John Jory
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780199232536
- eISBN:
- 9780191716003
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199232536.003.0007
- Subject:
- Classical Studies, Plays and Playwrights: Classical, Early, and Medieval
The poets Statius and Lucan are both said to have written pantomimes, and this chapter considers the relationship of pantomime art to poetic texts. The chapter underlines the importance of the ...
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The poets Statius and Lucan are both said to have written pantomimes, and this chapter considers the relationship of pantomime art to poetic texts. The chapter underlines the importance of the enunciated narrative to the performance. The chapter considers a wide range of evidence about the libretti of pantomime, from disparaging comments on the quality of the words composed specifically for the pantomime dancer, to the alleged small fragments embedded in authors including Petronius. The chapter considers the possible reasons for the apparent wholesale loss of the words which accompanied pantomime, and discusses what sort of poetry and verse forms would have been most suitable; in adapting the text for a tragedy, for example, monologue would have proved much more practicable than stichomythia. The performance evidence relating to Bathyllus and Pylades, the pantomime dancers credited with introducing the art form in the reign of Augustus, is given detailed attention.Less
The poets Statius and Lucan are both said to have written pantomimes, and this chapter considers the relationship of pantomime art to poetic texts. The chapter underlines the importance of the enunciated narrative to the performance. The chapter considers a wide range of evidence about the libretti of pantomime, from disparaging comments on the quality of the words composed specifically for the pantomime dancer, to the alleged small fragments embedded in authors including Petronius. The chapter considers the possible reasons for the apparent wholesale loss of the words which accompanied pantomime, and discusses what sort of poetry and verse forms would have been most suitable; in adapting the text for a tragedy, for example, monologue would have proved much more practicable than stichomythia. The performance evidence relating to Bathyllus and Pylades, the pantomime dancers credited with introducing the art form in the reign of Augustus, is given detailed attention.
Cornelia D. J. Pearsall
- Published in print:
- 2008
- Published Online:
- January 2008
- ISBN:
- 9780195150544
- eISBN:
- 9780199871124
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195150544.001.0001
- Subject:
- Literature, 19th-century and Victorian Literature
This book explores Tennyson’s representation of rapture, or being carried away, as a radical mechanism of transformation—theological, social, political, or personal—and as a figure for critical ...
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This book explores Tennyson’s representation of rapture, or being carried away, as a radical mechanism of transformation—theological, social, political, or personal—and as a figure for critical processes in his own poetics. The poet’s fascination with transformation is figured formally in the genre he is credited with inventing, the dramatic monologue. Situating Tennyson within communities of Victorian classicists, explorers, politicians, theologians, and sexologists, this book offers substantial original readings of a range of Tennyson’s major poems. Tennyson’s Rapture investigates the poet’s previously unrecognized intimacy with the theological movements in early Victorian Britain that are the acknowledged roots of contemporary Pentacostalism (with its belief in the oncoming rapture), and its formative relation to his poetic innovation. Tennyson’ work recurs persistently as well to classical instances of rapture, of mortals being borne away by immortals, a pattern illuminated by the poet’s intellectual and emotional investments in advances in philological scholarship and archeological exploration, in particular the contested discovery of Homer’s raptured Troy. Tennyson’s attraction to processes of personal and social change is bound to his significant but generally overlooked Whig ideological commitments, informed by the political and philosophical writings of his friend Arthur Henry Hallam (the subject of In Memoriam) and a half-century of interaction with William Gladstone. Pearsall shows the comprehensive engagement of seemingly apolitical monologues with the rise of democracy over the course of Tennyson’s long career. Proposing a new approach to reading all Victorian dramatic monologues, this book argues against a critical tradition that sees speakers as unintentionally self-revealing and ignorant of the implications of their speech, demonstrating instead the commanding cultural ambitions of dramatic speakers and the poet himself.Less
This book explores Tennyson’s representation of rapture, or being carried away, as a radical mechanism of transformation—theological, social, political, or personal—and as a figure for critical processes in his own poetics. The poet’s fascination with transformation is figured formally in the genre he is credited with inventing, the dramatic monologue. Situating Tennyson within communities of Victorian classicists, explorers, politicians, theologians, and sexologists, this book offers substantial original readings of a range of Tennyson’s major poems. Tennyson’s Rapture investigates the poet’s previously unrecognized intimacy with the theological movements in early Victorian Britain that are the acknowledged roots of contemporary Pentacostalism (with its belief in the oncoming rapture), and its formative relation to his poetic innovation. Tennyson’ work recurs persistently as well to classical instances of rapture, of mortals being borne away by immortals, a pattern illuminated by the poet’s intellectual and emotional investments in advances in philological scholarship and archeological exploration, in particular the contested discovery of Homer’s raptured Troy. Tennyson’s attraction to processes of personal and social change is bound to his significant but generally overlooked Whig ideological commitments, informed by the political and philosophical writings of his friend Arthur Henry Hallam (the subject of In Memoriam) and a half-century of interaction with William Gladstone. Pearsall shows the comprehensive engagement of seemingly apolitical monologues with the rise of democracy over the course of Tennyson’s long career. Proposing a new approach to reading all Victorian dramatic monologues, this book argues against a critical tradition that sees speakers as unintentionally self-revealing and ignorant of the implications of their speech, demonstrating instead the commanding cultural ambitions of dramatic speakers and the poet himself.
