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Friedrich Schleiermacher is among the philosophers who influenced Karoline von Günderrode's thought. Although this influence is relevant, it has received little attention. Both authors agree on distinguishing "spirit" and "body" or "the inner and the outer" in similar terms. However, there was a significant difference between them. In Schleiermacher's works that Günderrode considered (On Religion and Soliloquies), he conceives of the relationship as one in which the world or outer depends on the spirit or inner. For Günderrode, this relationship is polar, as "spirit" and "world" form part of an original totality. This difference from the philosopher influences the issue that both raised of access to the "primordial ground." For Schleiermacher, the world depends on spirit; the issue of access to that foundation is circumscribed to access to the spiritual dimension. In contrast, for Günderrode, "spirit" and "body" are poles of a previous original totality. Hence, access to the primordial ground does not coincide with the spirit's access to itself. Instead, access to unity is both spiritual and corporeal. Günderrode's differences from Schleiermacher are based on an argument we attempt to elucidate and evaluate in this article. [ABSTRACT FROM AUTHOR]

Adam of Dryburgh (d.1212) was one of the greatest theologians of the Premonstratensian Order in the twelfth century. His most popular work was his Soliloquium de instructione anime, a handbook on religious life in the form of a dialogue between Anima, a dissatisfied novice, and a fatherly novice-master Ratio. Lively, realistic and entertaining, their conversation covers all kinds of difficulties a novice might face, from having to keep silence or abstain from meat, to temptations against chastity, the ordeal of being accused of faults against the Rule or having to confess to one's own abbot, leading Anima through arguments and exhortations to a more profound and supernatural understanding of his vocation. This edition and translation, based on fifteen manuscripts (some not previously known), presents the newly identified earliest redaction of Adam's text, which contains a significant amount of material missing from later versions. Also included are details of all known manuscripts of the text. [ABSTRACT FROM AUTHOR]

A literary criticism of the tragedy "Macbeth" by William Shakespeare is presented. Topics discussed include Shakespeare's use of rhetoric to portray the extremes of emotion of the character Macbeth, the oratorical features of the If It Were Done soliloquy of Macbeth, and the movement of Macbeth's speech which reflects his agony.

In most of his fictional works and in the line of his previous experience as a journalist and war reporter, Ernest Hemingway developed writing techniques peculiar to him to be followed by many predecessors after him. Among the well-known techniques are the one, in which he called "the iceberg theory." The present paper concerns itself with analyzing this literary technique used by Hemingway in "The Old Man and the Sea." This novella, written in 1952, and awarded Nobel Prize 1954 and Pulitzer Prize 1953, achieved a great success not only in the writer's career but also in the world of fiction as well. Hemingway's exceptional use of the iceberg technique renowned the novella among his masterpieces and himself as a world Avant-garde in the fictional sphere. This is due to using a simple economical language. Yet, this simple language is full of symbols, metaphors, similes, allusions, personifications, interior monologues, repetitions, soliloquies, etc. All these devices provide another cognitive approach to this story delivered in a much unsophisticated language. This unique style, though written in prose, once has their sentences broken down they may be read as poetic. The aim of this paper is to trace these elements in a novel approach to reading Hemingway's this masterpiece. [ABSTRACT FROM AUTHOR]

This essay compares Walter Scott's novel The Black Dwarf (1816) with the first, unfinished prose fiction by Mikhail Lermontov, Vadim (written 1832–34). It argues that, while Lermontov clearly modelled his misanthropic protagonist on Scott's, he does so in order to align that misanthropy with the causes of political rebellion as Scott does not; Scott is aware of this possibility, since it is there in his source text, Shakespeare's Timon of Athens (1607–08), but it is one which his plot avoids. At the same time, Lermontov borrows from Scott (as Scott adapts from Shakespeare) the use of soliloquy to give the reader limited access to the protagonist's mind; but as Vadim becomes active in a rebellion against Catherine the Great, this is increasingly supplemented by omniscient access to the protagonist's point-of-view, another possibility refused by Scott. Both texts are experiments in fiction, though in different ways, and this essay uses Lermontov's development of Scott's model to shed light on the narrative procedures of both. [ABSTRACT FROM AUTHOR]

