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Journal articles on the topic 'Streetcar named Desire (Williams, Tennessee)'

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Published: 4 June 2021

Last updated: 23 February 2023

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1

Matos, Xênia Amaral. "Bodies that Desire: The Melodramatic Construction of the Female Protagonists of The Glass Menagerie and A Streetcar Named Desire, by Tennessee Williams." Em Tese 21, no. 1 (September 13, 2015): 130. http://dx.doi.org/10.17851/1982-0739.21.1.130-149.

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<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>

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2

Gencheva, Andrea. "Truth and illusion in Tennessee Williams' A Streetcar named desire." English Studies at NBU 2, no. 1 (August 20, 2016): 31–41. http://dx.doi.org/10.33919/esnbu.16.1.3.

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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.

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3

HUANG, Yan. "Tennessee Williams’ Awareness of Feminist Issues in A Streetcar Named Desire —From Readers to Ideal Readers." Journal of Social Science Studies 5, no. 2 (May 11, 2018): 106. http://dx.doi.org/10.5296/jsss.v5i2.13127.

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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.

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4

Rahadiyanti, Iga. "Women Language Features in Tennessee Williams’ A Streetcar Named Desire." Vivid: Journal of Language and Literature 9, no. 2 (December 9, 2020): 86. http://dx.doi.org/10.25077/vj.9.2.86-92.2020.

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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

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5

Mandani, Humairoh, and Dian Eka Sari. "HISTRIONIC PERSONALITY DISORDER IN TENNESSEE WILLIAMS’ A STREETCAR NAMED DESIRE." LINGUA LITERA : journal of english linguistics and literature 4, no. 1 (June 4, 2019): 41–58. http://dx.doi.org/10.55345/stba1.v4i1.5.

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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.

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6

Rahadiyanti, Iga. "Women Language Features in Tennessee Williams’ A Streetcar Named Desire." Vivid: Journal of Language and Literature 9, no. 2 (December 9, 2020): 86. http://dx.doi.org/10.25077/vj.9.2.86-92.2020.

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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

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7

Griffies, W. Scott. "A streetcar named desire and tennessee Williams' object-relational conflicts." International Journal of Applied Psychoanalytic Studies 4, no. 2 (2007): 110–27. http://dx.doi.org/10.1002/aps.127.

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8

Ahmad, Mahmood. "Sexuality and Death of Desire in Tennessee Williams’ A Streetcar Named Desire." PAKISTAN LANGUAGES AND HUMANITIES REVIEW 1, no. II (December 31, 2017): 24–34. http://dx.doi.org/10.47205/plhr.2017(1-ii)1.3.

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9

Pei, GAO. "Stella’s Choice - Re-read A Streetcar Named Desire." Studies in English Language Teaching 8, no. 4 (September 18, 2020): p10. http://dx.doi.org/10.22158/selt.v8n4p10.

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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.

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10

Al-Khalili, Raja Khaleel. "The Application of Bakhtin’s “Heteroglossia” to Tennessee Williams’s A Streetcar Named Desire." Advances in Language and Literary Studies 9, no. 6 (December 28, 2018): 223. http://dx.doi.org/10.7575/aiac.alls.v.9n.6p.223.

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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.

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11

Kolin, Philip C. "The Mexican Premiere of Tennessee Williams's "A Streetcar Named Desire"." Mexican Studies/Estudios Mexicanos 10, no. 2 (1994): 315–40. http://dx.doi.org/10.2307/1051900.

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En diciembre de 1948 y de mayo a agosto de 1949, la obra clásica de Tennessee Williams, Un Tranvía Llamado Deseo, se presentó por primera vez en México y con ella hizo historia, tanto en el teatro mexicano como en el estadounidense. La obra fue dirigida por Seki Sano, el director japonés a quien se le atribuye la transformación del teatro mexicano, y en ella actuaron Wolf Ruvinskis, quien después siguió una destacada carrera en el cine, y María Douglas. La joven compañía de Seki Sano recibió grandes alabanzas de los críticos mexicanos por introducir y representar de una manera muy bella uno de los dramas más importantes de los Estados Unidos.

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12

Eisler, Garrett. "When Blanche Met Brando: The Scandalous Story of “A Streetcar Named Desire”." Theatre Survey 47, no. 1 (April 13, 2006): 118–19. http://dx.doi.org/10.1017/s0040557406240092.

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Sam Staggs's When Blanche Met Brando may not be the most scholarly commentary on Tennessee Williams, but it is certainly informative. Aiming “to synthesize, as no previous writer has, the first-hand accounts of those who were there” (xii) for both the 1947 Broadway premiere of A Streetcar Named Desire and its 1951 film, as well as subsequent revivals, Staggs succeeds at revealing the gulf between myth and fact, between play and production. By illuminating its twisted path of accidents from genesis to premiere to “classic,” Staggs reminds us that Streetcar by no means was destined to take on the form in which we now know it.

