Robert Browning possessed a very powerful dramatic sensibility، but his interest was in depicting the internal conflicts of a character—what he called “Action in character، rather than Character in Action”. Unfortunately internal conflict is not suitable for the stage، and Browning’s plays failed because of too many speeches and not enough action. He found his ideal form in the dramatic monologue which allowed him to create powerful and intricate character studies. After having created the best dramatic monologues in literature، he improved on the psychological and dramatic characteristics of the form by devising a monologue in which the speaker is not in a real situation، as in previous dramatic monologues، but imagines himself in a situation in which he is speaking. Whereas previously character revealment depended on the spontaneous reactions of the speaker to a real interlocutor، now the reader has the added advantages of analysis and judgment based on the speaker’s words when alone، speaking real thoughts، as in a soliloquy; the speaker’s choices of setting، “dialogue”، and interlocutor for his imaginary situation; and the arguments presented within the framework of that imaginary situation.

Molana, known in the west often as Rumi, elaborates and conveys a significant extent of his story narrations through dialogues. Some of these dialogues do not have a specific audience, in other words, one of the heroes or even the narrator of the story himself speaks with himself in moments filled with severe passion and excitement. In this manner, this character helps the process of the story; while he reveals his consciousness or unconsciousness; so that the reader is informed about that particular character. It is actually through this method that Massanvi’s monologues are formed. According to the author’s purpose, structure and his particular linguistic shape and patterns, Massnavi’s monologues are divided into three types; intrinsic, dramatic and. self revelation. The types of monologue play an important role in turning external point of view into an internal point of view. As a matter of fact this point of view suits Rumi’s main method in narration; as his stories often start with quite an open focus associated with the omniscient point of view, but then gradually the point of view and the focus of narration becomes narrowed and closed. This paper was prepared through exploring documents, offering the results in an analytical-descriptive form, in order to survey the different types of monologue in Massnavi.

In recent years, more than twenty scientific articles in Persian journals published on the stream of consciousness narrative mode. But some of these articles have little knowledge about the theoretical aspects of this mode of narrative, and the author has written article without an adequate command of the subject. This paper has been reviewed 18 scientific articles and studied their Errors. Some of these errors are: Misperception of the unconscious concept and its place in the internal monologue narrative, considering dramatic monologue as a stream of consciousness narrative style, confusing internal monologue with other first person narrative, and misunderstanding of the concept of Soliloquy. One of the causes of these problems is that the author does not refer to reliable sources. Referee process of some journals is such that these articles are evaluated and released without debugging and the referral of others to the papers, will publish the next false.

Stream of consciousness is a new style in narrating in which an author's role is minimized because thoughts and feelings of characters are expressed as flowing in their minds. In this method, a chronological, locational and logical order of events is cluttered and narrative techniques include inner monologue, self hadith, and wise speaker. The writers who used the technique in their works can be referred to as James Joyce, William Faulkner, Virginia Woolf, etc. from the West; Najib Mahfouz, Ghassan Kanafani, Halim Barekat, etc. from the Arab world; and Sadeq Chubak, Abbas Maroufi, Hooshang Golshiri, etc. from Iran. The aim of this research is to criticize the novel "Robber and Dogs" by Najib Mahfouz using the criteria of the stream of consciousness and reach the conclusion that the author in the novel makes the transfer function of main parts of the story through talks, including the inner monologue, thereby letting the reader be informed directly and without the narrator's intervention of the stream of thoughts, and of hero's feelings in the story. He also shows the hero's character to addressees using various characteristics of the inner monologue like inner monologue's owner, neglecting agreed addressees, the way of characterizing, access to the hero's mind, synchronization phenomenon, and inner monologue types.

In addition to the economic advantages of globalization, it also causes some challenges in the field of culture. As a major challenge raised by globalization, homogenization drives aside the heterogeneous local cultures, replacing them with the homogenized global culture. Ireland has also been challenged by such homogenizing global cultural flows and Brian Friel reflects such a challenge and a solution to it in his Faith Healer. For Friel, the form of monologue play is an expression of his glocal solution. Possessing the prominent features of the concept of glocalization such as interpenetration of the local and the global, heterogeneity, transcending the borders, increasing the agency of the local, monologue play provides the glocal condition for the transaction of Irish culture with global culture. Investigating Faith Healer and its performances, the present study exposes the affinities of glocalization and monologue play in Faith Healer.