This essay re-examines the meaning of Shakespearean soliloquies in light of both historical context and performance practice, arguing that they stage the interpersonal dimensions of identity in early modern culture. Solo speeches in Richard II and Hamlet offer textual evidence of their intended performance not as mere inward contemplation but as direct encounters with the playhouse audience. As dialogic speech acts, they constitute a deliberate ontological paradox: the act of speaking "alone" onstage becomes a dynamic interpersonal process in which the audience plays a crucial role. This key stage-audience exchange resonates with the practice of Augustinian "soliloquy" as exemplified in contemporary religious texts. Augustine's own Soliloquies are alive with the paradox that his fullest act of self-speaking is inherently a dialogue, voicing not just subjective experience but the reciprocal recognition of an interlocutor. By the late seventeenth century, however, the neoclassical disparagement of direct-address soliloquy as unnatural and ridiculous reflects a radical shift toward conceptions of the self as a more discrete and self-contained entity. Critical readings of Shakespearean soliloquy have often followed that post-Renaissance view, missing the significant role of the audience that Shakespeare writes into the action of soliloquy. Today's players have helped to recover that dramaturgy of interplay. [N.S.] [ABSTRACT FROM AUTHOR]

The article presents the author's experience of facing trouble when he teaches the play "Hamlet" due to ambiguity. He offers two practical troubling practices to engage students, including Hamlet's soliloquies and the characters' searches for truth. With the use of the provided definitive terms for interpretive actions, students can strategize their reading, writing, and discussion and enjoy the troubles of this play.

Muslim subjectivity is created and shaped by means of certain linguistic-rhetorical traits and techniques prevalent in the Qur'an. This hypothesis implies that rhetorical choices and strategies were crucial for the emergence and gestalt of the Qur'anic discourse, it oratorical Sitz im Leben. In terms of genre and speech register, Qur'anic discourse presents itself as an extrovert soliloquy: self-sufficient and introvert on one hand and extrovert and audience-orientated on the other. The present article focuses on the latter, that is, the pragmatic and functionalistic nature of Qur'anic rhetoric. Furthermore, it argues for the analytical application of Roman Jakobson's notion of language functions, especially one particular language function. This is the so-called conative or appellative language function, which I regard as a particularly salient Qur'anic one. Central here are linguistic-rhetorical features such as direct speech, imperatives, and vocatives. Moreover, I maintain that the Qur'an's appellative language must be coupled with the critical notion of interpellation, as provided by the French Marxist philosopher Louis Althusser (1918–1990). By means of regular interpallative addresses, such as the yā-ayyuhā vocatives, the Qur'an creates and shape an efficacious Muslim subjectivity: the subject, whether an individual person or a collective group, instantly and intuitively feels recognised and apprehended as a privileged addressee. As a result of this very recognition and apprehension, the subject in the same instant recognises itself as subordinate to a powerful divine voice. Seized by the Qur'anic address, a basic Muslim subjectivity—with a certain vision of the ultimate conditions of existence—is constituted. In other words, the appellative rhetoric is crucial to the appeal of the Qur'an: the appellative Qur'an is an appealing Qur'an. [ABSTRACT FROM AUTHOR]

This article analyses the ways in which Rudolf Nureyev's depiction of Juliet in his 1977 Romeo and Juliet ballet comments on and expands Shakespeare's characterization of his tragic heroine. It argues that Nureyev uses the specific possibilities of his medium to accentuate the aspects of Juliet's role that make her stand out among the female protagonists in Shakespeare's tragedies: her capacity to reflect on her actions and her moments of inner struggle and decision-making. The wordless nature of his genre leaves Nureyev particular freedom to fill gaps in the text and expand on hints in the play, a freedom which he uses to highlight Juliet's central role in the plot development and her psychological evolution. His most striking innovation lies in the way in which he translates Juliet's soliloquies—an uncharacteristic form of speech for a woman in Shakespeare's tragedies—into movements. The unconventional use of the traditional balletic device of the vision scene in Nureyev's ballet highlights the recurrent theme of reversed gender roles in Shakespeare's play. [ABSTRACT FROM AUTHOR]