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13

Abdelsamie, Adel Mohamed. "(Conﬂicting Mythical Forces in Tennessee Williams A Streetcar Named Desire (1947." مجلة کلیة الآداب بقنا 21, no. 36 (September 1, 2011): 4–31. http://dx.doi.org/10.21608/qarts.2011.113905.

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14

Gontarski, S. E. "Tennessee Williams’s Creative Frisson, Censorship, and the Queering of Theatre." New Theatre Quarterly 37, no. 1 (February 2021): 82–99. http://dx.doi.org/10.1017/s0266464x20000810.

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The world around Tennessee Williams in the 1960s, 1970s, and into the 1980s was changing at an astonishing pace, the cultural revolution of the period rendering most of his themes of sexual closeting and repression almost inconsequential. At least the entrenched cultural taboos against which he wrote seem to have disappeared by the mid-1960s and 1970s. In the 1980s, Broadway productions of his work grew infrequent, while those mounted tended to have short runs. He told interviewers from Theatre Arts magazine: ‘I think my kind of literary or pseudo-literary style of writing for the theatre is on its way out.’ European productions of his work, on the other hand, seemed regenerative: Howard Davies’s Cat on a Hot Tin Roof (1989), in which the director used Williams’s original third act and not the version rewritten by Elia Kazan for the New York premiere; Peter Hall’s revival of Orpheus Descending (1989–91); Benedict Andrews’s A Streetcar Named Desire (2014), followed by his 2017 Cat on a Hot Tin Roof – a revival deemed ‘so courageous’; and in Italy, Elio De Capitani’s productions of Un tram che si chiama desiderio (1995) and Improvvisamente, l’estate scorsa (2011), both in fresh, new, up-to-date translations by Masolino D’Amico – all these have maintained an edge to Williams’s theatre lost in so many American productions. All seem to suggest the continued vitality of Williams’s work in Europe by directors willing to probe and rediscover Williams’s depths, who consider him ‘a playwright worthy of further artistic investigation’, as European audiences, correspondingly, seem less inclined to dismiss him as an artist whom history has overtaken. S. E. Gontarski is Robert O. Lawton Distinguished Professor of English at Florida State University. His critical, bilingual edition of Tennessee Williams’s A Streetcar Named Desire was published as Un tram che si chiama desiderio / A Streetcar Named Desire (Pisa: Editioni ETS, 2012). His Włodzimierz Staniewski and the Phenomenon of ‘Gardzienice’, co-edited with Tomasz Wiśniewski and Katarzyna Kręglewska, is forthcoming (Routledge).

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15

Abbasi, Kamal. "Blanche the Aesthete: A Kierkegaardan Reading of a Streetcar Named Desire." International Letters of Social and Humanistic Sciences 48 (February 2015): 180–84. http://dx.doi.org/10.18052/www.scipress.com/ilshs.48.180.

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Tennessee Williams, the modern American dramatist, had his own unique school of dramaturgy. The dramas which he depicted are populated by characters who are lonely, desperate, anxious, alienated, and in one word lost. They face challenges which they may overcome or not, through the choices they make. All these moods and conditions are clearly seen and explained in the theory of existentialism, so Williams’ inspiration from the philosophy is seen. Most existential theorists provide fertile ground to cultivate Williams’ works on. Kierkegaard, as the so-called founder of the philosophy, has a theory which is quite applied to Williams’ dramaturgy that is telling on the life and mentality of the characters in his plays. In his theory Kierkegaard enumerates three levels of existence which are characterized by their own features and mentality: they are respectively: aesthetic, ethical, and religious. The aesthetic is characterized by the pain and pleasure of the moment, that is, the aesthete follows just his/her instincts and desires. The next stage in Kierkegaard’s terminology is the ethical which is characterized by rules, laws, and obligations. The last, but not the least, is the religious stage, however religious not in the conventional and common sense. In Kierkegaard’s terminology religious is closest in meaning to individual. To Kierkegaard, the most authentic character is one who has achieved religiosity; otherwise, he or she may suffer from alienation. The aim of this study is to show how Blanche, the main character in Williams’ A Streetcar Named Desire (1974), is essentially an aesthete throughout the paly and how being and staying an aesthete leads to her alienation and destruction.

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16

Ribkoff, Fred, and Paul Tyndall. "On the Dialectics of Trauma in Tennessee Williams’ A Streetcar Named Desire." Journal of Medical Humanities 32, no. 4 (August 17, 2011): 325–37. http://dx.doi.org/10.1007/s10912-011-9154-4.

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17

Abdelsamie, Adel Mohamed. "The Mythical Apollonian-Dionysian Forces in Tennessee Williams' A Streetcar Named Desire (1947)." مجلة کلية الآداب 31, no. 1 (December 1, 2010): 1–20. http://dx.doi.org/10.21608/bfa.2010.236364.

