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Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Poetic and dramatic works by T.S. Eliot include numerous allusions to Shakespeare's plays, different collisions based on Shakespearean plots, theatrical techniques and settings of the great playwright, etc. This paper considers the ways and instruments of transforming and representing Shakespearean images in Eliot’s poetic texts, such as “The Love Song of J. Alfred Prufrock”, The Waste Land, “Marina”, “Coriolan”, etc. The important aspect of Eliot's reception is the appeal to Shakespeare’s heroes (Hamlet, Lady Macbeth, Ophelia, Pericles, etc.) as archetypes for creating his own poetic characters. The researcher identifies two main ways of transforming and representing Shakespearean images: masks and dramatic monologues (“dramatis personæ”). The characters in Eliot’s poems use Shakespearean masks as a means of self-identification (Prufrock), they are components of “compound” images (“a cubist woman” in The Waste Land). The dramatic monologues of Eliot’s protagonists are pronounced on behalf of Shakespearen heroes (Pericles, Coriolan). Shakespearean allusions in Eliot’s poetry are to expand the boundaries of the text, deepen the characters, include them into a certain cultural paradigm, etc. The analysis of Shakespearean images in Eliot's poetry allows us to understand the peculiarity of perception for Shakespeare and methods of poetic mastering of his heritage in Modernist culture.

This article reads John Ashbery’s poem ‘Daffy Duck in Hollywood’ in relation to theories of the dramatic monologue and the lyric genre. I argue that the poem is meant to make the New Critical model of lyric reading, in which all lyric poems are read as dramatic monologues, self-destruct. I then use the poem to reconsider recent attempts, prominently that of Jonathan Culler, to define lyric poetry in opposition to narrative and the dramatic monologue. [ABSTRACT FROM AUTHOR]

The present article addresses the evocative potential of posing nude in Carol Ann Duffy's poem 'Standing Female Nude'. My assumption is that the posing model/prostitute displays two bodies: the physical body and the signifying body. The interplay between both bodies triggers a process of signification whereby art is not simply a studio production but a meta-frame encapsulating a reflection on society, culture, self-representation and politics of identity. The poem substantiates the poet's experimental method of writing which draws on nude art genre, the dramatic monologue, theatre and metafiction. What the posing female nude recounts is not just experience of posing nude in a studio, but reflections on her body as a posing model and as a writing model or a narrative imbricating in its texture cynical comments and attitudes on artistic and socio-cultural values as the female model pokes fun at the reception of artistic work in the bourgeois society. [ABSTRACT FROM AUTHOR]

This study aims to analyze the use of dramatic monologue in constructing female identity in the poems "Xantippe" by Amy Levy and "Faded" by Augusta Webster. In this sense, this study has dual layers, which aim to complicate the general realisation of the dramatic monologue by focusing on the women poets' monologues having an important place in the tradition of form, and to foreground Victorian women poets' construction of feminine identity by using the dramatic monologue. The analysis of poems displays that women poets, Augusta Webster and Amy Levy challenged Victorian female identity, which imprisoned women in the Victorian ideal female image, and represented women's identity as free from male identity by violating Victorian gender norms. Thanks to dramatic monologues that provide a large horizon of female characters, from the mythological wife to the old spinster, Levy and Webster question, protest, revise, and criticise societal perception of women and cultural expectations from women. In this way, the analysis of Webster's and Levy's dramatic monologues as a medium for constructing female identity allows us to discover the worlds of women under the social pressure of their age, as well. Moreover, while they are exemplifying the new image of women, they are touching on a common issue of all Victorian suppressed women. [ABSTRACT FROM AUTHOR]

Copyright of Cahiers Victoriens & Edouardiens is the property of Presses Universitaires de la Mediterranee and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The present article endeavors to examine Mohsin Hamid's The Reluctant Fundamentalist so as to attest to the political resistance effected by its formal aspects. The researchers are inclined to survey Hamid's novel in the light of the mind-sets of the illustrious contemporary philosopher and literary critic Fredric Jameson. According to Jameson, it is a falsehood to think that the form of a work of art should be considered to be less important than its content owing to the fact that the formal aspects of art embody resisting possibilities and are prone to galvanize the reader into subversive activity. The question the article poses is that whether the novel's development of dramatic monologue can provide the reader with a unique opportunity for political resistance. In this regard, the formal aspects of the novel can silence the American citizen in order to enable the reader to perceive the world through the eyes of the novel's Third-World speaker. [ABSTRACT FROM AUTHOR]

This paper explores the intricate layers of the Duke's psyche in Robert Browning’s dramatic monologue "My Last Duchess" through a detailed analysis of the poem's structure and language. By examining the Duke's speech patterns, use of irony, and the controlled revelation of his thoughts, we uncover the complexities of his character and his manipulative nature. The study highlights how Browning's use of enjambment, caesura, and dramatic irony not only reflects the Duke's authoritative yet insecure personality but also engages the reader in a deeper understanding of the psychological underpinnings of the narrative. Through this analysis, the paper aims to reveal how Browning’s poetic techniques effectively convey the Duke's obsession with power and control, offering a compelling insight into the darker aspects of human nature.