The differences between the second quarto (1604-1605) version of Hamlet's soliloquy beginning 'To be, or not to be' and the version contained in the first quarto (1603) have often been used to argue for the authorial integrity of the former and the degenerate nature of the latter. However, recent research has questioned the customary primacy between these two texts, arguing instead that Q2 revises and expands Q1. This article will attempt to substantiate this interpretation by showing that Shakespeare's revision of 'To be, or not to be' is inspired by Montaigne's essay 'By diuerse meanes men come vnto a like end', translated by John Florio and published in 1603. Shakespeare's indebtedness to Montaigne has been noted before, most notably in The Tempest. But it is significant that possibly Shakespeare's first direct encounter with Montaigne is inspired by the very first three pages of Montaigne's Essays. [ABSTRACT FROM AUTHOR]

While the connection between Samuel Beckett's Waiting for Godot and King Lear has become something of a critical commonplace, references to other Shakespeare plays can also be found throughout. This essay traces Godot's debt to two plays in particular. First it argues how Godot not only draws on Hamlet's graveyard scene for macabre imagery, but how it also construes an extended meta-theatrical parody of Hamlet's soliloquies about the contrast between acting and talking/thinking. The second half of the essay proposes a number of connections with The Tempest, and specifically with its "salvage and deformed slave" Caliban. It argues how the figure of Caliban not merely functions as a model for a colonial power-dynamic that can be seen to operate here and elsewhere in Beckett, but how Caliban is equally significant as a lyrical figure whose great speech about sleeping, waking, and dreaming informs Beckett's play in a number of ways. [ABSTRACT FROM AUTHOR]

The article argues that the soliloquy, ‘To be, or not to be,’ in Shakespeare’s Hamlet is informed by soul-sleeping: the belief that on its separation from the body at death, the soul enters an unconscious state typically described as sleep or a sleep-like stupor, in which it remains until wakened and joined with the resurrected body, and then assessed at the Last Judgment. The doctrine was advocated in some of Luther’s works of the 1520s and 1530s and found acceptance among some early English Protestants, but was destined to be repudiated by later Protestant orthodoxy, and was universally condemned by mainstream Protestant thinking of Shakespeare’s day. The article surveys the history of this heterodoxy in England, demonstrates its continuing significance in the late-sixteenth and early-seventeenth century, elucidates the references to the doctrine in Hamlet’s soliloquy, and discusses their relevance to the broader understanding of the religious subtext of the play. [ABSTRACT FROM AUTHOR]

This paper is based on a close reading of Greek and Rodesli (Rhodian Jewish) narratives focusing on the time when Rhodes was under Italian (1912-1943) and then German (1943-1945) rule, the last period when religiously diverse communities coexisted in the island. While Greek historiography seeks to vindicate the island’s final integration into the Greek national space, Rodesli memory is meant to preserve the heritage of a community destroyed by the Nazis. Notably, these corpuses make no references to one another. This phenomenon of soliloquy, the article argues, is illustrative of a competitive memory characteristic of recollections of the past in the eastern Mediterranean and challenges nostalgic invocations of a pre-national, “cosmopolitan” Mediterranean. Broadening the discussion to other post-Ottoman settings, the article draws attention to property redistribution in the aftermath of ethnic cleansing as a major factor in the separation of memory along communal lines. Noting the omnipresence of the figure of the “ghost” in the literature on the region, the paper finally explores the heuristic potential of hauntology to conceive histories of the region that would be inclusive and yet attentive to the differences in the nature, purpose and reciprocal indifference of the sources and of the asymmetrical relations of power in which they were produced. [ABSTRACT FROM AUTHOR]

Building on scholarship regarding sincerity and regarding Caliban in Shakespeare’s Tempest, I explore how rhetoric inflects the potential sincerity of the character’s final statement—“I’ll be wise hereafter, / And seek for grace”—which has generated widespread scholarly disagreement. Although Caliban may appear more sincere (his act 2 soliloquy) or insincere (his volte-face responses to Prospero in act 1) in some portions of the play than in others, his development highlights not a reified sincerity or insincerity but the mercurial potential of the self—through varied inner forces such as reason and the passions—to use the notion of sincerity as a cover for selfish ends. [ABSTRACT FROM AUTHOR]

