Academic literature on the topic 'Streetcar named Desire (Williams, Tennessee)'

<p>O melodrama desenvolveu-se na França durante o século dezoito e é majoritariamente caracterizado por abordar relações amorosas e familiares através de uma abordagem emotiva. O melodrama influenciou diversos autores como Charles Dickens, Victor Hugo e Tennessee Williams. Tennessee Williams é um dramaturgo norte-americano famoso pela peça<em> A Streetcar Named Desire</em>. Suas peças exploram o emocionalismo, os conflitos amorosos, a decadência econômica e os problemas familiares. Este trabalho apresenta uma análise da construção melodramática das protagonistas femininas Amanda e Laura Wingfield (<em>The Glass Menagerie</em>) e Blanche DuBois (<em>A Streetcar Named Desire</em>). Discute também como o melodrama auxilia a construir o desfecho trágico dessas personagens.</p>

The following paper discusses some of the motifs ubiquitous to Tennessee Williams’ oeuvre, namely truth and illusion as they are presented in one of his most famous plays, A Streetcar Named Desire. The author endeavors to portray these motifs through an analysis of the characters' behavior and the subsequent, tragic consequences in order to reveal the humanness of Williams' characters who are just like the playwright himself, all marred by alcoholism, depression and loneliness.

On the one side, as a male, Tennessee Williams showed a strong awareness on feminist issues because of his special personal experience, which can be proved by his many plays portraying women. On the other side, he expressed admiration to the muscular beauty of men. A Streetcar Named Desire can be seen as a play to display the conflict in Williams’ mind and to demonstrate his deep sympathy to women. By constructing the confrontation between hero and heroine, Tennessee succeeded guiding readers to the ideal readers to share what in his mind. In this thesis, the author will use the theory of Reader-Response Criticism to explore Tennessee’s awareness on feminist issues, and display how he converted the real readers to the ideal ones step by step.

The purpose of this study is to observe the types of women language features and the most frequent women language feature used by the main women characters in the dialogue of Tennessee Williams’ A Streetcar Named Desire play. Ten women language features proposed by Robin Lakoff is used to analyze the data. This study only observes eight out of ten women language features proposed by Robin Lakoff, namely tag question, intensifier, hypercorrect grammar, hedges or fillers, empty adjectives, precise color terms, super polite form, and avoidance of strong swear words. This study excludes emphatic stress and rising intonation on declaratives feature. Due to the absence of any numeric data, this study uses descriptive qualitative approach. The data is taken from written script of the play which consists of eleven scenes. Seven women language features found namely lexical hedges or fillers, tag question, intensifier, empty adjectives, superpolite form, avoidance of strong swear words, and precise color terms. The most frequent feature is lexical hedges or fillers (59.49%) while no hypercorrect grammar is found. This study supports Lakoff theory since most of the features are found in the conversation of main women characters

This research analyzed Histrionic Personality Disorder that portrayed in a drama entitled A Streetcar Named Desire. Histrionic Personality Disorder is a mental disruption where the sufferer has a big desire to be the center of attention. The problems which are discussed in this research are the symptoms of Histrionic Personality Disorder and the reasons Histrionic Personality Disorder become worse and severe. The aim of this research is to analyze deeply about Histrionic Personality Disorder issue which occur in the drama. In resolving the issue, the researcher used psychological theory by Blagov et al. The concepts which used are the symptoms of Histrionic Personality Disorder and the treatment for Histrionic Personality Disorder. This research used qualitative method in relation to the use of clear and systematic description about the phenomena being researched.

The purpose of this study is to observe the types of women language features and the most frequent women language feature used by the main women characters in the dialogue of Tennessee Williams’ A Streetcar Named Desire play. Ten women language features proposed by Robin Lakoff is used to analyze the data. This study only observes eight out of ten women language features proposed by Robin Lakoff, namely tag question, intensifier, hypercorrect grammar, hedges or fillers, empty adjectives, precise color terms, super polite form, and avoidance of strong swear words. This study excludes emphatic stress and rising intonation on declaratives feature. Due to the absence of any numeric data, this study uses descriptive qualitative approach. The data is taken from written script of the play which consists of eleven scenes. Seven women language features found namely lexical hedges or fillers, tag question, intensifier, empty adjectives, superpolite form, avoidance of strong swear words, and precise color terms. The most frequent feature is lexical hedges or fillers (59.49%) while no hypercorrect grammar is found. This study supports Lakoff theory since most of the features are found in the conversation of main women characters

