BiblioVault - Books about Monologue

Manyfaced Glass

Tennyson'S Dramatic Monologues

Linda K. Hughes

Ohio University Press, 1987

The hazy settings and amorphous auditors of Tennyson’s dramatic monologues are often contrasted—at Tennyson’s expense—with Browning’s more vivid, concrete realizations. Hughes argues that Tennyson’s achievements in the genre are, in fact, considerable, that his influence can be traced in such major figures as T. S. Eliot, and that the monologue occupies a far more central position in Tennyson’s poetic achievement than has hitherto been acknowledged.

Hughes’ study challenges the traditional view of Tennyson’s inferior achievement, and her account of the elements and operation of the dramatic monologue, especially as demonstrated by three of its most important practitioners, will be of interest to all those concerned with the monologue as a poetic mode.

[more]

Narratives from the Crib

Katherine Nelson

Harvard University Press, 1989

THIS EDITION HAS BEEN REPLACED BY A NEWER EDITION.

[more]

Narratives from the Crib

With a New Foreword by Emily Oster, the Child in the Crib

Katherine Nelson

Harvard University Press, 2006

This classic psychological case study focuses on one talkative child’s emerging ability to use language, her capacity for understanding, for imagining, and for making inferences and solving problems. In wide-ranging essays, scholars offer multifaceted linguistic and psychological analyses of two-year-old Emily’s bedtime conversations with her parents and pre-sleep monologues, taped over a fifteen-month period. In a foreword written for this new edition, Emily, now an adult, reflects on the experience of having been a research subject without knowing it.

[more]

The Power of Genre

Adena Rosmarin

University of Minnesota Press, 1986

The Power of Genre was first published in 1986. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.

The Power of Genre is a radical and systematic rethinking of the relationship between literary genre and critical explanation. Adene Rosmarin shows how traditional theories of genre—whether called "historical," "intrinsic," or "theoretical"—are necessarily undone by their attempts to define genre representationally. Rather, Rosmarin argues, the opening premise of critical argument is always critical purpose or, as E. H. Gombrich has said, function, and the genre or "form" follows the reform. The goal is a relational model that works.

Rosemarin analyzes existing theories of genre — those of Hirsch, Crane, Frye, Todorov, Jauss, and Rader are given particular attention—before proposing her own. These analyses uncover the illogic that plagues even sophisticated attempts to treat genre as a preexistent entity. Rosmarin shows how defining genre pragmatically – as explicitly chosen or devised to serve explicitly critical purposes – solves this problem: a pragmatic theory of genre builds analysis of its metaphors and motives into its program, thereby eliminating theory's traditional need to deny the invented and rhetorical nature of its schemes. A pragmatic theory, however, must be tested not only by its internal cohesion but also by its power to enable practice, and Rosmarin chooses the dramatic monologue, an infamously problematic genre, and its recent relative, the mask lyric, as testing grounds. Both genres—variously exemplified by poems of Browning, Thennyson, Eliot, and Pound—are ex post facto critical constructs that, when defined as such, make closely reasoned sense not only of particular poems but also of their perplexed interpretive histories. Moreover, both genres dwell on the historicity, textuality, and redemptive imperfection of the speaking self. This generic obsession ties the poems to their reception and, finally, to the openended, processes of hermeneutic question-and-answer stressed in Rosmarin's framing theory.

[more]