Academic literature on the topic 'Streetcar named desire'

Stereotypical gender roles have probably existed as long as human culture and are such a natural part if our lives that we barely take notice of them. Nevertheless, images of what we perceive as typically masculine and feminine in appearance and behavior depend on the individual’s perception. Within each gender one can find different stereotypes. A commonly assumed idea is that men are hard tough, while women are soft and vulnerable. I find it interesting hoe stereotypes function and how they are preserved almost without our awareness. Once I started reading and researching the topic of stereotypes it became clear to me that literature contains many stereotypes. The intension of this essay is to critically examine the stereotypical gender roles in the play A Streetcar Named Desire, written by Tennessee Williams in 1947. It is remarkable how the author portrays the three main characters: Stanley, Stella and Blanche. The sharp contracts and the dynamics between them are fascinating.

Thesis (M.A.) -- University of Maryland, College Park, 2004.
Thesis research directed by: School of Music, Musicology Division. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

Informe de Seminario para optar al grado de Licenciada en Lengua y Literatura Inglesa
Our seminar, ‘The city and the urban subject in British and American Literature’, revolved around the problem of cities and urban subjects, considering the relations they have with the metropolis and the way in which the constant flux of cities affects them. The consolidation of the cities created a space for new subjects, and new genres. But there is one element of these cities that caught my attention, and this is a shared element with the countryside, and a reminiscent idea of the early human communities. This is the house.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Línguas Estrangeiras e Tradução, Programa de Pós-Graduação em Estudos da Tradução, 2017.
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Esta dissertação tem como objetivo analisar três traduções do inglês para o português do Brasil da peça teatral A streetcar named Desire (1947), de Tennessee Williams (1911-1983), para mostrar como foram traduzidos aspectos da composição artística do escritor e o discurso da personagem Blanche Dubois. A primeira tradução, de Brutus Pedreira, foi publicada em 1976 pela editora Abril Cultural, em São Paulo. A segunda tradução, de Vadim Nikitin, foi publicada em 2004 pela editora Peixoto Neto, em São Paulo. A terceira tradução, de Beatriz Viégas-Faria, foi publicada em 2008 pela editora L&PM, em Porto Alegre. Essas três traduções receberam o mesmo título, Um bonde chamado Desejo. Para constatar como a obra em questão, uma das mais importantes do teatro norte-americano, tem circulado no Brasil, esta dissertação trata dessas referidas múltiplas traduções publicadas da peça e o foco do estudo é no texto enquanto drama, enquanto obra literária. Na análise das traduções, considera-se principalmente como foram traduzidas as características estilísticas (LEECH; SHORT, 2007) da escrita de Williams, bem como a composição da personagem protagonista da peça, Blanche Dubois, e de seu discurso peculiar. Essa personagem se tornou um dos elementos mais marcantes da mitologia popular norte-americana devido ao sucesso de crítica e de público que foi a peça de Williams e suas subsequentes reescrituras (filme, televisão, ópera, balé, etc.) (LEFEVERE, 1992). Sendo assim, se mostra relevante observar a maneira como essa figura feminina foi abordada nas três traduções da obra para o português do Brasil. Além disso, se explora informações sobre os agentes do processo tradutório (tradutores, revisores, editoras) bem como sobre aspectos referentes às capas, contracapas, coleções e paratextos (GENETTE, 2009) das traduções. Com o desenvolvimento dos Estudos da Tradução e de sua vertente descritiva, veio a se reconhecer que a tradução literária, sobretudo a teatral/dramática, envolve questões que vão além do âmbito puramente linguístico, invocando também o sociocultural, histórico e político. Com o objetivo de melhor analisar as circunstâncias literárias e extraliterárias relacionadas à transferência de uma obra de determinado sistema de partida para outro, é adotada a Teoria dos Polissistemas de Itamar Even-Zohar (1990) que foi uma das bases para o posterior estabelecimento da disciplina com a contribuição acerca da tradução e da tradução literária de teóricos como Susan Bassnett (1980), Theo Hermans (1985), Gideon Toury (1980, 1995), André Lefevere (1992), Lawrence Venuti (1995), entre outros. Como metodologia de análise das traduções de Streetcar, é usado como parâmetro geral o esquema de descrição de traduções literárias desenvolvido por José Lambert e Hendrik Van Gorp (1985). A partir da análise de exemplos selecionados das três traduções e de seu texto de partida correspondente, observa-se que a abordagem dos tradutores é diversa. Pedreira (1976) parece preferir estratégias opostas às de Viégas-Faria (2008). Enquanto Pedreira faz inúmeras omissões em seu texto, a tradução de Viégas-Faria se apresenta aumentada, ou seja, explicativa e didática, com acréscimos pontuais de texto pela tradutora (e que não estão no texto de partida). Já, Nikitin (2004) se mantém mais alinhado ao texto de partida, reproduzindo, em português, elementos como a pontuação característica de Williams e outros recursos do texto. Em relação à personagem Blanche, na tradução de Pedreira ela é rasa, insossa, submissa e resignada. Nas traduções de Nikitin e de Viégas-Faria, a personagem está mais alinhada ao texto de partida e destaca-se o fato que Viégas-Faria compôs o discurso dessa personagem com mais consideração. Com esta dissertação, objetiva-se fornecer uma contribuição para os estudos de peças teatrais em múltiplas traduções no Brasil e também expandir o interesse no que se refere à tradução de obras dramáticas entre diferentes culturas.
This dissertation presents an analysis of three translations from English into Brazilian Portuguese of Tennessee Williams’ (1911-1983) A streetcar named Desire (1947). This study highlights how aspects of the writer’s artistic composition and the character Blanche Dubois have been translated. The first translation, by Brutus Pedreira, was published in 1976 by Abril Cultural, in São Paulo. The second translation, by Vadim Nikitin, was published in 2004 by Peixoto Neto, in São Paulo. The third translation, by Beatriz Viégas-Faria, was published in 2008 by L&PM, in Porto Alegre. All of these three translations have the same title: Um bonde chamado Desejo. To see how the work in question, one of the most important plays in American theater, has circulated in Brazil, this dissertation approaches these aforementioned multiple published translations of the play and the focus of the study is on the text as drama, as literature. In analyzing the works, it is mainly considered the way in which stylistic features (LEECH; SHORT, 2007) of Williams’ writing, as well as the composition of the