Standaard Boekhandel gebruikt cookies en gelijkaardige technologieën om de website goed te laten werken en je een betere surfervaring te bezorgen.
Hieronder kan je kiezen welke cookies je wilt inschakelen:
Technische en functionele cookies
Deze cookies zijn essentieel om de website goed te laten functioneren, en laten je toe om bijvoorbeeld in te loggen. Je kan deze cookies niet uitschakelen.
Analytische cookies
Deze cookies verzamelen anonieme informatie over het gebruik van onze website. Op die manier kunnen we de website beter afstemmen op de behoeften van de gebruikers.
Marketingcookies
Deze cookies delen je gedrag op onze website met externe partijen, zodat je op externe platformen relevantere advertenties van Standaard Boekhandel te zien krijgt.
Je kan maximaal 250 producten tegelijk aan je winkelmandje toevoegen. Verwijdere enkele producten uit je winkelmandje, of splits je bestelling op in meerdere bestellingen.
Almost two hundred years after Robert Browning composed his world-renowned poem "My Last Duchess" (1842), the dramatic monologue continues to fascinate readers and scholars alike. Its fictionalized speakers, whom the reader encounters in a dramatic situation and witnesses in their - usually futile - attempt to present their audience with a favourable image of themselves, have not lost their appeal since the genre's heyday in the Victorian age.
Focussing on poets from Britain and Ireland, this study offers a structured overview about the transformations the dramatic monologue has undergone since the 1960s. After establishing a working definition of the genre, which is characterized by hybridity and a general indeterminacy of its characteristics and boundaries, four different categories of contemporary dramatic monologues are discussed in detail. The analysed poems include neo-Victorian examples by Anthony Thwaite and A.S. Byatt, dramatic monologues employing the strategy of feminist revisionist mythmaking, and specimens which negotiate post-imperial British identities. In the fourth category, the study examines Mohsin Hamid's novel The Reluctant Fundamentalist (2007) in terms of the dramatic monologue's possible development from genre to mode.