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

Author: Grafiati

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 (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 Ama

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2

Gencheva, Andrea. "Truth and illusion in Tennessee Williams' A Streetcar named desire." English Studies at NBU 2, no. 1 (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 (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 Read

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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 (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 s

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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 (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 Bla

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Rahadiyanti, Iga. "Women Language Features in Tennessee Williams’ A Streetcar Named Desire." Vivid: Journal of Language and Literature 9, no. 2 (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 s

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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 (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 (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

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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 (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

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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

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Eisler, Garrett. "When Blanche Met Brando: The Scandalous Story of “A Streetcar Named Desire”." Theatre Survey 47, no. 1 (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 th

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

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Gontarski, S. E. "Tennessee Williams’s Creative Frisson, Censorship, and the Queering of Theatre." New Theatre Quarterly 37, no. 1 (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 o

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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 the

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

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Abdelsamie, Adel Mohamed. "The Mythical Apollonian-Dionysian Forces in Tennessee Williams' A Streetcar Named Desire (1947)." مجلة کلية الآداب 31, no. 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 (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 anx

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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

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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 (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 opposite

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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 (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 (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 (d

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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 (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 traduçõe

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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, № 4(21) (31 травня 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

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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 (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 (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 husba

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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 (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 atrel

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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 (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

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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 (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 as

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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 (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 a

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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 (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

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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

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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 (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

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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 (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 (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 readin

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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 (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 (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 pedese

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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 (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 (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 (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 p

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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 (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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