main character of the play, Blanche Dubois and her peculiar speech, have been translated into Portuguese. Due to the critical and audience success of Williams’ play and its following rewritings (film, television, opera, ballet, etc.) (LEFEVERE, 1992), this character became one of the most striking elements of American popular mythology. Thus, it is relevant to observe the way in which this female figure was approached in the three translations of the work into Brazilian Portuguese. In addition, information about the agents of the translation process (translators, proofreaders, publishers) is explored, as well as aspects related to covers, back covers, collections and paratexts (GENETTE, 2009). With the development of Translation Studies and its descriptive field, it has come to be recognized that literary translation, especially theatrical/dramatic translation, involves issues that go beyond the linguistic scope, also invoking social, cultural, historical and political factors. In order to better analyze the literary and extra-literary circumstances related to the transfer of a work from one system to another, the Polysystems Theory by Itamar Even-Zohar (1990) was adopted, which was one of the bases for the establishment of the discipline with the contribution of theoreticians like Susan Bassnett (1980), Theo Hermans (1985), Gideon Toury (1980, 1995), André Lefevere (1992), Lawrence Venuti (1995), among others, whose works are also explored here. As methodology, the hypothetical scheme for describing literary translations developed by José Lambert and Hendrik Van Gorp (1985) is used as general parameter. From the analysis of selected examples of the three translations and their corresponding starting text, it is clear that the approaches of the translators are diverse. Pedreira (1976) seems to prefer strategies opposed to those of Viégas-Faria (2008). While Pedreira makes several omissions in his text, Viégas-Faria’s translation is expanded, explanatory and didactic, with punctual additions of text by the translator that are not in the starting text. Nikitin (2004) is more aligned with the starting text, reproducing, in Portuguese, features such as Williams’ characteristic punctuation and other elements of the text. In regards to the character Blanche, in Pedreira’s translation she has no depth, she is dull, submissive and resigned. In Nikitin and Viégas-Faria’s translation she is more aligned with the starting text and stands out the fact that Viégas-Faria composed her speech with more consideration. It is hoped with this dissertation to provide a contribution to the study of plays in multiple translations in Brazil and also to expand interest on the translation of dramatic works between different cultures.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The purpose of this master's dissertation is to compare the English-language original of A Streetcar Named Desire, by Tennessee Williams, with the respective translation in Portuguese, Um bonde chamado Desejo, by Vadim Nikitin, in order to characterize the differences between the two versions based on the lexicographic choices made by these authors. Since the 1950s, the important work of linguistic-based translation scholars has done much to break the boundaries between different disciplines dedicated to it, and to draw their studies from a position of possible confrontation. The research has the support of Systemic-Functional Linguistics (SFL), a theoreticalmethodological proposal of Halliday (1985) and Halliday and Matthiessen (2004). The SFL states that the use of language is functional; that its function is to construct meanings; that meanings are influenced by the social and cultural context in which they are exchanged; and that the process of language in use is a semiotic process, a process of making meaning through choices. Researches show that this theoretical framework can be applied to the field of translation studies from several aspects involved in SFL: the transitivity system, the modality and the evaluation, as well as the notion of thematic structure. Other contributions help to understand the characteristics that mark a translation, such as the notions of linguistic determinism and relativity, as well as the question of linguistic typology. The present study seeks to answer the following questions: (a) what can the comparison of the original in English and the Portuguese translation of A Streetcar Named Desire reveal? (b) what consequences do these differences mean for the interpretation of the original text and its translation? The results show the impossibility of a literal translation, since several linguistic characteristics separate the two languages in terms of the specific typology of both English and Portuguese. This fact obliges the translator to make lexicographic choices, made possible by the target language, which may imply modifications in the interpretation of the drama from one language to another
O objetivo desta dissertação de mestrado é a comparação entre o original em língua inglesa de A Streetcar Named Desire, de Tennessee Williams, com a respectiva tradução em português, Um bonde chamado Desejo, de Vadim Nikitin, a fim de caracterizar as diferenças entre as duas versões com base nas escolhas lexicogramaticais feitas pelos referidos autores. Desde 1950, o importante trabalho de estudiosos da tradução baseada em linguística tem feito muito para romper as fronteiras entre diferentes disciplinas dedicadas a ela, e tirar seus estudos de uma posição de possível confronto. A pesquisa tem o apoio da Linguística Sistêmico- Funcional (LSF), uma proposta teórico-metodológica de Halliday (1985) e Halliday e Matthiessen (2004). A LSF estabelece que o uso da língua é funcional; que sua função é construir significados; que os significados são influenciados pelo contexto social e cultural em que são intercambiados; e que o processo de uso da língua é um processo semiótico, um processo de fazer significado por meio de escolhas. Pesquisas mostram que esse quadro teórico pode ser aplicável ao campo dos estudos da tradução a partir de vários aspectos envolvidos na LSF: o sistema da transitividade, a modalidade e a avaliatividade, além da noção de estrutura temática. Outras contribuições ajudam a entender as características que marcam uma tradução, tais como as noções de determinismo e relatividade linguísticos, bem como a questão da tipologia linguística. O presente estudo busca responder às seguintes perguntas: (a) o que a comparação do original em inglês e a tradução em português de A Streetcar Named Desire pode revelar? (b) que consequências essas diferenças significam para a interpretação do texto original e de sua tradução? Os resultados mostram a impossibilidade de uma tradução literal, já que várias características linguísticas separam as duas línguas em termos da tipologia específica seja do inglês, seja do português. Esse fato obriga o tradutor a fazer escolhas lexicogramaticais possibilitadas pela língua alvo o que pode implicar modificações na interpretação do drama de uma língua a outra