This Nietzschean reading of Hamlet will provide clarification of what Nietzsche meant in The Birth of Tragedy by such concepts as the Dionysian man and metaphysical comfort, and why and how the performance of tragedy and the presence of music in and around such a performance, is central--in fact, is necessary--to the transition from Dionysian despair to metaphysical comfort. My application of Nietzsche to Hamlet, then, will illuminate both Hamlet and The Birth of Tragedy. [ABSTRACT FROM AUTHOR]

From my actor-director's point of view, 'decolonising' Shakespeare means not to keep to the original, 'traditional' concept of performing and interpreting Shakespeare's plays; it means giving them my voice as a gay white male. Hamlet's "To be, or not to be" soliloquy incited me to approached Hamlet from a queer perspective. This article reflects on how I approached the play, without forcing the queer issue, by looking at the relationship between Horatio and Hamlet. Horatio is present in key moments of the play, and most of their interactions are when they are alone. By doing a close reading of the play, identifying queer cues, I adapted the play with Hamlet and Horatio in a same-sex relationship. Reading Hamlet from a queer perspective answers the question as to why Horatio is in Elsinore and present at key moments in the play. By placing Hamlet and Horatio in a same-sex relationship, Horatio's presence becomes more meaningful. The interpretation of the "To be, or not to be" soliloquy, the 'nunnery scene', the 'mousetrap scene' and his exile adds a new layer to the character of Hamlet, and by extension Horatio. Next, I reflect on the performance of the queer adaptation, which was done in 2014 at the University of the Free State with a professional cast, co-directed by Peter Taljaard and myself. I offer a close reading, in chronological order, of the adaptation, highlighting key moments in the play that were used to establish Hamlet and Horatio's relationship, while referring to interpretation choices made by my co-director and myself. [ABSTRACT FROM AUTHOR]

This article presents a musical critique of Joni Mitchell's music album "Blue". Topics discussed include soliloquies, literary art and contradiction in the album. The author also mentions artistic pursuit of Mitchell, ideologies and feminism. Other topics which includes vocal style of Mitchell are also discussed.

Very little has been written about the quite noticeable tendency of God to address himself in the Old Testament, starting with the opening chapters in Genesis and continuing, intermittently, until 2 Kings. These speeches may very well be the oldest examples we have of what James Hirsh calls “self-addressed soliloquies,” but they cannot be analyzed based on some of the theoretical ideas of Kenneth Burke, Chaim Perelman and Lucie Olbrechts-Tyteca, Augustine (who invented the term), or Harold Bloom. As my analysis of these speeches shows, God’s rhetoric in these speeches, his ethos, is highly elliptical, ironic, and contradicts most of what readers expect from a soliloquy. [ABSTRACT FROM AUTHOR]

This study presents a semantically-oriented theoretical and descriptive study of tense backshift and its literary effects in FID. Based on Fludernik's study (1993), the detailed linguistic indicators of FID are described in order to provide the criteria for data collection for this study. The data are FID passages collected from four canonical English novels: Austen's Persuasion, Conrad's Lord Jim, and Woolf's Mrs. Dalloway and To the Lighthouse. A theory of tense semantics underlying FID is explored, and the literary effects of tense backshift in FID are examined. The results of this study show that: (1) the mechanism of tense backshift in FID is tense backshift from absolute tense defined by the default temporal reference point t0 in present time domain in the narrator's intensional domain into relative tense defined by the central time of orientation in past time domain in the represented character's intensional domain; and (2) the literary effects of tense backshift in FID, analysed in terms of relative past tense, relative lazy past tense, relative past progressive tense and relative past future perfect tense are shown to be effects of remoteness, terseness, close-up and irony respectively. [ABSTRACT FROM AUTHOR]

