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Copyright of Larq Journal for Philosophy, Linguistics & Social Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)

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]

Few plays make such varied or such bravura use of soliloquies as Shakespeare's Richard III. The opening forty-one-line monologue by Richard himself allows an actor to show what he can do and to capture his audience and offers a view on processes of historical causation: having started with six uses of the word 'our', Richard not only moves on to say 'I' nine times (supplemented by 'my' and 'me'), but also explains that his plans are going to affect the future of others, too. His plot to set his brothers against each other is going to change the course of history; moreover, it will do so by using the stalking-horse of a prophecy, a form of speech which presumes that the future is already unalterably fixed. Other soliloquies in the play also offer insights into historical process. This paper examines the differing tonality of the play's soliloquies and the kind of information offered in them to argue that while Richard III officially subscribes to Tudor myths of the past, it not only implicitly urges the audience to a more sceptical take, but in fact raises questions about whether we can ever be sure about how history was made. [ABSTRACT FROM AUTHOR]

The monologue was often perceived as an obstacle to drama. This „conflict” has been the subject of many reflections, of multiple and successive qualifications, which deal with the problem of the monologue starting with the 18th century. Here we are referring, first of all, to bourgeois drama, romantic drama, or symbolist drama, secondly – to modern drama, and more recently - to the post-dramatic theater, the new drama etc. The definition of the dramatic monologue also seems to obey a recurring pattern of successive oppositions, being approached only through approximations and various confrontations. In other words, it seems easier to say what a monologue isn’t than what it is: it is not a dialogue or a tirade, nor a soliloquy, although we do not know exactly how to distinguish the monologue from the soliloquy, if we stick to the current canons in force. Finally, in order to demonstrate the hybrid character of this problematic discursive form, we will emphasize the presence of the audience and try to highlight its role, which proves to be an essential factor in the process of supporting and hearing a monologue. The article examines the successive oppositions and attempts to determine the current defining aspects of the dramatic monologue

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.

The research analyses practically proved model of text centered model of pedagogic and phycological profile of the students based on maximal effect in using of static and dynamic features of created/creating texts. Traditionally in university education in Bulgaria is related active participation with written texts-group work, solitary work, assuming resume or syllabus, report or research on specific problem, developing of conspectus of lessons, analysis of viewed lessons, summary of texts used in different situations, etc. The article suggests a model of slightly different model of analyzing and using of texts, created by students in the context of realization of the educational model based on reflexibility. The research is based on 284 texts created from March 2017 to October 2018 by students first and second year of education in The University of the Town of Shumen Bishop Konstantin Preslavski - Primary school teaching with a foreign language, Preparatory class teaching and Preparatory and primary teaching. The texts of the students have been viewed in two contexts static as a whole verbal product and dynamic as realized actions of producing and analyzing of the texts. The analysis of students' texts is done due to division either as a monologue or soliloquy with specific content, structure, formal and functional specifics. The effect of research and evaluating the texts with pedagogical themes is proved in the context of ruling educational motives-activity, reflexibility, motivation,responsibility in self education. [ABSTRACT FROM AUTHOR]

The article focuses on the significance of the gallery as a setting in the play "Hamlet" and how it can shed light on the characters' motivations and their inner struggles, particularly in relation to the concept of feigned soliloquies. It discusses the architectural and historical context of galleries in early modern homes, emphasizing their association with privacy and eavesdropping, and how this can help us better understand the themes of outward representation in "Hamlet."

The article presents a new proposal to supplement v. 12 of the anonymous hexametric piece containing, most likely, the lament of Ariadne abandoned by Theseus on Naxos. The suggestion offered here (οὐκ or, better, οὐδ' αἰδ]ὼς ἐν ὀνείρωι instead of δήλ]ωσεν ὀνείρωι or ὡς ἐν ὀνείρωι developed by other scholars) allows us to guess that the piece may have expressed Ariadne's contradictory feelings and her moral dilemma. [ABSTRACT FROM AUTHOR]

