniqueness of Brownings perspective, the differences in understanding the Renaissance compared to his predecessors, and his contribution to the genre of dramatic monologues. In summary, this study aims to reveal Robert Brownings artistic views and the subtle differences in themes in his Renaissance dramatic monologues. It provides an understanding of Brownings unique position in literary schools and his contributions to the literary world.
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Kornyeyeva, Irene, i Inna Makhovych. "Methodic of professionally-oriented English-language competence formation in monologue-presentation of future designers". Revista Amazonia Investiga 11, nr 59 (15.12.2022): 86–97. http://dx.doi.org/10.34069/ai/2022.59.11.8.
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This paper offers the methodic of professionally-oriented English-language competence formation (POELCF) in monologue-presentation (MP) of future designers (FD). The relevance of the research is determined by social order of society to train professionals capable for professional foreign-language communication; the contradiction between the specified program documents requirements and current state of English-language learning in Ukraine; the need of future designers to have professionally-oriented English-language-monologue for effective foreign-language communication. The purpose of the study is to substantiate the developed and experimentally tested methodic. We can outline the results of the present study: the peculiarities of the POELCF are defined, which are founded the base of the corresponding Methodology; the author’s system of exercises for learning the monologue-presentation-report, monologue-presentation-advertising; the definition of monologue-presentation is proposed as the target type of monologue utterance of future designers; linguistic analysis of the “monologue-presentation” discourse was conducted; checking experiment results are submitted. We make a conclusion: monologue-presentation is the most demanded and convenient target type of monologue broadcasting of future designers, who are capable to rebuild our Motherland after the War against Russian invaders and consolidate all European community.
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Kuncewicz, Dariusz, Dorota Kuncewicz i Wojciech Kruszewski. "Stability of hidden stories". Narrative Inquiry 29, nr 1 (2.07.2019): 82–98. http://dx.doi.org/10.1075/ni.17080.kun.
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Abstract We refer to the concept of the hidden story as a story about one’s own life, internalized in the mind and knowable “indirectly”, through a monologue and inference, using linguistic and literary theory tools. The aim of the study was to determine whether the hidden story thus reconstructed would be stable in time. A twenty-one-year-old woman was asked to deliver a ten-minute monologue on her upbringing. After two years the test was repeated. Both monologues were transcribed, analyzed and interpreted to isolate a hidden story from each of them. We reconstructed the earlier and later stories. Two threads: “rebellion” and “heritage” appeared in both stories, but they combined to form a more coherent narrative only in the later one. The “closeness with parents” thread, present in the earlier story, was replaced with the “marital love” thread. The character and pattern of the changes illustrate changes that result from developmental factors.
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Warszawski, Oser, i Alan Astro. "A Contract (Monologue)". Yale French Studies, nr 85 (1994): 106. http://dx.doi.org/10.2307/2930068.
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Roeh, Itzhak. "Monologue and Dialogue". MedienJournal 17, nr 1 (5.05.2017): 21–27. http://dx.doi.org/10.24989/medienjournal.v17i1.719.
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Segal, E. "The Dramatic Monologue". Poetics Today 22, nr 3 (1.09.2001): 703–4. http://dx.doi.org/10.1215/03335372-22-3-703.
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