This article explores a particular fashion through which biblical narrative in the so-called Deuteronomistic History employs legal passages toward rhetorical ends: the narrative references a legal text and uses its language, laws and motifs as a template through which to compose a homiletic tale. Invoking a phrase from a legal passage, the text calls upon us to read the narrative in light of that passage as a whole. 1 Kings 9.26–11.13 engages the whole text of the law of the king (Deut. 17.14–20) to describe Solomon's downfall, in a more thorough way than has heretofore been recognized. Rahab's soliloquy in Josh. 2.9–13 employs a tight weave of references to the first commandments of the Decalogue, demonstrating that she is worthy of being spared. In each, the law is extracted from its original focus and emerges within a new configuration of meaning. [ABSTRACT FROM AUTHOR]

Dramatic monologue, in its broadest sense of the term, is a potential poetic form of a particular literary period. It has been transformed through time in keeping with the literary approaches, perspectives and conventions related to the different uses of genre, to changing philosophical thoughts and language condition, and to the social and cultural developments in history. Soliloquy is used for various purposes of the writers, from rhetorical strategies for convincing the audience to adopt certain viewpoints to converting the story time into narrative time, and story space into narrative space. Both dramatic monologue and soliloquy are discursive in that they reflect solitary speech and give the author the opportunity of creating worlds in which we find the a character's private mind drama within a work of art. Solitary speech in dramatic monologue and in soliloquy is also a highly innovative discursive form in that it modifies the events, foregrounds and exposes a variety of voices in the representation of a single subject on stage. The aim of this paper is to analyze and reflect different uses of such discursive forms in literary tradition. [ABSTRACT FROM AUTHOR]

Secrets, the essence of drama as a genre since its classical origins, characterize Medieval popular theatre and tipify Lope's comedia which Calderón perfects. Reworking their theatrical heritage, Sor Juana carries this genre beyond the horizon of expectation, as she intensifies the techniques that generate the complication of secrets from the first act of both of her comedies, Los empeños de una casa («Pawns of a House») and Amor es más laberinto («Love is a Greater Labyrinth»). [ABSTRACT FROM AUTHOR]

The article focuses on the play "Epidicus" by Titus Maccius Plautus. Epidicus starts speaking with an imaginary voice and turns the scene into a dialogue during the soliloquy. The dialogue between them does not start in earnest until line 94 while the split between the two voices happens at the opening of the scene, when the newly introduced voice (belonging to the unmasked actor) cautions Epidicus (as the mask).

This article reports on a corpus stylistic study of the language of soliloquies in Shakespeare’s plays. Literary corpus stylistics can use corpus linguistic methods to test claims made by literary critics and identify hitherto unnoticed features. Existing literary studies of soliloquies tend to define and classify them, to trace the history of the form or to offer literary appreciation; yet they pay surprisingly little attention to the language which characterises soliloquies. By creating a soliloquy corpus and a dialogue corpus from 37 Shakespeare plays, and comparing the former against the latter using WordSmith Tools, I identify key language forms in soliloquies. Using an analytical framework broadly based on Halliday’s ideational, interpersonal and textual metafunctions of language, I interpret my results and relate them, where possible, to literary critical interpretations. I also compare comedy, history and tragedy soliloquy corpora. My main findings show the following linguistic features to be characteristic of soliloquies in general: words relating to mental states and the body; pragmatic noise; linking adverbials and first-person pronouns. Characteristic forms in comedy, history and tragedy emphasise love, the monarch and the supernatural respectively. The empirical evidence presented here shows that Shakespeare regularly exploited certain language forms in soliloquies to represent expressions of doubt, resolve, introspection and strong emotion, among others. These forms not only add depth to characterisation, aid plot development and provide performance cues for actors, but may also conform to certain audience expectations. [ABSTRACT FROM AUTHOR]

This essay is built on the premise that there are still interesting poems buried in the collected works of both Mary Leapor and Ann Yearsley that are worthy of critical attention. It focuses on the "soliloquy" poems that both laboring-class women produced and argues that each exploits the lyric potential inherent in the soliloquy form by engaging in generic modulation to both protect and enable the self-that-speaks. In "The Pocket- Book's Soliloquy" (1751), Leapor succeeds in masking her lyric voice by presenting her soliloquy poem as something else, a "thing poem" in which a typically inanimate object serves as speaker. In this way, Leapor finds a ventriloquizing method for her own lyric voice. Yearsley's two poems titled "Soliloquy" (1785; 1796) reveal that she is far more comfortable expressing her lyric voice in her soliloquy poems, though she too engages in generic modulation, making use of the fragmentary and extempore modes to create the lyric space necessary to accommodate different poetic purposes in each of her poems. [ABSTRACT FROM AUTHOR]

