Dissertations / Theses on the topic 'Streetcar named desire'

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

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

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

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

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

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

Dissertação (Mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão.
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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.

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).

Depuis quelques années, certains metteurs en scènes européens prennent des initiatives particulièrement audacieuses dans leurs adaptations de textes classiques, coupant le texte, modifiant l’ordre des monologues et allant jusqu’à injecter des morceaux de textes écrits par eux ou bien issus d’autres oeuvre littéraires. Ils n’hésitent plus à "se mettre en scène", c’est-à-dire à traiter avant tout leurs propres questions existentielles par l’intermédiaire des textes classiques, se libérant ainsi de toute pression exercée sur eux par les interprétations textuelles faisant autorité ou bien par les représentations de ces textes dans l’imaginaire collectif, et emmenant les textes classiques dans un "ailleurs" très personnel. Leurs mises en scène dépassent la fragmentation et le désordre propres au théâtre postmoderne et s’attachent au contraire à raconter une histoire cohérente, centrée sur les préoccupations intimes du metteur en scène. Ce nouveau type de mises en scène s’appuie sur des influences diverses, depuis André Antoine jusqu’à Heiner Müller, en passant par Stanislavski, Artaud et Brecht, et constitue une nouvelle étape dans le processus d’autonomisation de l’art de la mise en scène à l'oeuvre depuis le XIXème siècle. Le corpus de cette thèse comprend quatre récentes adaptations (réalisées entre 2008 et 2011) de textes classiques : Hamlet de Thomas Ostermeier, Hamlet de Nikolaï Kolyada, Roméo et Juliette d’Olivier Py et Un tramway de Krzysztof Warlikowski (à partir de Un tramway nommé Désir de Tennessee Williams). Il comprend également une mise en pratique sous la forme d’une adaptation, Pygmalion - J’ai créé une femme (à partir de Pygmalion de George Bernard Shaw), réalisée par l’auteur de la thèse en 2014 au sein des Théâtres Nationaux de Turquie, et ayant permis de tester les arguments et conclusions tirés des analyses précédentes
In recent years, some European directors are taking particularly bold initiatives in their adaptations of classic texts, cutting the text, changing the order of monologues and even injecting pieces of texts written by them or from other literary works. They do not hesitate to "stage themselves", that is to say, to treat primarily their own existential questions through the classic texts, thus releasing any pressure exerted on them by the authoritative textual interpretations or by the representations of these texts in the collective imagination, and taking the classic texts in a very personal "elsewhere". Their stagings exceed the fragmentation and disorder specific to postmodern theater and focus instead on telling a coherent story, centered on the intimate concerns of the director. This new type of staging draws on diverse influences from André Antoine to Heiner Müller through Stanislavski, Brecht and Artaud, and represents a new stage in the empowerment process of the art of staging at work since the nineteenth century. The corpus of this thesis includes four recent adaptations (conducted between 2008 and 2011) of classic texts: Thomas Ostermeier’s Hamlet, Nikolai Kolyada’s Hamlet, Olivier Py’s Romeo and Juliet, and Krzysztof Warlikowski’s A Streetcar (from A Streetcar Named Desire by Tennessee Williams). It also includes a practical application in the form of an adaptation, Pygmalion - I Created A Woman (from Pygmalion by George Bernard Shaw), directed by the author of the thesis in 2014 in the Turkish State Theatres and having tested the arguments and conclusions from previous analyzes