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18

Ciba, Daniel. "Dismembering Tennessee Williams: The Global Context of Lee Breuer's A Streetcar Named Desire." Theatre Symposium 25, no. 1 (2017): 64–81. http://dx.doi.org/10.1353/tsy.2017.0005.

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19

Susanti, Nila. "FREUD’S DEFENSE MECHANISM ON KHALED HOSSEINI’S A THOUSAND SPLENDID SUNS AND TENNESSEE WILLIAMS’ A STREETCAR NAMED DESIRE." JETLe (Journal of English Language Teaching and Learning) 1, no. 2 (April 30, 2020): 19. http://dx.doi.org/10.18860/jetle.v1i2.9077.

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<div class="WordSection1"><p>This paper attempts to analyze Blanche's psychology at A Streetcar Named Desire by American playwright Tennessee Williams and Mariam and Laila in A Thousand Splendid Suns by Khaled Hosseini in relation to Freud's use of defense mechanisms, in order to restore their mental and physical health. The main character of women has gotten an unacceptable impulse into an acceptable impulse by blocking impulses such as superego, thereby reducing suffering from previous traumatic experiences that cannot be erased from their minds, and anxiety to survive. Their anxiety becomes so excessive that the ego forms a defense mechanism to protect them with new hopes, dreams and desires to reduce excessive stress. Blanche, under his mental and social pressure, his illusions and falsification of reality, were unable to overcome the trauma-causing situation in reality, leaving him on the verge of collapse. Mariam and Laila, who most often experience physical and mental stress, internal and external conflicts that come from people in their lives, war, religion and culture. Which ultimately forms the character of women who turn against rebels with strength and defense. The research method used to describe and analyze the main female characters in A Thousand Splendid Suns and A Streetcar Named Desire is with some evidence obtained from the statements of the main female figures containing defense mechanisms including repression, regression, rationalization, and rejection. The author finally discovered many things about the main female character from both literary works. In A Thousand Splendid Suns only three defense mechanisms were found. Mariam and Laila do not use regression as one of their defense mechanisms. Both characters never behave like a child. No evidence was found to support the use of this defense mechanism. In A Streetcar Named Desire, four defense mechanisms are found. Blanche uses all defense mechanisms as his defense.</p><p><em>Keywords: Women, Anxiety, Freud's defense mechanisms</em><em></em></p></div>

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20

Sánchez Gómez, María Soledad. "«¿Qué es ser una mujer?» : histeria y posmodernidad en A streetcar named desire." Epos : Revista de filología, no. 27 (January 1, 2011): 225. http://dx.doi.org/10.5944/epos.27.2011.10679.

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Frente al planteamiento de género, dicotómico e invariable, basado en la tradición humanista y destacado por gran parte de la crítica teatral y literaria como algo esencial a la hora de analizar A Streetcar Named Desire, mi intención es demostrar que la obra, de manera compleja y sutil, rompe esta dicotomía por medio de la figura de Blanche, la histérica que desestabiliza el sistema de sexo/género normativo preestablecido por la sociedad patriarcal. En esta línea, la ya mítica representación realizada por el grupo teatral norteamericano Split Britches en 1991, basada en una relectura libre de esta obra, dinamita otras lecturas anteriores al utilizar la homosexualidad, una hiperfeminidad travestida y el juego de roles queer como clave de interpretación. Tanto Split Britches, con su versión transgénero, como la Blanche más ortodoxamente presentada por Tennessee Williams plantean la eterna pregunta que según Jacques Lacan lanza abierta o subliminalmente toda mujer con una estructura psíquica histérica: “Qué es una mujer?, ¿qué significa serlo?, ¿cuál es su deseo?”.Many critics have tended to assume the traditionally humanist understanding of gender as rigid and binary when analysing A Street Car Named Desire. It is the purpose of this essay to demonstrate that this play breaks up this dichotomy in a subtle and complex way through the figure of Blanche, the hysteric able to destabilise the sex/gender system as established by patriarchal society. In this vein, the already mythical performance of this play by the American theatre group Split Britches, undermines former readings by using homosexuality, cross-dressed hyperfemininity and queer role-playing as keys for interpretation. Both the original (more orthodox) Blanche as portrayed by Tennessee Williams and the Split Britches re-reading of this play present the enduring questions posed time and again by women with a hysterical psychic structure: “What is a woman?, What does it mean? What is her desire?”

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21

Bobin, Joanna. "Blanche and Stanley, polar opposites. A pragmastylistic analysis of interactions from Tennessee Williams’ A Streetcar Named Desire." Język. Religia. Tożsamość. 1, no. 23 (December 15, 2021): 7–20. http://dx.doi.org/10.5604/01.3001.0015.6123.

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The paper is an attempt at demonstrating how the language used by fictional dramatic characters contributes to their characterization, that is, how the readers (audiences) perceive them based on inferences drawn from a variety of textual cues. These cues include explicit selfand other-presentation as well as implicit hints retrieved from conversation structure, aspects of turn-taking or features of the language used by the character. In this paper, Blanche DuBois and Stanley Kowalski from Tennessee Williams’ play The Streetcar Named Desire are analyzed and characterized as being polar opposites.