David Kurnick
- Published in print:
- 2011
- Published Online:
- October 2017
- ISBN:
- 9780691151519
- eISBN:
- 9781400840090
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691151519.003.0002
- Subject:
- Literature, Criticism/Theory
This chapter examines the tonal shifts of the narrative voice in Vanity Fair as encoding a yearning for public scenes of performance. Moving between public speechifying and chastened intimate ...
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This chapter examines the tonal shifts of the narrative voice in Vanity Fair as encoding a yearning for public scenes of performance. Moving between public speechifying and chastened intimate address, the Thackerayan narrator offers readers an acoustic map of different imaginary scenes of reception. The pitch of Thackeray's voice—both its tone and its reach, its sound and the spaces it organizes—indexes various fantasmatic scenes of readerly witness, conveying in the process a vivid sense of the erosion of public space in the face of the exaltation of the domestic sphere. The sociohistorical imagination evident in Vanity Fair was given a new intensity of focus in his unperformed play The Wolves and the Lamb (1854) and the novel into which he later adapted it, the formally innovative Lovel the Widower (1860). In retreating from the stage, Thackeray both amplified his critique of mid-Victorian domesticity and pioneered the practice of interior monologue.Less
This chapter examines the tonal shifts of the narrative voice in Vanity Fair as encoding a yearning for public scenes of performance. Moving between public speechifying and chastened intimate address, the Thackerayan narrator offers readers an acoustic map of different imaginary scenes of reception. The pitch of Thackeray's voice—both its tone and its reach, its sound and the spaces it organizes—indexes various fantasmatic scenes of readerly witness, conveying in the process a vivid sense of the erosion of public space in the face of the exaltation of the domestic sphere. The sociohistorical imagination evident in Vanity Fair was given a new intensity of focus in his unperformed play The Wolves and the Lamb (1854) and the novel into which he later adapted it, the formally innovative Lovel the Widower (1860). In retreating from the stage, Thackeray both amplified his critique of mid-Victorian domesticity and pioneered the practice of interior monologue.
Sophie Ratcliffe
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780199239870
- eISBN:
- 9780191716799
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199239870.003.0001
- Subject:
- Literature, Poetry
This chapter introduces the idea of how we might sympathise with figures in fictional and artistic representations. It questions why writers and artists return to The Tempest to consider such ...
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This chapter introduces the idea of how we might sympathise with figures in fictional and artistic representations. It questions why writers and artists return to The Tempest to consider such problems. The chapter concludes by discussing the difficulties of reading dramatic monologues.Less
This chapter introduces the idea of how we might sympathise with figures in fictional and artistic representations. It questions why writers and artists return to The Tempest to consider such problems. The chapter concludes by discussing the difficulties of reading dramatic monologues.
Sophie Ratcliffe
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780199239870
- eISBN:
- 9780191716799
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199239870.003.0003
- Subject:
- Literature, Poetry
This chapter examines Browning's dramatic monologues in the light of his ideas about sympathy and theology, and his debt to Schleirmacher. Browning's poetry has been conventionally read as ...
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This chapter examines Browning's dramatic monologues in the light of his ideas about sympathy and theology, and his debt to Schleirmacher. Browning's poetry has been conventionally read as encouraging readers to sympathise with his fictional protagonists. Chapter 2 demonstrates that he complicates the fact of sympathizing, and presents writers, readers and protagonists as mimics and parodists, rather than true sympathizers. The chapter concludes with a close reading of ‘Caliban Upon Setebos’, demonstrating the relationship between these acts of failed sympathy, or mimicry, and Browning's belief in the incarnation.Less
This chapter examines Browning's dramatic monologues in the light of his ideas about sympathy and theology, and his debt to Schleirmacher. Browning's poetry has been conventionally read as encouraging readers to sympathise with his fictional protagonists. Chapter 2 demonstrates that he complicates the fact of sympathizing, and presents writers, readers and protagonists as mimics and parodists, rather than true sympathizers. The chapter concludes with a close reading of ‘Caliban Upon Setebos’, demonstrating the relationship between these acts of failed sympathy, or mimicry, and Browning's belief in the incarnation.