碩士
淡江大學
英文學系碩士班
98
Drawing on Hélène Cixous’s écriture féminie and Sigmund Freud’s instinctual dualism of Eros and death, this thesis attempts to explore how gender differences and the alloy of human instincts─desire and death─provoke the opposition between Blanche DoBois and Stanley Kowalski and especially Blanche’s inner conflict with herself in Tennessee Williams’s A Streetcar Named Desire. Chapter One will focus on the external factors which cause Blanche to be opposed to Stanley and vice versa. Their differences in social backgrounds─Blanche is the representative of southern aristocrat while Stanley is that of working class─clearly prefigure their incompatibility. From the perspective of Michel Foucault’s concept of social regulation and normalization, their differences in social norms in terms of their social backgrounds─Blanche adheres to the southern aristocratic norm while Stanley advocates the primitive norm─lead to their ensuing opposition in Elysian Fields. Chapter Two will turn to Cixous’s concept of phallocentrism to explore another cause of their inexorable antagonism, that is to say gender differences. Throughout many poker nights in this play, Stanley could be conceived of as the king who seizes the throne of Elysian Fields by means of male potency, subjugation of female characters, and violence against those who try to pose a challenge to his authority. Blanche attempts to stage a revolt against Stanley’s phallocentric realm by abetting Stella to emancipate from her husband’s ferocity. Based on Cixous’s concept of écriture féminie, Blanche’s abundant desires could be regarded as a way of inscribing her feminine desires onto her body (or expressing Williams’s sexuality in this drama), since the playwright claims that he identifies with Blanche. The revelation of her desires transgresses the phallocentric inhibition that women should be passive nonentities and even disorients Stanley’s male potency. Chapter Three will deal with Blanche’s inner opposition between desire and death from two perspectives. The first half of this chapter will attempt to decipher the enigma of her inner conflict in terms of Freud’s psychic opposition between the instinct of Eros and that of death. Blanche’s self-torment, in the form of having intimacies with strangers and capitulating to Stanley’s rape, is driven by her sense of guilt for her husband Allan’s suicide, that is to say the derivative of the instinct of death. The second half of this chapter will turn to Cixous’s concept of writing through death to shed light on her inner association of desire with death. Based on Cixous’s affirmation that the only passage for a writer to penetrate into truths is through death, we could deduce that Blanche’s initiation of intimacies/William’s commencement of writing are both on the verge of death: she undergoes Allan’s death, while he withstands his sister Rose’s total derangement. To sum up, Blanche’s ultimate nervous breakdown should not be completely interpreted as her final downfall. To a certain degree, Tennessee Williams, in the disguise of Blanche, may suggest that the birth of Stella’s baby appears to be Blanche’s rebirth. Through the journey of desire release, she recuperates her identity as a woman/human in lieu of a silent nonentity.

碩士
國立臺灣大學
外國語文學系
85
A Contextualized Interpretation of A Streetcar Named Desire So much has been written about A Streetcar Named Desire in terms ofthe oppositions set up in the play between soul and body, life and death,past and present, that Tennessee Williams' primary intention as revealedin his use of visual, aural and verbal langauges to create a world characterized by voices of distinctive consciousness to depict significantproblems such as the revolutionary nature of drama has been obscured. Thisstudy of the revolutionary art in Tennesssee Williams' A Streetcar NamedDesire thus intends to demonstrate the author's revolutionary spirit in bothsocial and artistic concerns. Beginning with the remarks about his "revolutionary" ideas given by Tennessee Williams , Chapter One recognizes the achievement in the effortsmade by Tennessee Williams to meet his need for a system ofcommunication, for a theatrical langauge related specifically to the interpretation of reality in the modern world, and thus capable of distinctly connoting human consciousness. To clarify Williams' uniqueness as a revolutionary American artist, this thesis is therefore to be divided into three main parts, and the heading ofeach highlights its central emphasis. Assuming that literature reflectssociety and that the writer is a very sensitive antenna to what is going onin society, Chapter Two further examines how Tennessee Williams exploresthe conventional perceptions of and attitudes toward men and women, their changing roles, morality and values, and how these have all materializedin the portrayal of characters. It also speculates on how these images reflect the author's ideas about gender, society and culture. Discourseanalysis is the main mode of interpretation with a focus on the questionof the identities of men and women, their changing roles, morality andvalues, and how these have all materialized in the portrayal of characters. It also speculates on how these images reflect the author'sideas about gender, society and culture. Discourse analysis is the mainmode of interpretation with a focus on the questions of the identities of men and women in relation to socio-economic and psychological factors. To bring to light the revolutionary features of multiplicity of theplay, this thesis attempts to take a new look at the conflicts betweenthe characters from a historical perspective to elucidate the overlookedsocial background. By presenting the conflicts between Blanche's and Stanley's historical discourses, Williams implicates in the play the socio-economic influences of historical upheavals over men and women in the late1930s and 1940s. Chapter Three makes efforts to figure out the plot structure of the playbeneath the flow of the dialogue and the color of the personalities. In addition to his achievement in formal structure, Williams' artistic revolutionlies in his innovatory "plastic theater." His plastic theater signifies thetheater that does not restrict itself to the verbal but incorporates the visual,the aural, and the tactile, all the sensuous menas available to the writer. Nevertheless, the plastic theater cannot be fulfilled unless materilizedon stage. Chapter four thus discusses the artistic revolution of Williams'plastic theater through his cooperation with the director and the designer. With the increasingly and variusly produced critical interpretations byfilm, by alternative theaters as well as by critical readings, Williams' work has in effect transcended the limitations imposed by the racial andsexual modes of one single production. Consequently, the final chapter illustrates how Williams' artistic revolution helps him to achieve his"humanitarian" polities through multitudinous critical interpretations.

