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    DRAMATIC MONOLOGUE IN ROBERT BROWNING’S POEM “ANDREA DEL SARTO” by Fadhillah Wiandari

    Published 2018-01-01
    “…Robert browning and the form of poetry known as “dramatic monologue†inevitably go togather. …”
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    Une reconstruction progressiste du passé : Renaissance et Risorgimento dans « Old Pictures in Florence » de Robert Browning by François Crampe

    Published 2018-12-01
    “…One of the main roles played by Italian history in the works of Robert Browning is to serve as a model for a general political reflection on how societies evolve and on the connections between art and politics, which are as valid as regards nineteenth-century European history as more specifically English debates within the Victorian society. …”
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    ‘I’m grown a man no doubt, I’ve broken bounds’—Robert Browning Crossing the Limits of Poetry by Jean-Charles Perquin

    Published 2016-05-01
    “…This paper will focus on Robert Browning’s poetic writings, and especially on the way his poems were a constant crossroads of formal choices, from his very first publications to his last poem. …”
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    ‘Bang-whang-whang goes the drum’ : Robert Browning ou l’énergie comique de l’homme-orchestre by Yann Tholoniat

    Published 2019-12-01
    “…Robert Browning’s vis comica has long been overlooked, some readers from the Browning Society, founded in 1887, preferring to see a philosopher in the poet, and some critics, like George Santayana, choosing to dismiss Browning’s ‘poetry of barbarism’. …”
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    De la voix au théâtre au théâtre de la voix : l’envers du décor poétique de Robert Browning by Yann Tholoniat

    Published 2008-12-01
    “…Robert Browning wrote seven plays : Strafford, King Victor and King Charles, The Return of the Druses, A Blot in the ‘Scutcheon, Colombe’s Birthday, Luria and A Soul’s Tragedy. …”
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    Généalogie générique du monologue dramatiquebrowningnien ; et du monopolylogue by Yann Tholoniat

    Published 2011-03-01
    “…But in order to reassess Robert Browning’s achievement, one might trace a line starting with Aristophanes’ dramatic use of the parabasis, evolving with the Roman satire, and going through John Donne’s game with the reader, conceived of as a silent auditor. …”
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