The Bedford Glossary of Critical and Literary Terms

Murfin, Ross C.; Ray, Supryia M.

doi:10.1007/978-1-349-26407-0

Cited by 56 publications

(22 citation statements)

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“…Structuralists and post-structuralists, and deconstructionists in particular, believe that ideas are often expressed via binary oppositions (Murfin & Ray, 2003). Often binaries take form through the timeless dichotomies of presence/absence, good/evil or beginning/ends.…”

Section: Discussionmentioning

confidence: 99%

What is the greater good? The discourse on public and private roles of higher education in the new economy

Hensley

Galilee-Belfer

Lee

2013

Journal of Higher Education Policy and Management

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This study examined the ways that the 'public good' of higher education is being conceptualised as economic benefits and cost/benefit rationalities in the current economic downturn. Based on the case of Arizona in the United States, a discourse analysis of speeches was performed on the way public, state and institutional leaders described ways that the public higher education system must respond in the changing global economy with less state funds directed towards public institutions. The findings demonstrate the changing public nature of higher education from emphasising individual over societal benefits, thus also reflecting changing funding sources.

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Section: Discussionmentioning

confidence: 99%

What is the greater good? The discourse on public and private roles of higher education in the new economy

Hensley

Galilee-Belfer

Lee

2013

Journal of Higher Education Policy and Management

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“…is a hilarious spoof of airplane disaster films (Sturken 361). The movie This Is Spinal Tap parodies rock documentaries and heavy metal rock groups (Murfin 2003). Dressed to Kill is a parody of Hitchcock's Psycho, whereas Blowout is an aural parody of Antonioni's Blowup (Hutcheon 186).…”

Section: Parodymentioning

confidence: 99%

The Rhetoric of Intertextuality

D'Angelo

2009

Rhetoric Review

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“…The dramatic monologue is a lyric poem in which the speaker addresses a silent listener, revealing themselves in the context of a dramatic situation (Murfin & Supryia, 1998). Moreover, the character is speaking to an identifiable but silent listener at a dramatic moment in the speaker's life.…”

Section: Introductionmentioning

confidence: 99%

Robert Browning: A Dramatic Monologue Marvel

Nafchi

Mirzayee

Zadeh

2015

ILSHS

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ABSTRACT. One of the most effective literary devices within different didactic and aesthetic forms is the dramatic monologue. The dramatic monologue distinguishes the speaker's character from that of the poet's. The double meaning that lies at the heart of the dramatic monologue, conveys the speaker's version or variety of meaning and intentions. The Dramatic monologue has been practiced for a very long time, but it was Robert browning who invested it with a deeper level of meaning giving it frequency in an attempt to support preexisting aesthetic values in favor of a poem that valued form over content. Although such a dialogue is called dramatic, it is not a theatrical device, proper. The speaker of the poem delivers such comments on the slice of life at disposal that would leave us with a deep emotional experience. By listening to the words pouring out of the speaker's mind, the reader/listener obtains a psychoanalytic view of the speaker. The current article aims to study Robert browning, the prominent Victorian poet, by putting on the pedestal his essential role in investing the dramatic monologue in English literature with an essential poetic significance and role by reviewing a number of his major poems.

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The Bedford Glossary of Critical and Literary Terms

Cited by 56 publications

References 0 publications

What is the greater good? The discourse on public and private roles of higher education in the new economy

What is the greater good? The discourse on public and private roles of higher education in the new economy

The Rhetoric of Intertextuality

Robert Browning: A Dramatic Monologue Marvel

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