The article analyzes the play "A Midsummer Night's Dream" by William Shakespeare, focusing on the soliloquy of "Bottom's Dream." Citing lines that feature malapropism, the author notes previous scholarship that it is a quotation of St. Paul from the Genevan translation of 1 Corinthians from the Bible. He goes on to state that Shakespeare was likely unaware of the 1557 Geneva version of the New Testament and argues that he was instead influenced by the Elizabethan Homily "An Exhortation Against the Fear of Death."

Why is the free indirect style such a useful narrative means to portray characters' minds in fictional texts? This article gives more insight into this phenomenon by analyzing texts from earlier times. Previous studies state that the free indirect style for the representation of thoughts emerged in Dutch literary prose in the 19th century. However, this article shows that the roots of this technique were already present in 17th century Dutch popular literature novels. The analysis of these novels provides us with more insight into this phenomenon. Before the emergence of free indirect style, the most common form for the representation of a character's consciousness was direct discourse. The suggestion that the character is 'thinking out loud' makes this thought representation unnatural, as emotions and feelings are often pre-verbal and wordless. Free indirect style gives the narrator the possibility to formulate that which the character cannot put into words. The free indirect style allows the author to merge descriptions of events and actions with the character's inner life, feelings, questions and wishes without a change in the narrative style when it comes to personal pronouns and tense. [ABSTRACT FROM AUTHOR]

The article looks into the features of late Renaissance English drama. An overview about sampling of assertions made by some of the most distinguished and influential scholars is provided. The author also suggests that the prevalence of soliloquies is one of the most distinctive features of late Renaissance English drama.

This essay reconsiders Hamlet's second soliloquy by locating it within the reconstructed contexts of early modern writing on memory and the ars memoriae. Within these, the Aristotelian distinction between remembering and recollecting is shown to be crucial, as is the interwoven series of metaphors through which mnemonic activities were discussed. These metaphors enable Hamlet to misrepresent the reality of his inner life in response to the Ghost's revelations, most notably in his pursuit of mnemonic erasure. Viewed from this perspective, Hamlet emerges not as one burdened by the memory of his father, or by the need to purge himself of it; rather, from the moment the revenge plot is set in motion, Hamlet is shown to struggle against the very lack of vividness with which both his father and the urge to vengeance exist in his mind. [ABSTRACT FROM AUTHOR]

The structure of Virginia Woolf's late novel "The Waves," which alternates between interludes of an uninhabited seascape and a series of non-mimetic soliloquies, has long puzzled and intrigued her critics. This essay argues that the images that circulate not only between separate soliloquies, but also between soliloquy and interlude, traverse the boundary between objectivity and subjectivity and frame sensations, perceptions, and thoughts as physical presences in the real world. In the recurrent treatment of words as sensuous entities, moreover, the novel suggests that all practices of language and aspects of consciousness are essentially physical phenomena in the world of people, words, and waves. "The Waves" thus accomplishes something new and largely unrecognized in modern narrative." the language, imagery, structure, and themes collectively establish the continuity of word, narrative, and world through a non-subjective, physicalized consciousness. [ABSTRACT FROM AUTHOR]

This paper argues that Victorian Shakespeare burlesques reveal an alternate literary history: a movement away from private, novelistic consciousness toward collaborative performance. Many materialist scholars fault post-Romantic critics for casting Shakespeare as a psychological realist and reading his plays as if they were novels. The burlesque treatment of Hamlet's soliloquies, however, suggests a contrary trajectory, challenging the equation of Shakespearean character with psychological reflection. Rather than inaugurating a tradition of interiority, Hamlet's soliloquies generate social speech in works like Gilbert's Rosencrantz and Guildenstern, inviting audience participation. The burlesque imperative also inflects novels like Dickens's Great Expectations, turning the internal debate of the canonical literary self into the public dispute of populist entertainment. [ABSTRACT FROM AUTHOR]

A literary criticism is presented of the book "Mansfield Park," by Jane Austen. It explores the soliloquies of the character Fanny Price in light of the theme of nature, modernity, and the relationship between ethics and aesthetics in the 18th century. The author emphasizes the use of philosophical dialogue by Austen in the work and discusses the role of ancient and modern traditions of public manners in the work.

