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This essay argues that Eavan Boland's 1994 poem “Anna Liffey” is, in part, a re-visioning of James Joyce's famous river-woman and mother, ALP. Although Joyce's deconstructive tendencies provide an added challenge for any author looking to engage with Finnegans Wake, Boland manages to reclaim ALP, both channelling and challenging Joyce's portrayal of the Liffey as “Anna Livia Plurabelle.” Through a comparison of Joyce and Boland's texts, in particular Part I, chapter 8 of the Wake, as well as ALP's final soliloquy, and Boland's “Anna Liffey,” published in In a Time of Violence, this text illustrates Boland's re-imagining of ALP as Anna Liffey, an historical woman and struggling poet, and in the process empowers the female poet by “round[ing] up lost histereve” (Joyce, FW 214). [ABSTRACT FROM AUTHOR]

The article offers information techniques used in the play "Death of a Salesman" by Arthur Miller. It informs that Miller has adopted the method used by writers of consciousness fiction to describe the psychological aspects of fictional character of play Willy Loman, informs that the play achieves its emotional intensity by exploring the anguished thoughts of its hero and describes four techniques used in presenting the stream of consciousness including direct interior monologue and soliloquy.

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]

The description about narrative of" Gui Yuan" (the women's resentment) which is a major topic of Chinese literature is totally different by the writer's different gender that the male writers usually just regard it as a simply mood to vent that a woman seeking "love" unsuccessfully but the women writers often regard it as a way to express their own will - whether it is "lament herself lonely" or "the pain of missing", which is no connection with "love" and the feeling of "resentment" is both a female adolescent physical phenomenon and an action of a women fighting with her tragedy fate. Therefore, there is a contradictory in China's literary tradition between talking about the women and the female's talking which just likes two parallel lines extending vertically to lead to a serious difference in ideological understanding between the men and women writers. [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]

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The article offers the author's insights on the concept of interiority that is present within the character of Gertrude in William Shakespeare's "Hamlet." The author argues that Gertrude has a complicated interiority which is evidenced by several criteria including the lack of soliloquies and important dialogues, the pregnant silence, and factors showing that she has an inward life. The author adds that Gertrude's interiority stressed the significance of a family in "Hamlet."

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."

In the famous opening soliloquy of Shakespeare's Richard III, Richard mightily voices his repugnance to "fair well-spoken days" and their "idle pleasures". He realizes his physical deformity and believes that it sets him apart from others. He openly admits that he is "not shaped for sportive tricks, nor made to court an amorous looking-glass". Yet, his monstrosity constitutes more perhaps of his aggressive masculine exceptionality rather than of his deformity. Richard's bullying masculinity manifests itself in his contempt for women. In the wooing scenes we clearly see his pugnacious pursuit of power over effeminate contentment by reducing women to mere objects. Additionally, those scenes are interesting from a psychological viewpoint as they brim over with conflicting emotions. Therefore, the paper explores two wooing encounters of the play, which belong the best examples of effective persuasion and also something we may refer to as 'the power of eloquence'. [ABSTRACT FROM AUTHOR]

An interview with playwright Arthur Miller is presented. When asked what play marked a significant shift in his technique as a playwright, Miller referred to "Death of a Salesmen" as a social commentary with subjective psychological content. Miller also discusses his use of soliloquies and the theme of alienation in his plays. His play "Mr. Peters' Connections" is also mentioned.

The article describes the epitaphs found on the graveyard in the cemetery of Altona by Sephardi and Ashkenazim Rabbis of the Elbe cities in Hamburg, Deutschland. The epitaphs are said to have made use of the Hebrew, Portuguese, Spanish and French languages. A few of the Portuguese Jews buried at Altona or elsewhere are said to appear in their epitaphs as the speakers of self-written or fictionalized posthumous messages. In the Ashkenazi section of the graveyard, the absence of similar posthumous soliloquies is evident.

The author reflects on author Mark Twain's version of the "To Be or Not To Be" soliloquy from "Hamlet." She claims that Twain's fascination with "Hamlet" playwright William Shakespeare, impacted his scholarship. She also mentions the humor injected in Twain's version. The plot and themes of "Hamlet" are also highlighted.

The text of Thomas Talus's seven-voice motet Suscipe quaeso Domine is not (as has previously been suggested) a liturgical collect or a piece of Marian Catholic propaganda. It is taken from a devotional soliloquy by the early medieval churchman and polymath Isidore of Seville. This fact links it closely to Byrd's motet Tribue Domine, which appears near it in the 1575 Cantiones, quae ab argumento sacrae vocantur. In an era marked by escalating religious controversy, both composers chose to adorn their musical offering to Queen Elizabeth with large-scale settings of patristic or quasi-patristic texts, an implicit nod to the era of at least nominally undivided Christianity. [ABSTRACT FROM AUTHOR]

Large lecture sections are a necessary and often valuable component of the college or university curriculum; however, many educators are frustrated by the impersonal nature of such classes and the potential ineffectiveness of their lecture presentations. Examining the theatrical concepts of dialogue, monologue and soliloquy provides teachers with a conceptual platform from which to evaluate their own modes of communication while also encouraging a mindset that promotes a more personal and productive environment in their classrooms. [ABSTRACT FROM AUTHOR]

This article analyzes the conversation poem of English romantic poet Samuel Taylor Coleridge through soliloquy and invocation. It is claimed that voice and silence are two salients of his conversation poem particularly in "The Eolian Harp." His own conversational idiom is considered as a form of convocation, a calling out to other voices until the poet is able to hear his own voice calling. Views from other poets concerning his way of writing in his conversational poem are also discussed.

The article presents a critical analysis of the first messenger speech in the Greek tragedy "Bacchae," by Euripides. The speech describes how the paradise where the maenads dwell turned into a savage land when the herdsmen attempted to hunt the maenads. Dionysos was responsible for the madness of the women of the polis after the herdsmen attacked the maenads. In the his prologue speech, he said that there will be a confrontation between him and the people should they drive the maenads away.

The article focuses on the inconsistencies in the plot of William Shakespeare's play "Hamlet." It analyzes the use soliloquy in the play's act 4, scene 3. The apparent cognitive lapse of character Claudius can be determined to form the obverse of Hamlet's moral lapse accruing from being a revenger. The inconsistencies in question indicate such wit about plot wherein Shakespeare used a tragic paradox.

The article talks about the author's use of the 1996 film version by Kenneth Branagh to teach students about William Shakespeare's play "Hamlet." The author and her students read together every single word of the play by using the closed-captioned feature of the film. The author has learned that the best way to teach "Hamlet" is to just let the students dive into the experience. After each scene, her students are free to interpret the speeches in their own way or to read the soliloquies with their own voices.