碩士
文藻外語學院
創意藝術產業研究所
100
The “Crash of Streetcar Named Desire” is a little theatre project performed in December 2011. This thesis is developed for describing the process of its creation and performance. The content includes motive, purpose, structure, as well as the idea of directing. As a director, re-writer, and actor, I hope to analysis the environment of little theatre in Kaohsiung today, and try to develop my personal theatric style.

碩士
淡江大學
西洋語文研究所
88
Title of the Thesis: Normalization in Tennessee Williams's A Streetcar Named Desire Total Pages: 86 Key Words: normalization, disciplinary power, Michel Foucault Name of Institute: Graduate Institute of Western Languages and Literature Tamkang University Graduate Date: January, 2000 Degree Conferred: Master of Arts Name of Student: Szu-chia Chen 陳思嘉 Adviser: Dr. Reinhard Duessel Abstract: Within each social group, every member in his/her small society is required to conform to a "norm." The social group, according to Michel Foucault, is a "normalizing society," which intends to normalize individuals with its "disciplinary power." In Discipline and Punish, Foucault elaborates on how our society has become a "carceral society" due to the "increasing normalization of modern culture." The incarceration encloses our lives with the omnipresent disciplinary power. With the constant functioning of disciplinary power, the society maintains order and stability. The one who violates the tranquil order is treated seriously. Disciplinary power comes to the forefront to correct, or namely, to "train" the distracted one, back on track to become "normal." If the task of normalization fails, disciplinary power will exclude and isolate the deviant by driving him/her to the margin of the society. The tragedy of Tennessee William's A Streetcar Named Desire is about the confrontation of two separate norms: when Blanche's aristocratic norm encounters the norm of Elysian Fields, the diversity in conventions and values results in conflicts and a crisis. My discussion in this thesis thus will mainly apply Foucault's argument about normalization to exploring how the individuals from each norm solve these conflicts and the crisis. Blanche DuBois represents the aristocratic norm while Elysian Fields, which Blanche's sister Stella and brother-in-law Stanley inhabit, stands for the primitive norm. When Blanche is compelled to live with Stella and Stanley in the blue-collared neighborhood of Elysian Fields, the encounter of the two norms evokes a series of conflicts. As the interaction among these characters heightens, a crisis of survival is produced: not only Blanche but also the community finds each other's existence threatening their survival. In order to overcome the conflicts and ensure survival, Blanche and the community resort to similar strategies: Blanche intends to assimilate other characters to include them within her norm while the community, led by Stanley, adopts the techniques of normalization in order to discipline Blanche. The outcome of the competition of the two norms is that neither Blanche nor the community succeeds in their attempts. The result leads Blanche toward devastation: the community decides to exclude her from their society. At the end of the play, the mentally deranged Blanche is driven to the margin of the society-she is sent to the asylum. My discussion in the thesis will fall into three parts: First, I will examine the characteristics of the two norms, the conflicts and crisis generated from their confrontation. Secondly, the discussion will shift to the strategies that Blanche and the community adopt respectively-assimilation and normalization-to cope with the crisis between the two norms. At last, I will elaborate on the process that is used to destroy Blanche and exclude her from the community of Elysian Fields.