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22

Page, Nancy C. "A self-psychology analysis of Tennessee William's a streetcar named desire." Arts in Psychotherapy 23, no. 5 (January 1996): 417–22. http://dx.doi.org/10.1016/s0197-4556(96)00053-6.

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23

Kolin, Philip C. "“Cruelty … and Sweaty Intimacy”: The Reception of the Spanish Premiere of A Streetcar Named Desire." Theatre Survey 35, no. 2 (November 1994): 45–56. http://dx.doi.org/10.1017/s0040557400002787.

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The circumstances surrounding the national premieres of Tennessee Williams's A Streetcar Named Desire reflect not only the play's vibrant theatre life but also the particular culture that responded to it, validating past or anticipating future critical interpretations. Within two years of the Broadway (and world) premiere of Streetcar in December 1947, the play had been staged in Austria, Belgium, Holland, France (adapted by Jean Cocteau), Italy (with sets by Franco Zeffirelli), England (directed by Sir Laurence Olivier), Switzerland (with a translation by poet Berthold Viertel), and Sweden (directed by Ingmar Bergman). In March of 1950, Streetcar premiered in U.S.-occupied Germany, at Pfozheim. The premiere of the play in some of the former Communist Bloc countries followed in the 1950s or early 1960s. Streetcar opened on the same day—December 21, 1957—at Torun and Wroclaw (Breslau in pre-War Germany), Poland, and in Warsaw the subsequent April of 1958. The Czechoslovakian premiere of Streetcar was in November 1960 in Moravia and its Hungarian debut occurred shortly after.

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24

Cardullo, Robert J. ""The Death of Salesmen": David Mamet’s Drama, "Glengarry Glen Ross", and Three Iconic Forerunners." Ad Americam 20 (December 31, 2019): 5–14. http://dx.doi.org/10.12797/adamericam.20.2019.20.01.

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This essay places Glengarry Glen Ross in the context of David Mamet’s oeuvre and the whole of American drama, as well as in the context of economic capitalism and even U.S. foreign policy. The author pays special attention here (for the first time in English-language scholarship) to the subject of salesmen or selling as depicted in Mamet’s drama and earlier in Arthur Miller’s Death of a Salesman, Eugene O’Neill’s The Iceman Cometh, and Tennessee Williams’ A Streetcar Named Desire—each of which also features a salesman among its characters.

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Stacul, Juan Filipe, and Sirlei Santos Dudalski. "Eros dirige em curvas sinuosas: masculinidade e desejo em Caio Fernando Abreu e Tennessee Williams." Revista Diadorim 13 (June 28, 2013): 123–38. http://dx.doi.org/10.35520/diadorim.2013.v13n0a3987.

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O presente estudo pretende realizar uma leitura comparativa entre as obras A streetcar named desire, deTennessee Williams, e Onde andará Dulce Veiga?, de Caio Fernando Abreu. A tese defendida é a de que uma ligação possível entre as obras se dá a partir, basicamente, de três elementos: a crise do sujeito, o erotismo e as representações de masculinidades. Como referencial teórico, pretende-se utilizar as teorizações pós-modernas acerca de identidade cultural (Hall, Debord), men's studies (Nolasco, Badinter,Sedgwick) e erotismo (França, Chauí).

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Borges, Guilherme Pereira Rodrigues. "A PEÇA A STREETCAR NAMED DESIRE EM TRADUÇÃO PARA O PORTUGUÊS DO BRASIL:." Belas Infiéis 5, no. 3 (December 30, 2016): 25–40. http://dx.doi.org/10.26512/belasinfieis.v5.n3.2016.11397.

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Este artigo aborda três traduções do inglês para o português do Brasil da peça teatral A streetcar named Desire (1947), do dramaturgo estadunidense Tennessee Williams (1911-1983). A primeira tradução, de autoria de Brutus Pedreira, foi publicada em 1976 pela editora Abril Cultural, de São Paulo. A segunda, publicada em 2004 pela editora Peixoto Neto, de São Paulo, traduzida por Vadim Nikitin, e a terceira, publicada em 2008 pela editora L&PM, de Porto Alegre, foi traduzida por Beatriz Viégas-Faria. As três traduções têm o mesmo título, Um bonde chamado Desejo. Serão observados nas traduções mais recentes (2004 e 2008) especificamente os índices morfológicos e o discurso de acompanhamento, como delimitados por Marie-Hélène Torres (2011). Em um segundo momento, os textos das traduções serão observados com base no método esboçado por Antoine Berman (1995) para uma crítica produtiva de traduções. A tradução de Brutus Pedreira (1976) é mencionada nessa segunda análise em que se aborda as traduções de uma das falas mais importantes de Streetcar, proferida pela personagem Blanche Dubois na cena final da peça. Por fim, busca-se demonstrar, a partir da primeira análise, o papel dos tradutores como importantes agentes no processo de transferência literária do texto de partida e, a partir da segunda análise, busca-se ressaltar um aspecto do texto de Williams que talvez não ficasse aparente caso sua tradução não estivesse sendo problematizada, já que a Crítica da Tradução revela algo que nem a simples leitura, nem a crítica convencional podem revelar, e seu valor está nesse fato.