Stream of consciousness is a new style in story writing in which an author's role is minimized for the thoughts and feelings of characters are expressed as they come to their minds. In this method, the chronological time, place and the logical order of events are cluttered. The narrative techniques of soliloquy and interior monologue can be considered effective in narration. Among the writers who use this technique in their works are James Joyce, William Faulkner, Virginia Woolf; Najib Mahfouz, Ghassan Kanafani, Halim Barekat, from the Arab world; and from Iran Sadeq Chubak, Abbas Maroufi, Hooshang Golshiri can be named. The aim of this research is to study Beggar by Najib Mahfouz and analyze the effect of the stream of consciousness on the mentioned novel. The study shows that the author has expressed some of the main parts of the story through stream of consciousness and content analysis including interior monologue and thereby allows the reader to become directly involved in the thoughts and feelings of the hero. Thus, addressing the other characteristics of the interior monologue including the character's monologue, avoidance of the conventional audience, characterization, entering the mind of the hero, and the synchronization phenomenon has introduced the hero to the reader.

The objective of this study was to examine the effect of asynchronous computer-mediated communication condition on intermediate English language learners' engagement with speaking tasks and speaking accuracy, fluency, and complexity. The participants of this study included 40 intermediate undergraduate students who were assigned to two groups of face-to-face and computer-mediated groups. In the face-to-face group, the participants completed their speaking tasks in class and in a face-to-face fashion, and in the computer-mediated condition, the learners used an asynchronous computer-mediated tool (Edmodo) to accomplish the speaking tasks. During each task, the participants watched a monologue video, analyzed it, presented a similar monologue, and exchanged comments on their peers' oral products. The findings indicated the superiority of computer-mediated condition over the face-to-face one in improving foreign language learners' speaking accuracy and fluency; however, the complexity scores were not significantly different across the two conditions. The findings also showed that the learners in the computer-mediated condition provided a higher number of form language-related episodes and produced longer monologues.

The question of otherness is one of Bakhtin’s main concerns in his work، but the distinguished feature of his contribution to this subject is the inquiry into textual appearane of the Other. In this article، whilst the authors try to reassert Bakhtin’s philosophical view on the Other and his relation to self in the world، various dimensions of the appearance of the Other in texts are investigated. The main statement of the article is that while Bakhtin considers some texts to be dialogical and others to be monological، drawing on all his ideas on the subject، he believes that there exists a certain degree of conflict between dialogue and monologue within every text. In other words، neither the dialogical texts are devoid of any monological features، nor the monological texts are deprived of any dialogical features. Therefore، the domination of the dialogical or monological features over other extreme in the texts، determines a text to be generally dialogical or monological، and the absolute appearance of monological or dialogical features in a single text is proved to be of no credit.

If our view of culture and society is linguistically oriented, monologues and dialogues are two linguistic approaches to authoritarianism and pluralism. In Monologue, one is a speaker and the other is a listener that to be silent. This may be a wedding party; a classroom; a political consultation; a trade union and a social guild. In general, society is based on the monotheism.Earthly love forms part of our cultural identity and social norm and is widely reflected in literature. Relative study of the lover reveals the hidden angles of society. Especially celebrity lovers whose behavior turns into a collective pattern and anomalies become the norm.This article seeks to illustrate the origins of the "cute and needy" category, tries to identify the causes of love based on monologue and despotism and to examine it as part of the cultural-historical whole of this society.despotism and to examine it as part of the cultural-historical whole of this society.

This paper examines colorful modes of narrative discourse representation, especially stream of consciousness versus interior monologue from a narratological point of view and through some references to Iranian and Western literary works. The problem is that these two modes are employed as though they were the same, but the fact is that they are not. This has made it difficult to make clear cut distinctions among these modes and also to determine the genres of these modern works. This paper puts the modes of narrative discourse on one continuum, ranging from the most obvious presence of the character and the least presence of the narrator (in interior monologue and its kinds) to the other way round. Having juxtaposed various scholar's opinions, this paper sheds light on the etymological and literary aspects of these modes and their very problems and issues.