This article explores the potential of Mmaskitlana as a form of therapy for children with emotional disorders. A case study is presented describing the use of Mmaskitlana with one learner with emotional problems from sexual abuse. Interview data and interpretative scripts suggest that Mmaskitlana may have assisted the learner with emotional disorder to achieve meaningful personal functioning. [ABSTRACT FROM AUTHOR]

Wakefulness and consciousness depend on perturbation of the cortical soliloquy. Ascending activation of the cerebral cortex is characteristic for both waking and paradoxical (REM) sleep. These evolutionary conserved activating systems build a network in the brainstem, midbrain, and diencephalon that contains the neurotransmitters and neuromodulators glutamate, histamine, acetylcholine, the catecholamines, serotonin, and some neuropeptides orchestrating the different behavioral states. Inhibition of these waking systems by GABAergic neurons allows sleep. Over the past decades, a prominent role became evident for the histaminergic and the orexinergic neurons as a hypothalamic waking center. [ABSTRACT FROM AUTHOR]

The article presents an essay on the evolution of playwright Bernard Shaw's dramatic technique from the use of soliloquies to realistic dialogue influenced by the playwright Sophocles, adapted from an article presented at the University of California San Diego in January 2008 by Bernard F. Dukore.

Charles Mathews's notoriety in American studies and theatre history hinges on his portrayal of an African American actor as an antic buffoon who mispronounces Shakespeare's verse, acts histrionically, and interpolates the song "Possum Up a Gum Tree" in the midst of a soliloquy. Careful attention to evidence of Trip to America reveals five additional African American characters. This essay explores Mathews's performative techniques in portraying all these black characters and challenges historiography that emphasizes his similarities with the later genre of blackface minstrelsy. Mathews's racialized portrayals of blacks, Yankees, and Europeans instead reveal a pattern of affinity with African Americans and antipathy toward Yankees as a critical perspective on the young nation that hinges on the comparability of blacks with the British serving class. [ABSTRACT FROM AUTHOR]

Augustine was a Christian philosopher and a Priest for the Latin Church. He greatly contributed to form Western Christian thought, representing a real Western Master. Augustine investigated fundamental aspects regarding pedagogy of religious status and gave it significant solutions through cultural thickness, for its theoretical strength, and spiritual significance. Knowledge and faith constitute the goal of the educational process. Faith is a principle, but not a definite term. It is an invitation to undertake new speculations, which will not be reason only, but will be guided and directed by faith: "Intellige ut credas. Crede ut intelligas". In De Magistro, Augustine supports the idea that ascending to God is a self-learning process, of interior growth that must be carried out under the individual's own lead, his will and rationality, capable of correcting the mistake so as to purify the eyes of the mind and freeing it from the deceiving attraction from the senses, in order to achieve contemplation of immutable superior realities. Of the self-learning process, following the Augustinian pedagogical method of questions and answers, we will analyze his work Soliloquies at the light of three main purposes: a) Soliloquies is talking to oneself, but it is not an num internal monolog of a self closed in its monadic identity, since Augustine articulates his thoughts coherently towards the search of the truth; b) Soliloquies is a dialog in which reason either plays the role of the instructor or the pupil; c) Soliloquies is not about the Self diving into its own essence of abstract subjectivism, but the search for the Self that co-habits that very same interiority, that is, the one that consists on The Other Self of Oneself. [ABSTRACT FROM AUTHOR]

This study advocates the investigation of soliloquy as a new approach in pragmatics research. The primary function of language is arguably to communicate with others, but language is also used to think. Thoughts constantly emerge in confluent streams of images, concepts, and ideas within the mind; to grasp and manage them, we need language. An analysis of soliloquy can open a window to a better understanding of our mental activities. Based on experimentally obtained soliloquy data in Japanese, three issues are considered: gendered language, the sentence-final particles ne and yo, and the ko-so-a demonstratives. It is demonstrated that soliloquy can shed new light on these widely studied topics. The conclusions reached include that (a) Japanese gendered language is more gendered than recent studies in the field claim, (b) ne and yo are used to monitor and control the speaker’s internal information processing, and (c) the deixis-anaphra distinction is not clear-cut. [ABSTRACT FROM AUTHOR]