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Нечай Н. В. "ПРАГМАТИКО-СТИЛІСТИЧНІ ОСОБЛИВОСТІ ПЕРЕКЛАДУ ДРАМАТИЧНОГО ТЕКСТУ (НА МАТЕРІАЛІ ТВОРУ Т. ВІЛЬЯМСА «A STREETCAR NAMED DESIRE» ТА ЙОГО УКРАЇНСЬКОМОВНОГО ТА РОСІЙСЬКОМОВНОГО ВАРІАНТІВ)." Science Review, no. 4(21) (May 31, 2019): 60–64. http://dx.doi.org/10.31435/rsglobal_sr/31052019/6497.

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This study attempts to provide some insight into the relevance of cultural factors in the translation of dramatic texts. The present research aims at determining the ways of adequate reproduction of national and cultural identity of the play of Tennessee Williams “A Streetcar Named Desire”. The article deals with the most effective ways of translation of phraseological units and proper names in drama. The main problem during the translation of phraseological units and proper names is determined; it lies in the fact that they have a certain stylistic feature, expressiveness that are depended on the context. The combination of several approaches within a single study makes it possible to describe the peculiarities of the individual style of the writer, and this provides a complete understanding of the selection principles of linguistic means by the author.

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Song, Jung Gyung. "Woody Allen’s Blue Jasmine: The Representation and Intertextuality of Tennessee Williams’ A Streetcar Named Desire." Journal of Humanities and Social sciences 21 8, no. 1 (February 28, 2017): 453–72. http://dx.doi.org/10.22143/hss21.8.1.26.

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刘, 俐. "Analysis of Tennessee Williams’ A Streetcar Named Desire from the Perspective of Reader-Response Criticism." World Literature Studies 03, no. 03 (2015): 88–93. http://dx.doi.org/10.12677/wls.2015.33014.

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Enelow, Shonni. "Sweating Tennessee Williams: Working Actors in A Streetcar Named Desire and Portrait of a Madonna." Modern Drama 62, no. 2 (April 2019): 129–48. http://dx.doi.org/10.3138/md.0838r.

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Lund, Marie. "Harold (Mitch) Mitchell’s role in the demise of Blanche Dubois in A Streetcar Named Desire." Leviathan: Interdisciplinary Journal in English, no. 2 (March 15, 2018): 46–53. http://dx.doi.org/10.7146/lev.v0i2.104695.

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In Tennessee Williams’ play A Streetcar Named Desire, Stanley Kowalski has often been seen as the main reason why Blanche DuBois mentally falls apart at the end of the play. This is emphasized by the fact that he rapes her and that she subsequently is committed to a mental institution. However, I find that the role of Harold (Mitch) Mitchell thereby is downplayed and underestimated. This article argues that he in fact is the real cause of Blanche’s psychological downfall. Critics such as Judith J. Thompson refer to Mitch as elevated to the romanticized ideal of Allan Grey, Blanche's late husband. Blanche sees a potential new husband in Mitch, and when she realizes that he knows about her troubled past, she mentally collapses. While Stanley’s final act certainly is cruel and devastating, Mitch’s rejection of Blanche is what essentially sets off her final madness.

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Arnaut de Toeldo, Luis Marcio. "Contextos Sociopolíticos e Históricos da Mulher em A Streetcar Named Desire, de Tennessee Williams, a partir dos Dilemas Morais de Kohlberg." Revista da Anpoll 1, no. 50 (December 30, 2019): 70–80. http://dx.doi.org/10.18309/anp.v1i50.1273.

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Os Estágios de Desenvolvimento e Dilemas Morais propostos por Lawrence Kohlberg são utilizados como instrumento de análise dramatúrgica para identificar os contextos sociais, políticos e históricos da figuração da mulher na peça A Streetcar Named Desire de Tennessee Williams. A partir destes estágios, procede-se a uma investigação para revelar o aprofundamento dos substratos ficcionais trabalhados pelo autor no que diz respeito à condição da mulher em sua obra, trazendo à tona como ela é lida e compreendida na sociedade. Evidencia-se, por fim, que a história da mulher é predominantemente atrelada aos valores patriarcais. Os Dilemas Morais propostos por Kohlberg, portanto, mostram-se instrumentos proficientes para a análise dramatúrgica, indo além da leitura hegemônica da obra do autor.

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Kunu, Vishma. "Buddhist Reflections on an American Tragedy: A New Reading of Tennessee Williams’ A Streetcar Named Desire." Trans-Humanities Journal 7, no. 3 (2014): 45–56. http://dx.doi.org/10.1353/trh.2014.0002.

