The first part of this research is devoted to work of an anthological and descriptive sort, which aims at gathering a corpus of French independent monologues. "Independent monologue" should be understood as a self-sufficient stage performance based on the speaking of a single artist, in opposition to the monologues inserted in a dialogical play. From the Middle Ages to the 1950's, this historical review focuses in particular on the thirteenth century "jongleurs", the burlesque sermons at the junction of the end of the Middles Ages and the early Renaissance, the plays "in monologues" of the eighteenth century, the "monologues fumistes" at the end of the nineteenth century, the poets and cabaret singers of the Belle Époque, Cocteau's monological theatre and two of the first contemporary humorists, Bourvil and Fernand Raynaud. This corpus provides the material for a two-step analysis. First we examine whether the type-differences that certain monologues reveal can be accounted for by objective formal characteristics which then allow us to propose a partition of our corpus. As a result of this questioning, we propose that generic distinctions can be established among the monologues according to the enunciation conditions they develop, that is, whether the speech is directly addressed to the public or not, and whether the enunciator is a character or the artist himself. Next we organize the monological universe according to traits, transversal to the generic partition, with which the monologues present affinities. These traits pertain to scenic modalities, to functions held by the monologuist or to the form of discourse. The analytic tool previously developed is finally brought into play in confronting the work of Raymond Devos, a humorist emblematic of the French scene whose sketches stand out for the remarkable plays on word they display. N. B.: the bibliography aims at offering simplified access to the monologues, in particular by providing the references to internet documents, be they texts that are difficult to obtain or audio and video recordings. / Thesis (Ph.D, French) -- Queen's University, 2011-02-24 12:17:16.349

Thesis (M.M.)--University of North Texas, 1999. / Includes analysis by composer. Performance notes on p. [iii]-[iv]. Includes bibliographical references (p. 42).

Thesis (M.A.)--University of North Texas, 2008. / For narrator at the piano. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 30).

Thesis (M.A.)--Auburn University, 2008. / Abstract. Vita. Includes pictures of the Institut Catholique de Paris, a seminary which was formerly the monastery where Brother Lawrence lived and wrote. Includes bibliographical references.

Thesis (M.A.)--University of California, Santa Cruz, 1997. / "Text by Allen Ginsberg"--p. 1. For Bb clarinet, tenor saxophone, piano, amplified double bass or electric bass, percussion, spoken voice. Typescript.

Songs of the Wind is a five-movement composition for reader, chamber choir, and chamber orchestra. The work is approximately twenty-five minutes in duration. The title describes the programmatic nature of the piece, which depicts an animistic ritual invoking the wind as a deity. The texts are drawn from translations of American Indian poetry as well as original poems by the American Indian scholar Hartley Alexander.

Thesis (Ph. D.)--University of North Texas, 2003. / Narrators perform the roles of Moses and Apostle John. Duration: 24:00. Includes bibliographical references (p. lxxvi-lxxvii).

Thesis (Ph. D.)--University of California, San Diego, 2006. / Vita. Performance instructions precede score.

The Squirrel Cage is an intermedia composition set in three scenes and two interludes. The composition is based on the short story "The Squirrel Cage" by Thomas M. Disch. Robin Kay Willoughby created the libretto for the composition. The drama for The Squirrel Cage focuses on the actor who is being held captive in a white, padded cell. He does not know how long he has been in the cell or even why he is being held. His only source of stimulation is through the broadcast of National Public Radio that he hears in his cell. The only way he can attempt to communicate with the outside world is through the microphone in his cell, though he never knows if anyone hears his pleas for help. The music is constant expression of his environment and friendly responds directly to the performer's gestures. This volume contains the dissertation text.

By presenting the auditor as a unifying principle that links Browning's earliest works to his dramatic monologues, this dissertation enhances the importance of the ever-ignored experimental works in developing the dramatic monologue technique. An exploration of the emergence and development of the auditor has an additional, but never ancillary, effect of proclaiming the originality and inventiveness of Browning's dramatic technique.