Cornelia Pearsall
- Published in print:
- 2008
- Published Online:
- January 2008
- ISBN:
- 9780195150544
- eISBN:
- 9780199871124
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195150544.003.0001
- Subject:
- Literature, 19th-century and Victorian Literature
This introduction argues that Alfred Tennyson’s conception of “rapt oration” is critical to the understanding of a quartet of his major dramatic monologues, “St. Simeon Stylites,” “Ulysses,” ...
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This introduction argues that Alfred Tennyson’s conception of “rapt oration” is critical to the understanding of a quartet of his major dramatic monologues, “St. Simeon Stylites,” “Ulysses,” “Tithonus,” and “Tiresias,” all drafted after the death in 1833 of his friend, Arthur Henry Hallam, though published over the course of the ensuing half-century. An examination of a variety of Tennyson’s works, in particular In Memoriam, establishes “rapt oration” as a state in which both speaker and listener are “transported” by the speaker’s oratorical prowess. A desire for rapture, characterized by both personal and political transformation, motivates the speech and actions of each of Tennyson’s speakers in these dramatic monologues. This introduction additionally argues that these dramatic monologues should be considered in the context of nineteenth-century rapture theology, reform politics, classical scholarship (in particular theories on Homer), and sexological theory, as well as in the context of Tennyson’s relationships with a range of contemporaries, including Thomas Carlyle, William Gladstone, John Stuart Mill, and Heinrich Schliemann.Less
This introduction argues that Alfred Tennyson’s conception of “rapt oration” is critical to the understanding of a quartet of his major dramatic monologues, “St. Simeon Stylites,” “Ulysses,” “Tithonus,” and “Tiresias,” all drafted after the death in 1833 of his friend, Arthur Henry Hallam, though published over the course of the ensuing half-century. An examination of a variety of Tennyson’s works, in particular In Memoriam, establishes “rapt oration” as a state in which both speaker and listener are “transported” by the speaker’s oratorical prowess. A desire for rapture, characterized by both personal and political transformation, motivates the speech and actions of each of Tennyson’s speakers in these dramatic monologues. This introduction additionally argues that these dramatic monologues should be considered in the context of nineteenth-century rapture theology, reform politics, classical scholarship (in particular theories on Homer), and sexological theory, as well as in the context of Tennyson’s relationships with a range of contemporaries, including Thomas Carlyle, William Gladstone, John Stuart Mill, and Heinrich Schliemann.
Cornelia Pearsall
- Published in print:
- 2008
- Published Online:
- January 2008
- ISBN:
- 9780195150544
- eISBN:
- 9780199871124
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195150544.003.0002
- Subject:
- Literature, 19th-century and Victorian Literature
Pearsall argues against the prevailing critical conception of dramatic monologists as inadvertent in their revelations and ignorant of the consequences of their speech, suggesting instead that ...
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Pearsall argues against the prevailing critical conception of dramatic monologists as inadvertent in their revelations and ignorant of the consequences of their speech, suggesting instead that dramatic monologists are highly purposeful in their speech, employing sophisticated rhetorical strategies in order to effect political and personal transformation, or “rapture.” The author divides Chapter One into two major sections. The first section, “Poetics: Persuasive Similitude,” offers a new approach to reading all Victorian dramatic monologues, identifying the trope of simile as a defining element of the genre, and arguing that monologists seek to perform a range of acts by way of their speech. The second section, “Politics: Whig Poetics,” details the relevance of Britain’s Whig Party and the furor surrounding the passage of the 1832 Reform Bill to Tennyson’s poetic development. Pearsall illuminates the ways in which Tennyson’s Whig political views were influenced by Arthur Henry Hallam, and helped shape his poetry both thematically and formally.Less
Pearsall argues against the prevailing critical conception of dramatic monologists as inadvertent in their revelations and ignorant of the consequences of their speech, suggesting instead that dramatic monologists are highly purposeful in their speech, employing sophisticated rhetorical strategies in order to effect political and personal transformation, or “rapture.” The author divides Chapter One into two major sections. The first section, “Poetics: Persuasive Similitude,” offers a new approach to reading all Victorian dramatic monologues, identifying the trope of simile as a defining element of the genre, and arguing that monologists seek to perform a range of acts by way of their speech. The second section, “Politics: Whig Poetics,” details the relevance of Britain’s Whig Party and the furor surrounding the passage of the 1832 Reform Bill to Tennyson’s poetic development. Pearsall illuminates the ways in which Tennyson’s Whig political views were influenced by Arthur Henry Hallam, and helped shape his poetry both thematically and formally.