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Williams, Tennessee. "“Mending Sails by Candlelight”: A Preface to Clothes for a Summer Hotel." F. Scott Fitzgerald Review 13, no. 1 (October 1, 2015): 15–28. http://dx.doi.org/10.5325/fscotfitzrevi.13.1.15.

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Abstract On 26 March 1980, Tennessee Williams premiered his final play on Broadway, Clothes for a Summer Hotel, a biodrama based loosely on the lives and final days of F. Scott and Zelda Fitzgerald. As was his tradition, Williams wrote a pre-opening piece to accompany the opening that was intended for the theater section of the New York Times. On this occasion, the Times refused to publish the essay. Williams had been battling the newspaper's drama critics for over a decade, and the essay, embittered and oozing with self-pity, bears the wounds he had received from their repeated confrontations. Published here for the first time (the essay had been lost for over three decades), “Mending Sails by Candlelight” is a playwright's plea for sincere criticism on his play's own terms and not in comparison to his early great works, such as A Streetcar Named Desire (1947), The Glass Menagerie (1945), and Cat on a Hot Tin Roof (1955).

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Alnamer, Abdul Salam Mohamad. "THE SIGNIFICANCE OF THE IMAGES OF LIGHT, DARKNESS AND THE MOTH IN TENNESSEE WILLIAMS' A STREETCAR NAMED DESIRE." Humanities & Social Sciences Reviews 8, no. 3 (September 7, 2020): 1405–14. http://dx.doi.org/10.18510/hssr.2020.83141.

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Objectives of the study: This study aims to present a critical analysis of the significance of the images of light and darkness in association with the image of the moth in Tennessee Williams' most famous play: A Streetcar Named Desire. It also showcases the tremendous contribution of these images to the vigour and depth of many aspects of the play. Methodology: The article presents a close analysis of textual evidence from the play, following a comparative approach in the study of these images, and is constructed around discussions of their contribution to the thematic and structural aspects of the play. Juxtaposing these images as part of the binary oppositions in the play reveals its richness and depth. Main Findings: The images of light, darkness, and the moth serve a variety of purposes. They are strongly related to the thematic structure of and characterization in the play. They are also important for demonstrating the poetic touch characteristic of the play. The combination of the images illuminates Blanche's dilemma as a broken Southern belle, her frustration, inevitable deterioration, and eventual downfall. Application of the study: This article contributes to the body of the critical study of Williams' drama, in particular, and the study of literature, in general. Given the variety of imagery in the literary canon in all genres, this study can be useful to students and researchers alike in their analyses and appreciation of the significance of imagery in literature. The novelty of this study: This study opens up new venues for the discussion of the play. It also illuminates some aspects of the character of Blanche DuBois which cannot otherwise be illuminated and, at the same time, gives a deep insight into the play as a whole.

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Hooti, Noorbakhsh, and Ali Salehi. "Desire for the other and the Iterable Identity in the Social Context: A Postmodern Reading of Tennessee Williams’ A Streetcar Named Desire." Romanian Journal of English Studies 11, no. 1 (March 1, 2014): 86–97. http://dx.doi.org/10.2478/rjes-2014-0011.

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Abstract In postmodern outlook, the boundary between the different divisions made inside the mind is blurred. It is the Other of one’s self that indirectly defines the identity of a character or makes it abject. The purpose of this study is to recognize the adjustment identity of Blanche in “The Streetcar Named Desire” in diverse social contexts. The identity of Blanche is under surveillance through some key elements in the postmodern bedrock. The chains of signifiers that are produced by the considered character distinguish the mayhem of the mind that is trying to find a new identity in the altered social context. The study aims to unravel the desire for the Other or the hidden alter that is trying to adapt itself to the new environment while the character is unraveled as abject for the others in the special context. The dangling state of Blanche’s mind is exposed through multiple features of the concepts to embody the blurring border between the Other and the self.

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Cardoso Silveira, Gustavo. "DIFERENÇAS QUE CARACTERIZAM O DRAMA A STREETCAR NAMED DESIRE E SUA TRADUÇÃO UM BONDE CHAMADO DESEJO." REVISTA DE LETRAS - JUÇARA 5, no. 2 (December 22, 2021): 189–207. http://dx.doi.org/10.18817/rlj.v5i2.2693.