碩士
輔仁大學
翻譯學研究所在職專班
92
The first part of this thesis is divided into five chapters. The first chapter states the motive behind this thesis and the aim of it. The second chapter offers some comments on the other two Chinese versions of A Streetcar Named Desire in Taiwan. The third chapter is an introduction of Tennessee Williams and his famous work: A Streetcar Named Desire. The fourth chapter focuses on the principles for translating this unique literary genre, drama, and discusses the difficulties in drama translation. The strategies used in translating A Streetcar Named Desire are also explicated in this chapter. The last chapter is an epilogue. The second part of this thesis is a translation of A Streetcar Named Desire by the author of this thesis.

碩士
國立臺灣藝術大學
戲劇學系
99
Abstract An Analysis of the Use of Symbols in Tennessee Williams’s A Streetcar Named Desire The thesis is intended to examine the use of symbols in Tennessee Williams’s A Streetcar Named Desire. Williams, highly praised for his expressionism, poetic realism and symbolism, is generally regarded as one of the greatest American dramatists. Symbols are, as Williams makes abundantly clear in his essays over the years, an integral part of his dramatic technique. As a master at weaving a tangled web of symbols, Williams endeavors to convey the profoundest meanings to his readers. This thesis consists of five main parts. First, according to the basic definition of symbols, I’ll display significant objects in the play, and trace the meanings back to the literary archetypes. Second, I’ll delve into how two main protagonists, Blanche and Stanley, are portrayed to convey the struggles between the southern world and the industrial world. The third part is devoted to the recurrent image of the music and light, and its hidden values of the main settings are also analyzed respectively. The fourth part will focus on the discussions of the suggestive and ambiguous lines and the usage of puns. The last but not the least, as the integral symbols, I’ll draw a parallel between the actions in A Streetcar Named Desire and in The Divine Comedy, and also between A Streetcar Named Desire and The Lady of the Camellias. All symbols in this thesis are examined in the hope of not only better understanding the ideas Williams intends to convey, but also further appreciating the essence of this great literary work in a diverse respect. Key words：Tennessee Williams, A Streetcar Named Desire, symbol, image, literary archetype.

碩士
國立臺灣大學
外國語文學研究所
93
Tennessee Williams, one of the greatest American dramatists, is highly praised for his exquisite female characterization. While generally occupying a main position, Williams’ women are also overloaded with images and significances that reflect not only critics’ ideology but the author’s own propensity. The aim of the thesis is to explore the contradictory images of female characters through the lens of masquerades in Williams’ three plays, The Glass Menagerie, A Streetcar Named Desire, and Summer and Smoke. By focusing on the multiple masquerades of sexuality, language, imagery, and social regulations, the thesis will also have a look at the author’s homosexual world and scrutinize his identification with and prejudice against women. Besides, the “authenticity” of masculinity and femininity will be problematized, and the paradox of Williams’ South will be rediscovered. This way, masculinity and femininity are to be endowed with more possibility and fluidity, and the significance of artifice in Williams’ plays is to be highlighted. By reexamining the multiple masquerades in the three plays, the thesis will delve into Williams’ world of aggrandizement and theatricalization as well as into his view of women and sexuality.

This dissertation seeks to analyse the way illusion and reality converge in the play A Streetcar Named Desire1 by Tennessee Williams2. The protagonist Blanche DuBois will be the central figure of this analysis. Blanche´s personal perception of reality leads to ambiguity and a metaphormosis of f truth. The dissertation will explore whether Blanche DuBois can reveal a deeper reality to us. Quotes refer to the edition published by Reclam (Stuttgart, 2015). A staged example of the piece, in the form of the German production Endstation Sehnsucht3 (German title of A Streetcar Named Desire) directed by Lars-Ole Walburg4 will also be referred to.

