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1

TELIMENA'S INTERNAL MONOLOGUE

100%

Glowinski M.

Pamiętnik Literacki

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2005

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vol. 96

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issue 4

41-54

EN

The present sketch deals with the speaking possibilities of heroines in epic poems. In accordance with former social practices, heroines cannot make speeches at meetings and gatherings, at feasts, or during intervals on hunting expeditions. Their utterances are of an anti-rhetorical nature. Heroines may take part in dialogues and also makes use of internal speech. An excellent example of an internal monologue in a romantic narrative poem is Telimena's monologue in Book V of 'Master Thaddeus', consistently maintained in apparently reported speech. The monologue in question is distinct both from the narrative into which it is neatly mounted (it is accompanied by the accounts about behavior) and from the words the heroine herself utters in her dialogues. It does not inform the reader of any facts, rather it reveals her train of thought, weighs up the possibilities and - like the figure of Telimena in general - has comic overtones. In presenting her train of thought, the monologue is highly innovative. It anticipates phenomena that would appear in novels only in the final decade of the nineteenth century.

2

MONOLOGUE AND INNER DIALOGUE - TWO WAYS OF DIALOGICAL SELF USE

100%

Puchalska-Wasyl M.

Psychological Studies

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2005

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vol. 43

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issue 4

59-70

EN

The question of dialogicality is present in psychology since the beginning of twentieth century, however Hermans' conception of dialogical self has recently made it more popular. At the same time Josephs' research suggests that one can distinguish at least two basic form of imaginary contact with a figure that is objectively absent: a monologue addressed to the figure or dialogue with it. Taking that fact into account one can consider whether there are any personality differences between people having inner dialogues versus individuals having only monologues. The groups of respondents having respectively imaginary dialogues (n =63) and monologues (n=31) were asked to describe their own personality traits by the means of NEO PI-R by Costa and McCrae. It was found that people having monologues scored significantly higher in Assertiveness and lower in Self-Consciousness, Fantasy, Aesthetics, Feelings and Openness than people having inner dialogues. Main functions fulfilled by aforesaid types of the imaginary contact are also discussed. It was noted that dialogue more often than monologue is related to: Exploration, Self-guiding, Support and Insight.

3

MONOLOG, DIALOG A POZORNOST K JÁ

88%

Zuska V.

Filozofia (Philosophy)

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2009

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vol. 64

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issue 5

436-442

EN

The study analyses a narrative monologue, an inner monologue, and a monologue which includes a dialogue between the author (implied author, narrator) and the reader/spectator, from the point of view of the recipient's participation in the narrative. It employs Mukarovsky's analysis of what extent a monologue is present in every dialogue as well as latent and sometimes manifest dialogue features present in every monologue, along with the side-participation of hearer/spectator. The notion of side-participation is expanded on the triangular model of attention with continual presence of ego-consciousness. Thus every monologue has a side-participant who consequently holds a conversation with himself, especially in the case of an aesthetic attitude. Each member of a communicative situation embodies three roles: those of a speaker, a hearer and a side-participant.

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1 Glowinski M.

1 Puchalska-Wasyl M.

1 Zuska V.

TELIMENA'S INTERNAL MONOLOGUE

MONOLOGUE AND INNER DIALOGUE - TWO WAYS OF DIALOGICAL SELF USE

MONOLOG, DIALOG A POZORNOST K JÁ