Cornelia Pearsall
- Published in print:
- 2008
- Published Online:
- January 2008
- ISBN:
- 9780195150544
- eISBN:
- 9780199871124
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195150544.003.0003
- Subject:
- Literature, 19th-century and Victorian Literature
Chapter Two examines Tennyson’s dramatic monologue “St. Simeon Stylites” from several angles. The first section, “Victorian End Times,” places St. Simeon’s desire for rapture in the context of ...
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Chapter Two examines Tennyson’s dramatic monologue “St. Simeon Stylites” from several angles. The first section, “Victorian End Times,” places St. Simeon’s desire for rapture in the context of Victorian evangelicalism and millenarianism. Pearsall demonstrates the ways in which the theological arguments concerning rapture propounded by the evangelist Edward Irving (a controversial figure who deeply interested Tennyson’s fellow Cambridge Apostles, including Arthur Henry Hallam and Richard Chenevix Trench) influenced Tennyson’s portrayal of St. Simeon. The second section, “The Rapture of St. Simeon’s Stylites,” engages in a detailed reading of Tennyson’s monologue, examining the ingenious discursive strategies employed by St. Simeon as he labors to perform his own rapture. The chapter’s final section, “Simeon’s Afterlife: The Message of the Butterfly,” parallels Tennyson’s St. Simeon with contemporary environmental activist Julia Butterfly Hill, probing the similarities in their strategies for attaining communal as well as personal transformation.Less
Chapter Two examines Tennyson’s dramatic monologue “St. Simeon Stylites” from several angles. The first section, “Victorian End Times,” places St. Simeon’s desire for rapture in the context of Victorian evangelicalism and millenarianism. Pearsall demonstrates the ways in which the theological arguments concerning rapture propounded by the evangelist Edward Irving (a controversial figure who deeply interested Tennyson’s fellow Cambridge Apostles, including Arthur Henry Hallam and Richard Chenevix Trench) influenced Tennyson’s portrayal of St. Simeon. The second section, “The Rapture of St. Simeon’s Stylites,” engages in a detailed reading of Tennyson’s monologue, examining the ingenious discursive strategies employed by St. Simeon as he labors to perform his own rapture. The chapter’s final section, “Simeon’s Afterlife: The Message of the Butterfly,” parallels Tennyson’s St. Simeon with contemporary environmental activist Julia Butterfly Hill, probing the similarities in their strategies for attaining communal as well as personal transformation.
Cornelia Pearsall
- Published in print:
- 2008
- Published Online:
- January 2008
- ISBN:
- 9780195150544
- eISBN:
- 9780199871124
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195150544.003.0005
- Subject:
- Literature, 19th-century and Victorian Literature
Chapter Four engages in a detailed reading of Tennyson’s “Ulysses,” described as the prototypical Victorian dramatic monologue. The first section, “The Character of the Homeric Statesman,” ...
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Chapter Four engages in a detailed reading of Tennyson’s “Ulysses,” described as the prototypical Victorian dramatic monologue. The first section, “The Character of the Homeric Statesman,” establishes the monologue’s persistent stress on the importance of the knowledge of Tennyson’s Ulysses, examining the poem’s many sources, and a youthful epistolary debate between William Gladstone and Arthur Henry Hallam on Ulysses’ responsibility for the ruin of Troy. The second section, “Ulysses and the Rapture of Troy,” explores the political implications of the character of Ulysses, suggesting that his powerful resonance with his immediate audience within the monologue, as well as with the wider British public, is due to the illusion of a democratic ideal of equality conjured by his monologue. Ulysses’ desire is to effect a “rapture” of his audience, just as he formerly effected the “rapture” of Troy, illuminating the destruction of the fabled city as the monologue’s subtext.Less
Chapter Four engages in a detailed reading of Tennyson’s “Ulysses,” described as the prototypical Victorian dramatic monologue. The first section, “The Character of the Homeric Statesman,” establishes the monologue’s persistent stress on the importance of the knowledge of Tennyson’s Ulysses, examining the poem’s many sources, and a youthful epistolary debate between William Gladstone and Arthur Henry Hallam on Ulysses’ responsibility for the ruin of Troy. The second section, “Ulysses and the Rapture of Troy,” explores the political implications of the character of Ulysses, suggesting that his powerful resonance with his immediate audience within the monologue, as well as with the wider British public, is due to the illusion of a democratic ideal of equality conjured by his monologue. Ulysses’ desire is to effect a “rapture” of his audience, just as he formerly effected the “rapture” of Troy, illuminating the destruction of the fabled city as the monologue’s subtext.
Cornelia Pearsall
- Published in print:
- 2008
- Published Online:
- January 2008
- ISBN:
- 9780195150544
- eISBN:
- 9780199871124
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195150544.003.0006
- Subject:
- Literature, 19th-century and Victorian Literature
This chapter examines “Tithonus” in the context of Tennyson’s “Oenone,” and of his early poems representing Tithonus’s son, Memnon. In studying the phenomenon of masculine beauty in a cluster of ...