This article explores the possible influence between certain works by Robert Browning and Edgar Allan Poe, composed and published very close in time, which deal with similar themes and share literary strategies and techniques. Although the possibility that they might have been reading each other’s work is supported by their respective correspondences with Elizabeth Barrett Browning, the similarities between their works could also be attributed to literary experimentation as a means of standing out in a fiercely competitive literary market that had to pander to both popular and critical taste. This article compares the similarities in choice of tone and sensational event, as well as the use of voice in a short list of titles that coincide in both time of publication and topic, to raise the issue of influence in a controversial historical context when plagiarism and radical innovation were equally problematic.

Copyright of Miscelánea: A Journal of English & American Studies is the property of Miscelanea: A Journal of English & American Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Augusta Webster’s poem “Medea in Athens” offers a dramatic interpretation of Medea’s psychological responses to Jason’s death. Using the technique of broken dramatic monologue, this poem allows the poet to offer a personal vision of a Medea in contention with her repressed emotions. Whilst the poem has been much studied by feminist scholars as a remarkable example of the struggle of the New Woman in Victorian England, this paper highlights the role played by the voice of Jason’s ghost that represents Medea’s unconscious, and that despite her desperate attempts reveals a strong patriarchal image of femininity. As the poem unfolds, it unveils how Jason’s ghost projects the intense love that the protagonist feels for him, a love from which she cannot free herself. This paper reads the poem to pinpoint contrasting issues between psychological subjectivity and agency that affected many new intellectual Victorian women in their battles against patriarchy, and their own selves.

The structuralist-inspired development of narrative theories in France from the late 1960s onward has spawned a whole host of opportunities to explore the way narratives function. This is precisely what Gerald Prince undertakes in his Narratology: The Form and Functioning of Narrative, in which he delineates the mutual relationship between the narrator and the narratee as two of the most important constituents in any narrative. This framework is useful for the study of Robert Frost's narrative poetry, which comprised a large part of his oeuvre at a time when the form had become marginalized due to conforming to the poetic conventions that modernism tended to undermine. This research explores Frost's modernist take on this conventional genre through a narratological study of his poem "A Servant to Servants". [ABSTRACT FROM AUTHOR]

Copyright of Revista Canaria de Estudios Ingleses is the property of Universidad de La Laguna and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay discusses how issues of otherness/identity are at the heart of Patience Agbabi’s poetry collection Telling Tales (2014). A rewriting of Geoffey Chaucer’s Canterbury Tales, the work of the British-Nigerian author addresses alterity through the representation of a heterogeneous group of present-day pilgrims interacting with one another as they are travelling on a bus from Tabard Inn to Canterbury Cathedral. The essay investigates how Agbabi’s poems rewrite Chaucer’s work from a twenty-first century perspective, and deal with alterity in the form of an unfinished dialogue with the medieval text and in ways which encompass not only moral, ethical or social questions, but also formal and generic issues. It shows that poetry’s potential for ‘harbouring otherness’ is linked to an hybridization whose site is also the literary text: poetry, and more specifically the poetic subgenre of the dramatic monologue, is adapted by Agbabi in order to host a dialogic, heteroglossic and novelized dimension.

This paper discusses the use of ‘dramatic monologue’ and ‘stream of consciousness’ in T. S. Eliot’s “The Love Song of J. Alfred Prufrock”. It highlights the history of the two terms with references to certain lines of the poem. It unveils the effect of using such a technique by Eliot. The paper investigates how the speaker ‘J. Alfred Prufrock’ is trying to communicate with the reader in dramatic monologue. Furthermore, it examines how J. Alfred Prufrock’s brain and process of thoughts is working through the use of stream of consciousness and interior monologue to achieve such process of thoughts. The paper pays all the attention to main character’s language to answer the research’s question in which makes the paper a discourse analytic research. The main question that the paper raises is how Prufrock’s behavior explains the existence of dramatic monologue within himself. It is worth mentioning that the paper’s conclusion provides the findings of the research.