What responsibilities do modern editors of Shakespeare's plays owe to their readers where stage directions in or not in their original copy-texts are concerned? Taking my principal example from King Lear I try to locate and illustrate some workable general principles for emending or supplementing or supplying directions. But, in order to show how much weight may depend upon single words that are or aren't in texts, I comment on three famous moments in Hamlet: an aside that isn't, a stage direction that never was, and an entry whose exact position has far-reaching consequences. My conclusion is that some gaps are best left open. [ABSTRACT FROM PUBLISHER]

This paper investigates the Japanese sentence-final particles ne and yo as they occur in soliloquy. Because of their pivotal roles in spoken Japanese, these particles have been investigated extensively for decades. However, most previous works have analyzed them solely in terms of communication, invariably assuming the presence of an addressee. In fact, it is not yet widely known that these particles can also occur in soliloquy in which communication with another person is not intended. The present article is the first study to address the significance of ne and yo as they occur in soliloquy and discuss problems associated with hitherto proposed analyses. In order to investigate how communicative and non-communicative intentions influence utterances, an experiment was conducted in which soliloquies of native speakers of Japanese were examined. For ne, this study endorses Takubo and Kinsui's Discourse Management Model. For yo, Inoue's account is vindicated. [ABSTRACT FROM AUTHOR]

A literary criticism is presented of the play "Hamlet," by William Shakespeare, particularly of a speech by the character Hamlet. The article explores the possibility that it is a feigned soliloquy that was meant to be overheard by the character Claudius. The action in scene three of the play, in which the speech takes place, is described. Whether or not the play's original audience understood that Hamlet's speech was meant to be overheard by Claudius is considered.

The article presents a study of the emotional and intellectual conflict in the character of Hamlet as revealed in his four principal soliloquies, collaborated in by two academics in Mathematics and Drama Studies at the Durban University of Technology in South Africa. The methodology is described using a system dynamic analysis to chart the different levels of reason and emotion within individual units of meaning in the soliloquies. A discussion and conclusion on the correlation between the emotion and reason of Hamlet's thinking is given.

The spread of going to as an expression of futurity in recent written American English has been interpreted by previous studies as being part of a large-scale trend towards the `colloquialisation' of written English. Indeed, in the Frown Corpus most occurrences of going to are found within a range of `conversational' and/or interactive contexts: direct speech, reported speech, soliloquy and so forth. The present analysis, focused on genre categories and pragmatic aims, shows that the `colloquialising' force of the semi-modal does not work in isolation. indeed, in running text going to is often found in co-occurrence with other informal and speech-related linguistic features (both lexical and morpho-syntactical) that share the same interpersonal function. These elements are concentrated strategically in texts, probably in order to highlight specific claims. Therefore, besides providing further evidence of the general ongoing colloquialisation or informalisation of written English, the use of going to seems to be part of a strategy which involves a voluntary switch in style in order to create an intersubjective connection with the reader. [ABSTRACT FROM AUTHOR]

An essay is presented on the origin of soliloquies in the early modern usage. It analyses the soliloquies of early modern reader John Harington of Kelston and the soliloquies of St. Augustine and reveals that the soliloquies in Tudor and early devotional practice began from Augustine's Soliloquies. The author compares these soliloquies with the soliloquy of William Shakespeare's "Hamlet" and suggests that the modern devotional soliloquies have stylistic relation to soliloquies of the age.

The article focuses on how the phrases "sea of troubles" and "a pilgrimage uncertain" from Thomas North's translation of Antonio de Guevara's book "Dial of Princes" were contributing sources for the soliloquy found in William Shakespeare's play "The Tragedy of Hamlet, Prince of Denmark." The author believes that Shakespeare was inspired by de Guevara's views on death in "Dial of Princes." A table is also provided which lists a few of the resemblances between Hamlet's soliloquy and quotes from "Dial of Princes."