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This chapter examines “Tithonus” in the context of Tennyson’s “Oenone,” and of his early poems representing Tithonus’s son, Memnon. In studying the phenomenon of masculine beauty in a cluster of related poems of Tennyson’s, Chapter Five also explores the problem of beauty in Tennyson’s poetics. Section one, “Trojan Aesthetics,” examines some of Tithonus’s familial, social, and literary contexts and their implications for Tennyson’s own poetic practice. Drawing on Arthur Henry Hallam’s conception of “sympathy,” as well as a range of Victorian aesthetic, poetic, and psycho-sexual theories (including Havelock Ellis’s theory of “eonism”), this chapter’s second section, “The Rapture of Tiresias,” explores the nature of identification and similitude in Tennyson’s dramatic monologue. Pearsall responds to the critical tradition of dismissing Tennyson’s poetry as “effeminate” and “ornamental,” suggesting that, through Tithonus’s efficacious speech, Tennyson demonstrates the utility of beauty.Less
This chapter examines “Tithonus” in the context of Tennyson’s “Oenone,” and of his early poems representing Tithonus’s son, Memnon. In studying the phenomenon of masculine beauty in a cluster of related poems of Tennyson’s, Chapter Five also explores the problem of beauty in Tennyson’s poetics. Section one, “Trojan Aesthetics,” examines some of Tithonus’s familial, social, and literary contexts and their implications for Tennyson’s own poetic practice. Drawing on Arthur Henry Hallam’s conception of “sympathy,” as well as a range of Victorian aesthetic, poetic, and psycho-sexual theories (including Havelock Ellis’s theory of “eonism”), this chapter’s second section, “The Rapture of Tiresias,” explores the nature of identification and similitude in Tennyson’s dramatic monologue. Pearsall responds to the critical tradition of dismissing Tennyson’s poetry as “effeminate” and “ornamental,” suggesting that, through Tithonus’s efficacious speech, Tennyson demonstrates the utility of beauty.
Cornelia Pearsall
- Published in print:
- 2008
- Published Online:
- January 2008
- ISBN:
- 9780195150544
- eISBN:
- 9780199871124
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195150544.003.0007
- Subject:
- Literature, 19th-century and Victorian Literature
This chapter examines the civic ambitions of the speakers of Tennyson’s dramatic monologues “Tithonus” and “Tiresias,” in particular, their relationship to Victorian aristocratic ideology. Pearsall ...
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This chapter examines the civic ambitions of the speakers of Tennyson’s dramatic monologues “Tithonus” and “Tiresias,” in particular, their relationship to Victorian aristocratic ideology. Pearsall details the ways in which Tennyson’s contemporaries decried him as a poet of the elite and illustrates the importance of Tennyson’s Whig political beliefs (influenced by Edmund Burke) for these dramatic monologues. The first section, “Tithonus and the Trojan Aristocracy,” explores Tithonus’s status as a representative of Troy’s ruling family, and the political, as well as poetic, significance of his ultimate transformation. The second section, “The Rapture of Tiresias,” examines Tiresias’s complex identification with the song-built city of Thebes. Pearsall argues that this speaker’s eventual rejection of the dramatic monologue in favor of the “heroic hymn” represents a refutation by Tennyson of William Gladstone’s populist theories of oratory. “Tiresias” is further examined in the context of the representation of rapture in Tennyson’s early poem “Semele.”Less
This chapter examines the civic ambitions of the speakers of Tennyson’s dramatic monologues “Tithonus” and “Tiresias,” in particular, their relationship to Victorian aristocratic ideology. Pearsall details the ways in which Tennyson’s contemporaries decried him as a poet of the elite and illustrates the importance of Tennyson’s Whig political beliefs (influenced by Edmund Burke) for these dramatic monologues. The first section, “Tithonus and the Trojan Aristocracy,” explores Tithonus’s status as a representative of Troy’s ruling family, and the political, as well as poetic, significance of his ultimate transformation. The second section, “The Rapture of Tiresias,” examines Tiresias’s complex identification with the song-built city of Thebes. Pearsall argues that this speaker’s eventual rejection of the dramatic monologue in favor of the “heroic hymn” represents a refutation by Tennyson of William Gladstone’s populist theories of oratory. “Tiresias” is further examined in the context of the representation of rapture in Tennyson’s early poem “Semele.”