Robert Browning's dramatic work "Soliloquy of the Spanish Cloister" (1842/1971) is an example of the psychological school of poetry in the context of Victorian poetry since the persona is portrayed as someone who feels an irrational and intense hatred towards a peer of his. The emotional state of the persona can be explained with moral insanity, a type of insanity defined by a Victorian psychologist, James Cowles Prichard. In this article, Prichard's definition of and explanations for moral insanity as a type of insanity are used as reference points in the literary analysis of Browning's "Soliloquy of the Spanish Cloister." The poet's use of the dramatic monologue, a major form in the poetry of psychology, is also scrutinised in this article regarding the advantages it offers for the effective psychological portraiture of the fictional character. As the literary analysis in this article shows, since the soliloquist is depicted as an individual with an emotional weakness, defect, or disorder, namely excessive hatred or rage, he resembles the patients of moral insanity. Furthermore, this study shows that there are no defects in the intellectual capacity of the speaker, which makes his case closer to the cases of moral insanity. [ABSTRACT FROM AUTHOR]

The article reviews an adaptation of Samuel Beckett's novella "First Love," directed by JoAnne Akalaitis and performed by Bill Camp, at Theatre for a New Audience in Brooklyn, New York from February 25 to March 1, 2021.

Copyright of Estudios Románicos is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Tove Jansson’s Picturebook Who Will Comfort Toffle? as a Heroic Poem This article offers an analysis of Tove Jansson’s picturebook Vem ska trösta knyttet? (Who Will Comfort Toffle?) from 1960 as a heroic poem and dramatic monologue, representing an alternative reading to earlier studies of this picturebook as a coherent narrative. Drawing on theory about heroic poetry, poetry and picturebook analysis, we provide a reading that expands those interpretations of Vem ska trösta knyttet? that emphasize the romantic and psychological projects of the book when read as a narrative story. By reading Vem ska trösta knyttet? as a heroic poem, we explore the text as an uttered, ritualistic, and iterative event rather than solely a narrative with fictional characters. Read in the tradition of the heroic poem, Toffle is (still) the hero, where lyrical language and structures allow the reader to remember and retell the poem, letting Toffle’s deeds live on beyond the alleged time of events and the performative declaration by Toffle.

The present paper sets out to explore Robert Browning’s dramatic monologue introducing Andrea del Sarto (1486-1531), a late fifteenth-century Florentine painter who was praised for his technical skills in painting but who lacked a spiritual dimension in his art, compared to the works of his contemporaries, Michelangelo Bunarroti (1475-1564) and Raphael (1483-1520). [ABSTRACT FROM AUTHOR]

Copyright of Journal of Faculty of Letters / Edebiyat Fakultesi Dergisi is the property of Hacettepe University Faculty of Letters and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Abstract: The present paper offers a comparative analysis of Robert Browning’s poems “Fra Lippo Lippi” and “Caliban upon Setebos,” wherein the main point of interest is the interplay between religion and art. I will investigate how religion is depicted and how it influences the artistic viewpoints espoused by the eponymous characters, emphasizing the role these two concepts play in shaping the speakers’ self-presentation and sense of identity. In the case of “Caliban upon Setebos,” I will also delve into Browning’s source of inspiration, Shakespeare’s The Tempest, so as to understand how Browning’s own character can be likened to, or contrasted with, the Renaissance playwright’s. Whereas Lippi the monk justifies his own penchant for naturalistic art through religion, Caliban takes to more rudimentary forms of art to assuage the fury of an unjust and wrathful deity. However, what seems to drive their definitions and redefinitions of artistic and religious discourse is an apparent lack of agency, which spurs them into rebelling against the limitations set upon them by external forces.

This article offers an analysis of Tove Jansson’s picturebook Vem ska trösta knyttet? (Who Will Comfort Toffle?) from 1960 as a heroic poem and dramatic monologue, representing an alternative reading to earlier studies of this picturebook as a coherent narrative. Drawing on theory about heroic poetry, poetry and picturebook analysis, we provide a reading that expands those interpretations of Vem ska trösta knyttet? that emphasize the romantic and psychological projects of the book when read as a narrative story. By reading Vem ska trösta knyttet? as a heroic poem, we explore the text as an uttered, ritualistic, and iterative event rather than solely a narrative with fictional characters. Read in the tradition of the heroic poem, Toffle is (still) the hero, where lyrical language and structures allow the reader to remember and retell the poem, letting Toffle’s deeds live on beyond the alleged time of events and the performative declaration by Toffle. [ABSTRACT FROM AUTHOR]

The ever-increasing contemporary interest in the Victorian Age is testified to by a growing number of works engaging with the re-reading, re-writing, and revising of the long nineteenth century. This interest parallels a tendency to identify the Victorian literary tradition solely with the novel. By contrast, this essay focuses on Victorian and neo-Victorian poetry, arguing that issues of otherness/identity, and empathy/hostility are at the heart of Victorian poetic predicaments. Victorian models and themes are exploited by contemporary poets in order to deal with anxieties about local/global experiences, collective/individual identities, and host/guest interactions. Drawing on Rachel Hollander's definition of narrative hospitality, this essay proposes a definition of 'poetic hospitality' that takes the specific features of the poetic text into account, and focuseson poetry as a heteroglossic discourse. The dramatic monologue, is analysed as a privileged site for exploring neo-Victorian hospitality. This kind of poetic composition is generally written in a form that suggests a speech made by an individual character. In dramatic monologues, what appears to be a single voice is usually a composite one, signifying more than one identity amongst the speakers. The analyses of poems by A.S. Byatt, C.A. Duffy and Margaret show how dramatic monologues in neo-Victorian poetry may mobilise historical memory in order to allow new narratives to emerge. [ABSTRACT FROM AUTHOR]