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O objetivo deste artigo é a comparação entre o original em língua inglesa do drama A Streetcar Named Desire, de Tennessee Williams, com a tradução em português, Um bonde chamado Desejo, de Vadim Nikitin, a fim de identificar as categorias linguísticas que apresentam diferenças entre as duas versões. Nos anos noventa, o conceito do tradutor subserviente foi substituído por outro, visivelmente manipulador, entendido como um sujeito inserido em um contexto cultural, ideológico, político e psicológico – não podendo ser ignorado ou eliminado. Como resultado dessas imposições, o tradutor é obrigado a fazer escolhas nem sempre fiéis às da língua do texto original, implicando em diferenças na interpretação do texto. A análise tem o apoio da Linguística Sistêmico-Funcional (LSF), uma proposta teórico-metodológica, de Halliday (1994), Halliday; Matthiessen (2004) e seus colaboradores. Como Martin e White (2005, p. 7) explicam, "a LSF é “um modelo multiperspectivo, designado a dar aos analistas lentes complementares para a interpretação da língua em uso". Os resultados da análise mostram a impossibilidade de uma tradução exata e fiel ao original, devido a dificuldades de natureza tanto referentes à subjetividade do tradutor, quanto às características tipológicas das línguas em confronto.

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Nazermi, Zahra, Hossein Aliakbari Harehdasht, and Abdolmohammad Movahhed. "Trans-Mediation of Gender in Elia Kazan’s Adaptation of A Streetcar Named Desire." Littera Aperta. International Journal of Literary and Cultural Studies 6 (December 9, 2021): 63–77. http://dx.doi.org/10.21071/ltap.v6i6.14044.

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Elia Kazan is among the first directors who adapted Tennessee Williams’s A Streetcar Named Desire (1951) for the cinema. Kazan’s film adaptation was almost faithful to the original manuscript by sticking to Williams’s words and sentences. However, even if one ignores the cultural and historical contexts, the alterations that take place in the process of trans-mediation cannot be disregarded, since the telling mode in the text changes to the showing mode in the media. With this hypothetical basis, the present study aims to detect the possible alterations in the adaptation of the play to examine gender roles in both texts. Using the ideas of Linda Hutcheon in A Theory of Adaptation (2013), the authors have studied the verbal signs in the play together with the verbal and visual codes in the movie to assess how the film adaptation has incorporated the ideas of femininity, which are the main concerns of the play, too. The results of the study suggest that the alterations from the literary text to film have contributed to the development of female identity.

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Nogueira, Marta. "The Actor as Author of the Text he Acts." HUMAN Review. International Humanities Review / Revista Internacional de Humanidades 9, no. 2 (December 21, 2020): 101–11. http://dx.doi.org/10.37467/gka-revhuman.v9.2642.

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We aim to demonstrate how the acting technique and skills of an actor may influence the intentions of a text’s author, showing him new paths through the human and emotional factors. We also aim to demonstrate that what is usually considered a “text” may not always be a fixed entity produced by a single isolated individual. The analysis of the staging and film adaptation of Tennessee Williams’ A Streetcar Named Desire and the development of the character Stanley Kowalski by Marlon Brando, shows how he changed the written version of the play, shifting its core, interfering with the balance between the two main characters and helping to shape the cultural and historical attributes which rendered its particular place in art history. The text produced by the actor may, thus, assume an identical value to that of the dramatic script from which it developed, or even produce a higher impact.

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Yoon, Hee-uhk. "Tennessee William’s A Streetcar Named Desire : A Study of the Eyesight and the Body of the Other through Jean-Paul Sartre’s Concepts of Being and Nothingness." Journal of Modern English Drama 31, no. 2 (August 31, 2018): 81–108. http://dx.doi.org/10.29163/jmed.2018.8.31.2.81.

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Steinbuch, Thomas. "Towards a Posthuman Sexuality: Art, Sex and Evolution in Nietzsche, Williams and Mozart." Journal of Posthumanism 2, no. 1 (February 28, 2022): 65–78. http://dx.doi.org/10.33182/joph.v2i1.1970.

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My paper is a study of art, sex and evolution as they are entwined in the text of On Those Who Are Sublime from Nietzsche’s Thus Spoke Zarathustra and other related texts from that work. N. introduces the thought of the Dionysian orgy in connection with the work of art, which should be Dionysian art, and in this meaning, the sexual orgy signifies evolution. My paper further attempts to identify art, sex and evolution in the context of evolution out of the mind of domination arguing that here evolution means experiencing freedom and backtracking from rape sex to anonymity in sex. A close reading is made of the psychology of domination in Tennessee Williams’ drama A Streetcar Named Desire I present a new interpretation of Mozart’s Don Giovanni as a search, however unclearly, for a post human sexuality. I draw on the works of Wilhelm Reich’s classics of the literature of the Frankfurt School on the critique of authoritarianism, and interrogate the idea of truthfulness promoted on the far right.

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Mohamed, Islam Refaat Mohamed. "Masculinity as an Indication of Power and Dominance in A Streetcar Named Desire by Tennessee Williams: A Pragma-Stylistic Approach." CDELT Occasional Papers in the Development of English Education 69, no. 1 (January 1, 2020): 105–23. http://dx.doi.org/10.21608/opde.2020.145630.

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Boruah, Ananya. "Domestic Violence and Silence of Women with Reference to the Broadway Drama by Tennessee Williams “A Streetcar Named Desire” (1947)." International Journal of English Literature and Social Sciences 7, no. 2 (2022): 203–7. http://dx.doi.org/10.22161/ijels.72.26.