Kenny R. Coventry, Thora Tenbrink, and John Bateman (eds)
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780199554201
- eISBN:
- 9780191721236
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199554201.001.0001
- Subject:
- Linguistics, Semantics and Pragmatics, Theoretical Linguistics
This book considers how people talk about the location of objects and places. Spatial language has occupied many researchers across diverse fields, such as linguistics, psychology, GIScience, ...
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This book considers how people talk about the location of objects and places. Spatial language has occupied many researchers across diverse fields, such as linguistics, psychology, GIScience, architecture, and neuroscience. However, the vast majority of work in this area has examined spatial language in monologue situations, and often in highly artificial and restricted settings. Yet there is a growing recognition in the language research community that dialogue rather than monologue should be a starting point for language understanding. Hence, the current zeitgeist in both language research and robotics/AI demands an integrated examination of spatial language in dialogue settings. This book provides such integration and reports on the latest developments in this important field.Less
This book considers how people talk about the location of objects and places. Spatial language has occupied many researchers across diverse fields, such as linguistics, psychology, GIScience, architecture, and neuroscience. However, the vast majority of work in this area has examined spatial language in monologue situations, and often in highly artificial and restricted settings. Yet there is a growing recognition in the language research community that dialogue rather than monologue should be a starting point for language understanding. Hence, the current zeitgeist in both language research and robotics/AI demands an integrated examination of spatial language in dialogue settings. This book provides such integration and reports on the latest developments in this important field.
Michael Hawcroft
- Published in print:
- 1992
- Published Online:
- October 2011
- ISBN:
- 9780198151852
- eISBN:
- 9780191672866
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198151852.003.0006
- Subject:
- Literature, Drama, European Literature
If it is the persuasive interaction of characters that constitutes the theatricality of Jean Racine's discourse, what becomes of verbal action if characters speak when they are alone, or accompanied ...
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If it is the persuasive interaction of characters that constitutes the theatricality of Jean Racine's discourse, what becomes of verbal action if characters speak when they are alone, or accompanied by silent and anonymous followers? When d'Aubignac says that in 17th-century French tragedy to speak is to act, he gives the example of Emilie's monologue at the beginning of Cinna. If persuasion is central to an understanding of verbal action involving two or more characters, can it not be useful in appreciating monologues? Does the definition of verbal action have to change to incorporate any features that might be peculiar to monologues? This chapter explores answers to these questions. It also compares lyricism with persuasion and discusses deliberative oratory and judicial oratory in Racine's monologues.Less
If it is the persuasive interaction of characters that constitutes the theatricality of Jean Racine's discourse, what becomes of verbal action if characters speak when they are alone, or accompanied by silent and anonymous followers? When d'Aubignac says that in 17th-century French tragedy to speak is to act, he gives the example of Emilie's monologue at the beginning of Cinna. If persuasion is central to an understanding of verbal action involving two or more characters, can it not be useful in appreciating monologues? Does the definition of verbal action have to change to incorporate any features that might be peculiar to monologues? This chapter explores answers to these questions. It also compares lyricism with persuasion and discusses deliberative oratory and judicial oratory in Racine's monologues.
Michael Hawcroft
- Published in print:
- 1992
- Published Online:
- October 2011
- ISBN:
- 9780198151852
- eISBN:
- 9780191672866
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198151852.003.0008
- Subject:
- Literature, Drama, European Literature
The importance to Jean Racine's dramatic technique of showing characters engaged in acts of persuasion has long been recognized by modern critics. Speeches are interesting in the theatre if ...
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The importance to Jean Racine's dramatic technique of showing characters engaged in acts of persuasion has long been recognized by modern critics. Speeches are interesting in the theatre if characters are arguing with each other for and against different courses of action. The notion of persuasion can readily be applied to scenes of confrontation between protagonists whether they adopt the role of formal orators or not. But the same notion is useful in demonstrating the theatricality of discourse in scenes involving confidants, in monologues, and in narrations. The method deployed in this book raises two major problems: the first relates to the assessment of the impact of scenes of persuasion on a theatre audience; the second, to the amount of text in any given play which lends itself to analysis in terms of verbal action, inventio, and dispositio. Spectators can be gripped by scenes of persuasion; they can also be moved by them to feel pity and fear. Rhetorical analysis illuminates the tragic effect; it also permits a truly theatrical exploration of Racinian discourse.Less
The importance to Jean Racine's dramatic technique of showing characters engaged in acts of persuasion has long been recognized by modern critics. Speeches are interesting in the theatre if characters are arguing with each other for and against different courses of action. The notion of persuasion can readily be applied to scenes of confrontation between protagonists whether they adopt the role of formal orators or not. But the same notion is useful in demonstrating the theatricality of discourse in scenes involving confidants, in monologues, and in narrations. The method deployed in this book raises two major problems: the first relates to the assessment of the impact of scenes of persuasion on a theatre audience; the second, to the amount of text in any given play which lends itself to analysis in terms of verbal action, inventio, and dispositio. Spectators can be gripped by scenes of persuasion; they can also be moved by them to feel pity and fear. Rhetorical analysis illuminates the tragic effect; it also permits a truly theatrical exploration of Racinian discourse.
