Contents 1. Introduction ......................................................................................................... 1 2. The Dramatic Monologue - An Outline .......................................................... 11 2.1 Why Genre? ........................................................................................................ 11 2.2 Generic Hybridity as Defining Characteristic ..................................................... 13 2.3 Generic Form and Effect ..................................................................................... 18 2.3.1 Speaker and Poet .................................................................................... 18 2.3.2 Character ................................................................................................ 22 2.3.3 Audience: Listener and Reader ............................................................... 24 2.3.4 Occasion and Setting .............................................................................. 27 2.4 Origins - Inclusive and Exclusive Views ............................................................ 28 2.5 Summary: Constitutive Characteristics ............................................................... 32 3. Browning Revisited: Neo-Victorian Dramatic Monologues ........................... 35 3.1 Neo-Victorianism ................................................................................................ 35 3.1.1 The Neo-Victorian Mode ....................................................................... 36 3.1.2 (Neo-Victorian) Intertextuality: Appropriation, Parody and Pastiche .... 41 3.1.3 Neo-Victorian Poetry? - Neo-Victorian Dramatic Monologues ............. 46 3.2 The Great Ventriloquist: Dramatic Monologues in A.S. Byatt's Possession: A Romance .................................................................. 49 3.3 Fairly Uneminent Victorians: Anthony Thwaite's Victorian Voices................ 74 3.4 Neo-Victorian Dramatic Monologues - Concluding Remarks ............................ 91 4. Girls, forget what you've read. / It happened like this -: Revisionist Mythmaking in the Dramatic Monologue .................................... 93 4.1 Revisionist Mythmaking and the Dramatic Monologue ...................................... 93 4.1.1 Myth, Mythopoeia and Revisionist Mythmaking ................................... 95 4.1.2 Revisionist Dramatic Monologues - A Historical Overview................ 101 4.2 Petrarch you louser: The Women behind Successful Male Writers ............... 115 4.3 Revisionist Mythmaking and the Contemporary Dramatic Monologue - Concluding Remarks ......................................................................................... 128 5. Never enough to keep me rooted: Negotiations of Postcolonial British Identity in the Contemporary Dramatic Monologue ....................... 135 5.1 British Identity, Appropriation and the Dramatic Monologue ........................... 135 5.2 Postcolonial British Identity in the Contemporary Dramatic Monologue ......... 140 5.2.1 Where do you come from? / [...] Originally?: Immigrant Identities ............................................................................. 140 5.2.2 My country. / I want it back.: Post-imperialist Loss of National Identity ............................................ 147 5.3 Postcolonial British Identity in the Contemporary Dramatic Monologue - Concluding Remarks ......................................................................................... 151 6. The 'Dramatic Monologist' Mode .................................................................. 155 6.1 Genre, Mode and the Dramatic Monologue ...................................................... 155 6.1.1 Genre and Mode ................................................................................... 155 6.1.2 Tracing the 'Dramatic Monologist' Mode in Narrative Texts ..... schovat popis