Copyright of Prace Filologiczne. Literaturoznawstwo is the property of University of Warsaw 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 presents the findings of a long-term empirical investigation into the history of soliloquies. The investigation is based on the bedrock distinction between dialogue in the sense of a speech directed at the hearing of one or more other characters and soliloquy in the sense of a speech not directed at the hearing of any other character. Many soliloquies so defined are short; many are guarded in asides from the hearing of other characters; many are unguarded in the presence of other characters. Scholars have ignored these categories and so have underestimated the vast extent of Shakespeare's employment of the convention and the contexts in which soliloquies occur. The present essay presents for the first time a comprehensive account of all 1185 soliloquies in the canon by indicating the number of soliloquies in each play, the number of characters who soliloquize in each play, the gender distribution of soliloquizers, etc. The essay also presents new evidence that soliloquies in Shakespeare's plays represented self-addressed speeches as a matter of convention (rather than audience addressed speeches or interior monologues). What emerges from this survey is a new appreciation of Shakespeare's daring inventiveness in employing the convention that governed soliloquies in his plays. [ABSTRACT FROM AUTHOR]

Copyright of Larq Journal for Philosophy, Linguistics & Social Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)

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]

The article is a close reading of Isabella’s soliloquy in act IV of The Spanish Tragedy by Thomas Kyd. Pointing at the difference between the role of women in Early Modern re­ality and their function in contemporary plays, it demonstrates the perversity of a society where women were regularly marginalized and where, even in theatre, their transgressions of the boundaries imposed on them by the patriarchal social apparatus led to extremely unfavourable repercussions. Isabella, emotionally crushed by the foul murder of her son, decides in her helplessness to take her own life. In a world dominated by men, she does not quietly accept her passive role, but works within its limitations to become a character that takes action, albeit action that ends her life. Before making the symbolic gesture of stabbing herself, she exclaims against the circumstances which drove her to it. Her speech can be seen as one of the climactic points of the play.

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]

This article analyses two ecclesiastical analogies in the Old English Soliloquies: the analogy of the lady and the analogy of the letter. It argues for a more nuanced and practical interpretation of Alfred's analogies in the Old English Soliloquies than has previously been put forward. The analogies original to Alfred as well as those derived from Augustine's Soliloquia, which he manipulates and omits, are designed to be useful, with practical implications for Anglo-Saxon society. Since his prose preface to Pastoral Care suggests that the demise of the Angelcynn is contingent on the demise of the English Church, Alfred's analogies in Soliloquies prompt the reintegration of these two infrastructures, Church and state, to reconsolidate the Angelcynn and recover its sacred and secular ar ('favour with God' and 'cultural capital'). By encouraging responses in the individual reader--recourse to the sacramental Church and renewed commitment to reading and prayer--Alfred's analogies, particularly of the lady and the letter, seek to cultivate the Gregorian "mixed life". Alfred thus aims to revive the terrestrial and celestial favour of the Angelcynn by fusing the concerns of Ecclesia and state, heaven and earth, contemplative, and active. [ABSTRACT FROM AUTHOR]

Copyright of Acta Neophilologica is the property of Acta Neophilologica 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.)

Technique is a tool which is used to describe a story in a special form with the help of style. All types of literature have this technique's tool. Without technique, poetry or prose is baseless. There are many techniques used in Novel by which novel's standard increased. Earlier, in Urdu novel, simple narrative, allegory, dramatic and dialogue techniques are adopted. Gradually new techniques came to the fore and the Urdu novel gradually developed. In addition to historical and psychological trends, dairy and epistolary techniques began to be used in novel. Where the progressive movement gave a new breadth to world literature, Urdu literature could not remain unaffected by it also. In this era, soliloquy, stream of consciousness, flash back and flash forward and free association trend of technique are adopted. In this article these techniques are discussed that are reason the progress of novel. [ABSTRACT FROM AUTHOR]

This paper examines Cook's analysis of Japanese politeness as an interactional achievement. Taking a social constructionist perspective, and counter to Ide's notion of discernment, Cook contends that social identities and social relationships are fluid, negotiated during the moment-bymoment unfolding of social interactions. Although such cases can exist, they are not the norm. Cook asserts that speakers are not mere observers of social norms, but, rather, active agents constructing their own social worlds. This too can be valid in certain situations. Examining speechstyle shifts in professor-student consultations in Japanese universities, Cook claims that students exercise total freedom in selecting plain, nonhonorific forms. This paper demonstrates that Cook's data do not support her claim. Students did not shift their speech to plain form in their dialogic mode of discourse. Her data support an analysis demonstrating students' awareness that an appropriate attitude in such a setting is to show deference to the advisor, and that this deference cannot be expressed without the use of honorifics. Speakers of Japanese are not as free in their linguistic behavior as Cook contends. Failure to observe the social norm of polite language (tameguchi) is frequently ridiculed and penalized. This fact demands acknowledgement of Ide's notion of discernment. © Walter de Gruyter.