Robert Browning’s vis comica has long been overlooked, some readers from the Browning Society, founded in 1887, preferring to see a philosopher in the poet, and some critics, like George Santayana, choosing to dismiss Browning’s ‘poetry of barbarism’. However, rereading today Browning’s poems through the prism of Freud’s theory of pleasure as a release of tension allows one to show Browning’s comical energy as it irrepressibly surfaces in his dramatic monologues. This article aims to study two speakers from Men and Women (1855), in “Up at a Villa — Down in the City” and “Fra Lippo Lippi”. The dramatic monologues draw upon a densely-interwoven network of puns, ejaculations, embedded fragments of songs, written or spoken speeches, as well as a number of languages, typographical devices and rhythmic counterpoints. The result is a variety of vocal effects such as innuendoes and lapsus. Browning’s comic world, standing out against the carnivalesque background of a reinvented Italy, displays an energy that makes the very page seem to vibrate.

Copyright of Mediation of Hungarian Language Culture / Anyanyelvi Kultúraközvetítés is the property of Szent Istvan University, Kaposvar Campus and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper offers a close reading of site-specific audio installation Data Urns (by Daniel Huber) and audio-walk Her Long Black Hair (by Janet Cardiff) in context of works created as corporeal and haptic experiences in different media. Used methodology is inspired by a new media and theatrical research as well as the traditional literary studies. Author uses category of dramatic monologue as a key to analyse literary aspects of characterized works and proposes the category of locative dramatic monologue as more useful in context of not-only-verbal immersive narratives. The goal of analysis (in which the category of haptic and exploratory reading is developed) can be also described as looking for possibilities of readapting traditional analytic tools in new (media) contexts as a way of postulated renewing of poetic of literary work. [ABSTRACT FROM AUTHOR]

This research paper sheds light on understanding dramatic texts using Grice’s maxims. It presents Grice’s maxims and how they can be violated or flouted in a conversation. The research paper aims at investigating the effectiveness of implicature and how it can be used in the interpretation of the literary texts; particularly those having dramatic monologues. It also aims at drawing special attention to the use of inferences in analyzing literary texts. The text under investigation is Robert Browning’s poem “My Last Duchess”. Grice’s (1975) model of implicature is used in the analysis of the data of this study. The research paper concludes that Grice’s maxims and the violation of these maxims are very powerful and effective in analyzing and interpreting literary works having dramatic monologue. The characters’ failures to fulfil Grice’s conversational maxims reflect the disagreement and failure in the relationship between them. The study also shows the poet’s effective style in presenting his poem to the readers as he makes use of the features of dramatic monologue successfully. [ABSTRACT FROM AUTHOR]

Copyright of Signa is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Since the late 1980 s, poets from the US and, to a lesser extent, the UK have increasingly featured superheroes in their work, mostly appropriating iconic figures along the lines of Batman or Superman and exploring some aspect of their personality (e. g., Batman's relationship to Robin, Superman's loneliness) in dramatic monologues. The prevailing if not sole account of this phenomenon argues that these characters provide a shared mythology to a generation of writers to whom biblical and classical references are no longer readily available. It also ties the superheroes' provenance exclusively to the medium of comics. This latter point, in particular, is open to debate, insofar as since the late 1980 s, superheroes are, more than ever, part of media franchises that treat comic books as but one among many outlets. The present article hence views the superheroes in poetry not so much as an appropriation of comic book but of transmedia characters. Simon Armitage's seminal poem "Kid" (1992), for instance – a diatribe by Robin directed at Batman's dismissal of him – resonates as much with the 1960 s TV series or Tim Burton's Batman films (1989, 1992) as with the dark knight's reinvention at the hands of comic book writers such as Frank Miller or Alan Moore. At the same time, the article aims to locate the place of the seemingly insular genre of poetry within a "convergence culture" that disseminates superheroes in the media ecology. Evidently, the "superhero poems" are not licensed creations that partake in officially sanctioned transmedia networks. Neither, however, are they a product of fandom and participatory culture. Instead, I would suggest that poetry here tentatively engages with the media culture that has factored into its marginalization during the past decades. [ABSTRACT FROM AUTHOR]