Dissertação de mestrado em Tradução, apresentada à Faculdade de Letras da Universidade de Coimbra, sob orientação de Isabel Pedro dos Santos e co-orientação de Maria da Conceição Carapinha Rodrigues.
Esta dissertação apresenta um estudo comparativo entre duas traduções para a língua portuguesa – padrão brasileiro – da obra clássica da dramaturgia norte-americana A Streetcar Named Desire, de autoria de Tennessee Williams: uma, realizada pelo tradutor Brutus Pedreira, por volta de 1960, e a outra, por Vadim Nikitin, em 2002, tendo, ambas, recebido o nome de Um Bonde Chamado Desejo. A investigação se filia a duas áreas: os Estudos da Tradução e a Análise Crítica do Discurso. No âmbito da primeira, utiliza os princípios defendidos pela Teoria dos Polissistemas, de Itamar Even-Zohar — um polissistema entendido como um conjunto de vários sistemas que se interconectam e se influenciam, inclusivamente o sistema literário, ao qual se vincula a literatura traduzida — e pela Manipulation School, a que se filiam, entre outros, Theo Hermans e André Lefevere, os quais indicam ser a tradução um processo de reescrita, em que o texto original é manuseado e alterado, conforme a ideologia predominante no contexto histórico e sociocultural em que se processa a tradução. No âmbito da Análise Crítica do Discurso, esta dissertação segue mais de perto os estudos de Norman Fairclough, os quais também compreendem o uso da linguagem, na fala e na escrita, como vinculado a um contexto histórico-situacional-institucional; o texto carrega as marcas ideológicas da sociedade em que se insere, havendo, portanto, uma estreita ligação entre sociedade, discurso e poder. Assim, com base nos pressupostos das duas áreas, procedeu-se a uma análise do discurso de construção da personagem Stanley Kowalski, no texto de partida, destacando-se as marcas discursivas associadas ao conceito de virilidade, no contexto sociocultural do lançamento da obra (EUA-1947). De posse desses dados, e com o auxílio do esquema descritivo de José Lambert e Hendrik van Gorp (1985) para tradução literária, procedeu-se à análise da forma como tais marcas foram trazidas (traduzidas) para a língua portuguesa em dois momentos distintos da história brasileira.
This master thesis presents a comparative research study between two translations into Portuguese language – Brazilian variant – of the classical North-American drama A Streetcar Named Desire, by Tennessee Williams; one translation was made by Brutus Pedreira, around 1960, and the other was prepared by Vadim Nikitin, in 2002; both received the name Um Bonde Chamado Desejo. The investigation carried out in this thesis was based on two areas: Translation Studies and Critical Discourse Analysis. From the first area, it takes on Itamar Even Zohar‘s Polysystem theory — a polysystem is composed by various systems which intersect with each other, including the literature system into which translated literature is inserted — and the concepts of the The Manipulation School, whose scholars, such as Theo Hermans and André Lefevere, defend that translation is a rewriting process shaped by the socio-cultural, political and historical context in the target system. In the framework of Critical Discourse Analysis, this thesis follows Norman Fairclough‘s approach, which maintains that the text does not convey meaning through linguistic features but it is generated and realized by its discursive formations reflecting certain ideologies or given ways of controlling and manipulating power relations. Therefore, based on such principles, this study focused on the critical discursive analysis of Stanley Kowalski´s characterization in the source text, emphasizing the elements that shaped the concept of virility in the book‘s first publishing context (USA 1947). From these data, and using José Lambert and Hendrik van Gorp’s descriptive scheme of literary translation (1985), we investigated the way such elements were brought (translated) into the Brazilian Portuguese language at two different points in time – the early 1960s and forty years later.

博士
國立臺灣藝術大學
表演藝術學院表演藝術博士班
106
Tennessee Williams was an American modern drama important playwright. Williams was a famous homosexual playwright and often wrote a homosexual story or plot in his play. Although the study of the homosexuality of Williams had some results in domestic and foreign, it was rare analysis the emotional interaction of his plays between homosexuality and heterosexuality. This study will focus on the three plays -A Streetcar Named Desire, Cat on a Hot Tin Roof, and The Rose Tattoo. This study will understand the gender awareness and symbols of the characters in the play through the queer theory and Greimas’ The Actantial Model. This analyst can better understand the position of the characters in the narrative structure. This study discovered that the discrimination against homosexuality of Williams's characters often resulted the position of the heterosexual. In the first half of the 20th century, the United States was affected by the Wales Padlock Law, and homosexual drama was banned. The law led Williams to try many concealment sign symboling homosexuality, such as Street Car of Desire and Cat on a Hot Tin Roof. We could also discover concealment sign symboling heterosexual love and expression from Rose Tattoo, that not only homosexual dramas. The concealment symbols still highlight the true inner of the characters.