Visual Soliloquy contributes to the discussion of how graphic and information design contributes to social through design. In linking the work to notions as self-branding, micro celebrities and self-branding in defining social value for individuals. The use of the soliloquy concept is aligned with both the anti-social undertaking and social endeavor of design as praxis within the field of communication design. As evidence, the concept is supported through examples of design work and their material explorations.

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.

In the "How all occasions ... " soliloquy Hamlet expresses his own failure to understand why he has not fulfilled his promise to kill Claudius notwithstanding that he has the "cause, will, strength, and means to do't". The passage, occupying two and a half lines which begin and end with caesurae, consists entirely of 27–29 monosyllabic words, thus emphasizing its importance. This short essay analyses the speech in terms of the philosophical notion that action is the inevitable consequence of stimulus, intention, ability, and lack of hindrance, and, relying on the conventions applicable to soliloquies, argues that it reveals that Hamlet's inaction is the result of his fear of post-mortem torment. [ABSTRACT FROM AUTHOR]

Copyright of Revista Română de Drept al Afacerilor is the property of Wolters Kluwer Romania 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.)

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 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. [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]

A literary criticism of the play "A Doll's House" by Henrik Ibsen is presented. Topics discussed include removal of the monologues during translation of the play in English, aesthetic functions of the monologues on the basis of style, discourse and dramaturgy; and used monologues in the play such as soliloquies.

In late Renaissance English drama (from the late 1580s until the closing of the theaters in 1642) soliloquies were governed by a surprisingly precise and intricate convention. Plentiful, conspicuous, unambiguous, varied, and one-sided evidence demonstrates that soliloquies represented self-addressed speech as a matter of convention. Not surprisingly, Shakespeare was the most daring, imaginative, and profound exploiter of the convention, especially in Hamlet. One of the most interesting exploitations of the convention occurs in 3.3, which ends with three consecutive soliloquies, occupying a total of 63 lines, by two characters without any intervening dialogue between characters. In the course of the three soliloquies, a presumed contrast between Claudius's villainy and Hamlet's victimhood becomes a disturbing contrast between the villain's effort to repent and the victim's demonic purpose (to increase the population of hell) and eventually turns into a similarity between two characters who have both succumbed to evil. Shakespeare's most daring, imaginative, and profound exploitation of the convention occurs in 3.1. Plentiful, conspicuous, unambiguous, varied, and one-sided evidence demonstrates that Shakespeare designed the "To be, or not to be" episode to imply that the speech is not a genuine soliloquy but rather a feigned soliloquy. Arriving at the location to which he has been summoned by his deadly enemy ("We have closely sent for Hamlet hither"), Hamlet pretends to be oblivious to the conspicuous presence of Ophelia and pretends to talk to himself to mislead Ophelia, her meddlesome father, and ultimately the King into believing that he suffers from a debilitating melancholy in order to convince the King that he poses no threat. [ABSTRACT FROM AUTHOR]

Using an entertainment overcoming resistance framework, a posttest-only randomized experimental design demonstrated that, compared to no audio-only character narration (n = 57), audio-only character narration (n = 71) elicited more identification with the narrating character, and identification initiated a process of overcoming counterarguing against a subjectively perceived narrative lesson embedded in an episode of The Wonder Years (1998–1993). Although reduced counterarguing did not significantly influence favorable evaluations of the narrative lesson, it significantly increased the importance of those evaluations. Results are discussed in terms of the influence of audio-only character narration on identification, self-reports of a narrative lesson, and the relative influence of entertainment on attitude favorability versus attitude importance. [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]