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Kolaković, Ivana R. "TRAPPED BETWEEN TRADITIONAL AND MODERN: GENDER ROLES IN TENNESSEE WILLIAMS’ PLAYS A STREETCAR NAMED DESIRE AND CAT ON A HOT TIN ROOF." ZBORNIK ZA JEZIKE I KNJIŽEVNOSTI FILOZOFSKOG FAKULTETA U NOVOM SADU 7, no. 7 (March 5, 2018): 275. http://dx.doi.org/10.19090/zjik.2017.7.275-288.

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Drame Tenesija Vilijamsa odražavaju specifičan vremenski period kada su u pitanju razumevanje i razvoj rodnih uloga. Ipak, njegovi likovi povremeno uspevaju da prevaziđu granice tradicionalnog, čime Vilijams preispituje položaj žena u Americi sredinom 20. veka. Ovaj rad se bavi dvema od njegovih najpoznatijih drama, Tramvaj zvani želja (1947), i Mačka na usijanom limenom krovu (1955), odnosno glavnim ženskim likovima ovih drama – Blanš Diboa i Megi Polit, iliti Megi „Mačka“. Postupci ta dva lika ističu performativnu prirodu roda i preispituju tradicionalne rodne uloge tipične za Ameriku pedesetih godina XX veka. Pojam performativnosti roda uvela je u feminističku teoriju filozofkinja i teoretičarka roda, Džudit Batler. U njenoj teoriji, rod je shvaćen kao društveni konstrukt, kao tvorevina koju proizvodimo našim akcijama. Stoga, rodne uloge nisu biološki zadate, već društveno i istorijski uslovljene, i kao takve su podložne promenama. Blanš Diboa, i Megi „Mačka“poigravaju se zadatim rodnim ulogama na način koji je donekle subverzivan. One stoga prevazilaze granice tradicionalnog shvatanja roda, ali, usled društveno-istorijske situacije, ne uspevaju da dosegnu modernost, što ih čini rastrzanim i zarobljenim između dva sveta.

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Kim, In-Pyo. "A comparative Study of Tennessee Williams and Im Hee-Jae: A Streetcar Named Desire and A Train Which Feeds on Floral Leaves." Modern Studies in English Language & Literature 60, no. 1 (February 28, 2016): 23–42. http://dx.doi.org/10.17754/mesk.60.1.23.

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Balakian, Janet. "Confronting Tennessee Williams' A Streetcar Named Desire: Essays in Critical Pluralism. Edited by Phillip C. Kolin, Westport, CT: Greenwood Press, 1993; pp. 255." Theatre Survey 36, no. 2 (November 1995): 115–18. http://dx.doi.org/10.1017/s0040557400001332.

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RICHARDS, GARY. "Queering Katrina: Gay Discourses of the Disaster in New Orleans." Journal of American Studies 44, no. 3 (August 2010): 519–34. http://dx.doi.org/10.1017/s0021875810001210.

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Within certain conservative narratives imposed upon the events of 2005, New Orleans has been demonized as a site promoting gay licentiousness and therefore meriting divine retribution. In queer narratives, New Orleans has been valorized as promoting that same licentiousness but lamented for having those hedonistic excesses tempered by the widespread destruction of the city. Especially in the latter scenario, there is a significant degree of nostalgia, an element that also marks other queer understandings of the city that focus not so much on the hedonism as on the day-to-day warp and woof of pre-hurricane gay communities. The main focus of this essay is on how, as gay communities have been reconfigured in the aftermath of the hurricane by temporary and permanent evacuations, job relocations, and other alterations, gay responses have continued to evince a range of emotions, including anger, bitterness, resignation, and optimism. This essay focusses on gay literary production responding directly to the hurricane to examine essays and poems published as Love, Bourbon Street: Reflections of New Orleans (2006) and Blanche Survives Katrina in FEMA Trailer Named Desire, Mark Sam Rosenthal's off-Broadway show structured around a parody of Tennessee Williams's A Streetcar Named Desire that, as a result of this structure, faced legal action instigated by the University of the South, owner of the intellectual rights to Williams's literary production. The collection and the play are sustained queer responses to Katrina's flooding of the city that showcase both the energizing and problematic aspects of these responses.

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Grecco, Stephen, and Philip C. Kolin. "Williams: A Streetcar Named Desire." World Literature Today 74, no. 4 (2000): 823. http://dx.doi.org/10.2307/40156150.

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Cardullo, Bert. "Williams’ a Streetcar Named Desire." Explicator 43, no. 2 (December 1985): 44–45. http://dx.doi.org/10.1080/00144940.1985.11483873.

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Adler, Thomas P. "Williams: A Streetcar Named Desire (review)." Theatre Journal 53, no. 2 (2001): 354–55. http://dx.doi.org/10.1353/tj.2001.0029.

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