Tennessee Williams’ A Streetcar Named Desire reveals Blanche’s tragic fate in the period of social change from the perspective of sexual conflict, and reveals the contest between the declining traditional civilization of the South and the emerging industrial civilization in American history. The play renders symbolism to show incisively and vividly the collision between the industrial civilization of the north and the planting civilization of the south, as well as the collision between personal fantasy and the reality of that time. In order to highlight the theme better, the writer skillfully uses various symbolic techniques to make the tragic fate of the heroine full of strong appeal, thus successfully deducing the tragedy of the fall of modern society.

Tennessee William in A Streetcar Named Desire shows the struggles of middle class Americans as they undergo socio-ideological contradictions. The research applies Bakhtin’s theory that is defined in his book The Dialogic Imagination and specifically applies heteroglossia on A Streetcar Named Desire. Edward Said’s concept of “orientalism” is useful because Said’s concept explains the link between the problems of American society and its heterogeneous structure. Theplay explores the effects of diversity on American society. The characters in the play perceive their lives as a reflection of their linguistically diverse surrounding which is closely tied to the American experience. The play also shows how diversity is seen as a negative presence in America. The research shows how the play is heteroglot by examining the characters’ stories. The play’s narratives reflect the two faces of how the middle class white Americans see the diversity of American culture. The research recommends that the analysis of plays based on the concept of “heteroglossia” could yield more insight into the other plays by Williams.

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.

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.

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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

A Student Handbook to the Plays of Tennessee Williams provides the essential guide to Williams' most studied and revived dramas. Authored by a team of leading scholars, it offers students a clear analysis and detailed commentary on four of Williams' plays: The Glass Menagerie, A Streetcar Named Desire, Cat on a Hot Tin Roof and Sweet Bird of Youth. A consistent framework of analysis ensures that whether readers are wanting a summary of the play, a commentary on the themes or characters, or a discussion of the work in performance, they can readily find what they need to develop their understanding and aid their appreciation of Williams' artistry. A chronology of the writer's life and work helps to situate all his works in context and the introduction reinforces this by providing a clear overview of Williams' writing, its recurrent themes and concerns and how these are intertwined with his life and times. For each play the author provides a summary of the plot, followed by commentary on: * The context * Themes * Characters * Structure and language * The play in production (both on stage and screen adaptations) Questions for study, and notes on words and phrases in the text are also supplied to aid the reader. The wealth of authoritative and clear commentary on each play, together with further questions that encourage comparison across Williams' work and related plays by other leading writers, ensures that this is the clearest and fullest guide to Williams' greatest plays.
https://dc.etsu.edu/etsu_books/1183/thumbnail.jpg

Thesis (D.M.A.)--University of North Texas, 2003.
Accompanied by 4 recitals, recorded Apr. 4, 1994, Nov. 18, 1996, Aug. 5, 2002, and Oct. 20, 2003. Includes bibliographical references (p. 122-124).

Through a comparison of Tennessee Williams’ Blanche in A Streetcar Named Desire and Neil LaBute’s Steph in reasons to be pretty, this thesis explores the ways in which the female position has both changed and remained relatively the same over the course of the last sixty years.

This essay focuses on making a comparative gender analysis between Eugene O´Neill´s play “Long Day´s Journey into Night” and Tennessee William’s play “A Streetcar Named Desire”. It emphases the portraying of socially constructed gender and how the authors present their characters in relation to emotional response as well as power and acting space.

This chapter documents how gardens have historically taken their interstitial shapes in the breakdown of the plantation system. Emerging on the site of former plantations and within the tightly wedged architecture of the developing city, diverse gardens have offered fertile aesthetic and functional grounds for sustaining this fragile city as well as possible patterns of urban sustainability. The chapter opens with a reading of Tennessee Williams’ iconic play, A Streetcar Named Desire, and ends by reimagining the city as a water lily, adapting itself to its fluid environment.