A. C. Spearing
- Published in print:
- 2005
- Published Online:
- September 2007
- ISBN:
- 9780198187240
- eISBN:
- 9780191719035
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198187240.003.0006
- Subject:
- Literature, Early and Medieval Literature
This chapter turns from narrative to lyric, traditionally seen as expressing its writer’s own feelings. The ‘sincerity-topos’ is studied in the troubadour Bernart de Ventadorn and as embodied in ...
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This chapter turns from narrative to lyric, traditionally seen as expressing its writer’s own feelings. The ‘sincerity-topos’ is studied in the troubadour Bernart de Ventadorn and as embodied in late-medieval English love lyrics. Analyses of lovers’ complaints reveal their increasing awareness of their textual nature; some function as dramatic monologues, but others undermine the illusion of a speaker’s voice and presence. The chapter concludes with a detailed analysis of Chaucer’s Complaint Unto Pity, demonstrating that the effect of its organization about a sovereign centre, its allegorical wit, and its incorporation of a textual petition can be valued only if it is read as writing, incorporating two incompatible discourses, not as the speech of a single narratorial persona.Less
This chapter turns from narrative to lyric, traditionally seen as expressing its writer’s own feelings. The ‘sincerity-topos’ is studied in the troubadour Bernart de Ventadorn and as embodied in late-medieval English love lyrics. Analyses of lovers’ complaints reveal their increasing awareness of their textual nature; some function as dramatic monologues, but others undermine the illusion of a speaker’s voice and presence. The chapter concludes with a detailed analysis of Chaucer’s Complaint Unto Pity, demonstrating that the effect of its organization about a sovereign centre, its allegorical wit, and its incorporation of a textual petition can be valued only if it is read as writing, incorporating two incompatible discourses, not as the speech of a single narratorial persona.
Philip Kitcher
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780195321029
- eISBN:
- 9780199851317
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195321029.003.0011
- Subject:
- Literature, 20th-century Literature and Modernism
Central in the Wake among the many Joycean virtues are those of kindness, understanding, tolerance, acceptance, and forgiveness. Embodied in, and voiced by, ALP—most evidently in her closing ...
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Central in the Wake among the many Joycean virtues are those of kindness, understanding, tolerance, acceptance, and forgiveness. Embodied in, and voiced by, ALP—most evidently in her closing monologue, but also at the very end of I-4—all are conceived in a distinctive way. Part of Joyce's conception of them involves a sense of struggle, of prior honesty in facing the realities of situations, of determination to explore those realities no matter how sordid or repulsive they may seem to be. Although Joyce's vision is one of the great versions of humanism, it would be hard to overlook the religious backdrop to his sense of human virtue. The principal task of this reading of the Wake is to understand that movement—to return to ALP's closing monologue, to its earlier anticipations and variations, with fuller appreciation. However, the second and third parts of the Wake should be examined first.Less
Central in the Wake among the many Joycean virtues are those of kindness, understanding, tolerance, acceptance, and forgiveness. Embodied in, and voiced by, ALP—most evidently in her closing monologue, but also at the very end of I-4—all are conceived in a distinctive way. Part of Joyce's conception of them involves a sense of struggle, of prior honesty in facing the realities of situations, of determination to explore those realities no matter how sordid or repulsive they may seem to be. Although Joyce's vision is one of the great versions of humanism, it would be hard to overlook the religious backdrop to his sense of human virtue. The principal task of this reading of the Wake is to understand that movement—to return to ALP's closing monologue, to its earlier anticipations and variations, with fuller appreciation. However, the second and third parts of the Wake should be examined first.
Matthew Bevis
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780199253999
- eISBN:
- 9780191719790
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199253999.003.0004
- Subject:
- Literature, 19th-century Literature and Romanticism
This chapter aims to offer new insight into perhaps the most significant poetic development of the age — the dramatic monologue — by looking at how the printed voices of Tennyson's early poems were ...
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This chapter aims to offer new insight into perhaps the most significant poetic development of the age — the dramatic monologue — by looking at how the printed voices of Tennyson's early poems were shaped by orators at the Cambridge Union and beyond. It then charts the ways in which the Laureateship asked the poet to speak for as well as to his public, exploring how Tennyson's reading of imperialist oratory (and his long-standing relationship with the most famous orator of the age, William Gladstone) influenced the rhetorical structures of Maud (1855) and Idylls of the King (1859-85).Less
This chapter aims to offer new insight into perhaps the most significant poetic development of the age — the dramatic monologue — by looking at how the printed voices of Tennyson's early poems were shaped by orators at the Cambridge Union and beyond. It then charts the ways in which the Laureateship asked the poet to speak for as well as to his public, exploring how Tennyson's reading of imperialist oratory (and his long-standing relationship with the most famous orator of the age, William Gladstone) influenced the rhetorical structures of Maud (1855) and Idylls of the King (1859-85).
