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1、International Journal of Teaching and Learning in Higher Education 2007, Volume 19, Number 2, 178-182 http:/www.isetl.org/ijtlhe/ ISSN 1812-9129 Dialogue, Monologue and Soliloquy in the Large Lecture Class James Davis SUNY at Fredonia Large lecture sections are a necessary and often valuable compone
2、nt of the college or university curriculum; however, many educators are frustrated by the impersonal nature of such classes and the potential ineffectiveness of their lecture presentations. Examining the theatrical concepts of dialogue, monologue and soliloquy provides teachers with a conceptual pla
3、tform from which to evaluate their own modes of communication while also encouraging a mindset that promotes a more personal and productive environment in their classrooms. Many college and university teachers who teach large lecture sections express similar frustrations. Comments such as “The stude
4、nts dont seem interested” or “I feel like Im boring them!” can often be heard in discussions with colleagues, and for good reason; such difficulties reflect what many researchers believe to be the central theoretical weakness underlying large classes and lecturing in general (e.g., Barber 2007; Coop
5、er Geske, 1992). At the risk of oversimplifying, many of the standard complaints about the large lecture course can be traced to the impersonal nature of the classroom experience (Stanley Cooper Timpson Adams, 2006). This taxonomy is restricting, regardless of the obvious benefits of interactive and
6、 cooperative learning inherent in a dialogue. Young teachers in particular are pushed into seeing only two options when lecturing: to attempt to establish dialogues with the large section or to resort to the “boring” monologue. Yet when the terminology of theatre is examined, there appears a third o
7、ption, namely soliloquy; and the definitions of each reveal a viable middle ground upon which educators can construct a functional and beneficial philosophy of lecturing. The Oxford English Dictionary defines dialogue as “the conversation written for and spoken by actors on a stage” or “a conversati
8、on carried on between two or more persons.” It is a verbal exchange of ideas between people, and as such fits the standard vision of how dialogue would function in the classroom. The same dictionary defines monologue as “a long speech by one actor in a play” or “a scene in a drama in which only one
9、actor speaks.” It is a generally uninterrupted speech or narrative that tells a complete story or expresses a complete line of thought. More importantly, the monologue is either literally or figuratively delivered to another character or characters, whether these characters are onstage at the time o
10、r simply part of the drama as a whole. Though seemingly in accordance with a lecture situation, there are subtle points within this definition with significant implications for the teacher. This becomes apparent when monologue is compared to soliloquy; in fact, it is this third term that is more in
11、line with most teachers perspective of how a bad lecture is viewed. The Oxford English Dictionary defines soliloquy as “an instance of talking to or conversing with oneself, or of uttering ones thoughts aloud without addressing any person.” A soliloquy is thus a monologue delivered when no other cha
12、racters inhabit the stage or dramatic space. The actor is alone with the characters thoughts and feelings, and presents the illusion of sharing these unspoken internal states. The distinction between monologue and soliloquy is critical, both to actors and educators, and the application of these conc
13、epts to a lecture situation can have immediate and favorable results. Generally speaking, monologues usually have a “discovery,” or some point the character is trying to get across. More importantly, monologues are speaking “to” or “with” someone. In the theatre, this other person is onstage with th
14、e actor. For the lecturer, to view their presentation as a monologue means bringing the students onstage with them, emphasizing that what is occurring is an interactive process between co- contributors. In a monologic situation, with the target of the speech being directed to another, the motivation
15、 or purpose of the speech is verbalized. In other words, the actor/teacher explains his or her reasoning, an action that Brown and Atkins (1988) saw as necessary for the successful lecture. At the same time, monologues use personal, directed pronouns such as “you,” “I,” and “we” that strengthen the
16、participatory nature of the communication. The soliloquy is different in many noteworthy ways. To begin with, to whom is the soliloquy directed? The speaker is reflecting upon his or her own thoughts and feelings, not responding to another in a dialogue or dramatic event. A soliloquy is talking to oneself, albeit in a communicative setting. In the theatre, the intende