There are two major, well-known operas based on plays of Tennessee Williams. He refused many times throughout his life to give permission for his play, A Streetcar Named Desire, to be set as an opera. It was not until the 1960s that he granted permission for Lee Hoiby to choose any of his plays as a basis for a new opera. Hoiby chose Summer and Smoke, a play which was written at approximately the same time as Streetcar. Lanford Wilson created the libretto for the opera which was given its premier in 1971 by the St. Paul Opera Association. In 1994 representatives of the Williams estate granted permission to the San Francisco Opera to commission an opera based on A Streetcar Named Desire. With a libretto by Philip Littell, the opera was composed by André Previn and given its premier in 1998. These two plays share common themes, character types, character relationships, and literary symbols due in part to the autobiographical nature of Williams's writings. The plays exhibit a cinematic nature and possess common dramatic elements such as the symbolic use of sets, props, and musical leitmotifs as a result of his attempts to create a new "plastic" style of theatre. The purpose of this thesis is to examine how each composer has captured the essence of Williams's dramatic style in these well known plays while dealing with stylistic elements that by nature could interfere in operatic composition. A brief biography of Williams is included to show the familial basis of his character types. Illustrations of his style serve as the basis for a comparison of the librettos to the plays. The musical analysis focuses on the composers' choices in dealing with Williams's poetic southern language, use of music, cinematic techniques, and complex characterizations.

Dissertação (Mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão.
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This chapter traces the origins of deductive mathematical proof in classical Greece by drawing on the tradition of Jean-Pierre Vernant and G. E. R. Lloyd. It first considers how certain rhetorical concepts, methods, and patterns were instrumental to mathematical proof before discussing various cognitive modes, or stations, in historical development. The streetcar-named-Desire metaphor is used to examine certain cognitive aspects of the narrative, along with the linearity and nonlinearity of the narrative surface. The chapter then explores the role of narrative and poetic storytelling in the process of demonstration in Greek forensic rhetoric, along with the use of chiasmus and ring-composition as cognitive tools. Finally, it shows how both the macrostructure and the microstructure of the first proofs in Greek deductive mathematics were affected by forensic rhetoric, as this was shaped under the influence of the cognitive mechanisms of narrativity and the forms of poetic storytelling.