Christopher Grobe
- Published in print:
- 2017
- Published Online:
- September 2018
- ISBN:
- 9781479829170
- eISBN:
- 9781479839599
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479829170.003.0006
- Subject:
- Film, Television and Radio, Television
This essay centers around two queer British men who came to New York to perform the story of their lives in a confessional mode: Quentin Crisp in 1979 with his show An Evening with Quentin Crisp, and ...
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This essay centers around two queer British men who came to New York to perform the story of their lives in a confessional mode: Quentin Crisp in 1979 with his show An Evening with Quentin Crisp, and Bette Bourne in 2010 with his performance A Life in Three Acts. Both shows posed as evenings of plain, immediate chat, but both, in fact, were complex, remediated things. This essay argues that such complex media schemes are, in fact, a crucial characteristic of confessional monologue, which has pervaded American theater since the 1980s.Less
This essay centers around two queer British men who came to New York to perform the story of their lives in a confessional mode: Quentin Crisp in 1979 with his show An Evening with Quentin Crisp, and Bette Bourne in 2010 with his performance A Life in Three Acts. Both shows posed as evenings of plain, immediate chat, but both, in fact, were complex, remediated things. This essay argues that such complex media schemes are, in fact, a crucial characteristic of confessional monologue, which has pervaded American theater since the 1980s.
Jennifer Radden and John Z. Sadler
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780195389371
- eISBN:
- 9780199866328
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195389371.003.0008
- Subject:
- Philosophy, Moral Philosophy, General
The themes of the previous chapters are brought together in Chapter 7 through the introduction of a series of cases. In contrast to standard depictions of third-person case vignettes, distorted and ...
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The themes of the previous chapters are brought together in Chapter 7 through the introduction of a series of cases. In contrast to standard depictions of third-person case vignettes, distorted and over-simplified by the heuristic purposes they serve, a new method of case presentation is employed here that attempts to capture the inner world of the practitioner as well as the dynamic ebb and flow of the interchange between patient(s) and practitioner during particular “moments” in the therapeutic session. This demonstrates previous emphasis on the moral psychology and character of the practitioner.Less
The themes of the previous chapters are brought together in Chapter 7 through the introduction of a series of cases. In contrast to standard depictions of third-person case vignettes, distorted and over-simplified by the heuristic purposes they serve, a new method of case presentation is employed here that attempts to capture the inner world of the practitioner as well as the dynamic ebb and flow of the interchange between patient(s) and practitioner during particular “moments” in the therapeutic session. This demonstrates previous emphasis on the moral psychology and character of the practitioner.
Luke Gibbons
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780226236179
- eISBN:
- 9780226236209
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226236209.003.0002
- Subject:
- Literature, European Literature
Modernism has frequently been characterized as a retreat into subjectivity, and Joyce's use of the “stream of consciousness” technique has been taken as representative of this. Drawing on Vygotsky's ...
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Modernism has frequently been characterized as a retreat into subjectivity, and Joyce's use of the “stream of consciousness” technique has been taken as representative of this. Drawing on Vygotsky's concept of inner speech, however, this chapter will argue that Joyce's narrative devices might better be understood as probing the limits of subjectivity. Interiority in Joyce never loses contact with the external world, thus calling into question distinctions between public and private, mind and body, inner and outer worlds. This re-imagining of interiority featured in a number of key recent Dublin public artworks by Frances Hegarty and Andrew Stones, and Amanda Coogan. On these terms, Molly Bloom's interior monologue is closer to interior dialogue, a colloquy of voices that is no less public for being conducted in the privacy of her bedroom.Less
Modernism has frequently been characterized as a retreat into subjectivity, and Joyce's use of the “stream of consciousness” technique has been taken as representative of this. Drawing on Vygotsky's concept of inner speech, however, this chapter will argue that Joyce's narrative devices might better be understood as probing the limits of subjectivity. Interiority in Joyce never loses contact with the external world, thus calling into question distinctions between public and private, mind and body, inner and outer worlds. This re-imagining of interiority featured in a number of key recent Dublin public artworks by Frances Hegarty and Andrew Stones, and Amanda Coogan. On these terms, Molly Bloom's interior monologue is closer to interior dialogue, a colloquy of voices that is no less public for being conducted in the privacy of her bedroom.
