Journal articles: 'Streetcar named desire'

1

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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2

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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Kolin, Philip C., and Jürgen Wolter. "Williams’s a Streetcar Named Desire." Explicator 49, no. 4 (July 1991): 241–44. http://dx.doi.org/10.1080/00144940.1991.11484088.

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4

Dorff, Linda. "A Streetcar Named Desire (review)." Theatre Journal 49, no. 2 (1997): 227–28. http://dx.doi.org/10.1353/tj.1997.0052.

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Schultz, Ray. "A Streetcar Named Desire (review)." Theatre Journal 57, no. 1 (2005): 122–25. http://dx.doi.org/10.1353/tj.2005.0032.

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6

Brooks, Daniel. "Williams's A Streetcar Named Desire." Explicator 65, no. 3 (April 2007): 177–80. http://dx.doi.org/10.3200/expl.65.3.177-180.

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7

Kolin, Philip C. "Williams's a Streetcar Named Desire." Explicator 66, no. 1 (September 2007): 34–37. http://dx.doi.org/10.3200/expl.66.1.34-37.

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8

Silvio, Joseph R. "A Streetcar Named Desire—Psychoanalytic Perspectives." Journal of the American Academy of Psychoanalysis 30, no. 1 (March 2002): 135–44. http://dx.doi.org/10.1521/jaap.30.1.135.21985.

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9

McKee, D. "A Streetcar Named Desire. Andre Previn." Opera Quarterly 16, no. 4 (January 1, 2000): 718–23. http://dx.doi.org/10.1093/oq/16.4.718.

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10

Cardullo, Bert. "Scene 11 ofA Streetcar Named Desire." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 10, no. 4 (January 1997): 34–38. http://dx.doi.org/10.1080/08957699709600789.

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11

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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12

Zenobio de Assumpção Villar Laufhütte, Maria Luiza, and Alberto Cipiniuk. "A streetcar named consumption, an object named desire." Comunicação Mídia e Consumo 15, no. 44 (December 13, 2018): 27. http://dx.doi.org/10.18568/cmc.v15i44.1513.

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13

Román, David. "A Streetcar Named Desire (review)." Theatre Journal 63, no. 2 (2011): 248–50. http://dx.doi.org/10.1353/tj.2011.0064.

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14

Vlasopolos, Anca. "Authorizing History: Victimization in "A Streetcar Named Desire"." Theatre Journal 38, no. 3 (October 1986): 322. http://dx.doi.org/10.2307/3208047.

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15

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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16

Bray, Robert. "Williams: A Streetcar Named Desire (review)." Comparative Drama 35, no. 2 (2001): 234–37. http://dx.doi.org/10.1353/cdr.2001.0010.

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17

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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18

Kolin, Philip C. "Tennessee Williams's "A Streetcar Named Desire" in Havana: Modesto Centeno's Cuban "Streetcars," 1948-1965." South Atlantic Review 60, no. 4 (November 1995): 89. http://dx.doi.org/10.2307/3201238.

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19

IFTIMIE, Nicoleta Mariana. "The Clash of Genders in A Streetcar Named Desire." Postmodern Openings 9, no. 2 (June 10, 2018): 70–78. http://dx.doi.org/10.18662/po/18.

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20

Kolin, Philip C., and Thomas P. Adler. "A Streetcar Named Desire: The Moth and the Lantern." Theatre Journal 43, no. 3 (October 1991): 407. http://dx.doi.org/10.2307/3207606.

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21

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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22

최석훈. "Desire, Affect, and Becoming: A Deleuzian Reading of A Streetcar Named Desire." Journal of English Language and Literature 65, no. 1 (March 2019): 111–26. http://dx.doi.org/10.15794/jell.2019.65.1.006.

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23

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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24

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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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 A Streetcar Named Desire. 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 (The Glass Menagerie) e Blanche DuBois (A Streetcar Named Desire). Discute também como o melodrama auxilia a construir o desfecho trágico dessas personagens.

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25

Leff, Leonard J. "And Transfer to Cemetery: The Streetcars Named Desire." Film Quarterly 55, no. 3 (2002): 29–37. http://dx.doi.org/10.1525/fq.2002.55.3.29.

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The 1993 rerelease of A Streetcar Named Desire restores four scattered minutes of footage that Catholic censors in the Legion of Decency ordered cut from the picture before its original 1951 release. Praising 1993 over 1951 (or vice versa) misses an important point: the 1993 rerelease is less the "Original Director's Version"(as it has been advertised) than the one the industry's own censors negotiated and endorsed. Moreover, these two texts, when paired, raise important questions about authorial intention as well about as the workings of style, censorship practices,and the tensile strength and curious tensions of an enduring American drama.

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26

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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27

Tripković-Samardžić, Vesna M. "“A Streetcar Named Desire” (1951): Adaptation that Made a Difference." Komunikacija i kultura online 7, no. 7 (2016): 94–108. http://dx.doi.org/10.18485/kkonline.2016.7.7.7.

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28

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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29

윤정용. "The Masculinity and Patriarchal Violence in A Streetcar Named Desire." English21 25, no. 3 (September 2012): 55–80. http://dx.doi.org/10.35771/engdoi.2012.25.3.003.

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30

ÖZBIRINCI, PÜRNUR UÇAR. "Intercultural Theatre? A Streetcar Named Desire on the Turkish Stage." Theatre Research International 33, no. 1 (March 2008): 70–83. http://dx.doi.org/10.1017/s0307883307003409.

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The controversial theory of intercultural performance covers a wide range of theatrical practices, which intend to adapt subject matter and situations from one culture to another. This intention mainly involves a transportation and translation of elements and perspectives across cultures. The translator, the audience or reader, and the director fill in the gaps that are formed during this transportation and translation with their own interpretations, in accordance with the culture they inhabit. However, intercultural performance requires conscious attempts to merge two different cultures. Such attempts should not be done solely for the ‘target’ culture's audience but should also regard the perceptions of the ‘source’ culture as much as possible. In light of this, Turkish State Theatre's director Ferdi Merter's production of A Streetcar Named Desire is analysed in order to locate the distinct changes the Turkish interpretation of the play has incorporated.

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31

Kolin, Philip C. "The Mexican Premiere of Tennessee Williams's "A Streetcar Named Desire"." Mexican Studies/Estudios Mexicanos 10, no. 2 (July 1994): 315–40. http://dx.doi.org/10.1525/msem.1994.10.2.03a00030.

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32

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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33

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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34

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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Abstract:

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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35

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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36

Foster, Karen, and Philip C. Kolin. "Confronting Tennessee Williams's "A Streetcar Named Desire": Essays in Critical Pluralism." Rocky Mountain Review of Language and Literature 48, no. 1 (1994): 98. http://dx.doi.org/10.2307/1347894.

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37

Hwang, Su-kyung, and Eunjung Kim. "Reading Drama, Making Games: Teaching A Streetcar Named Desire through Gamification." Korean Society for Teaching English Literature 23, no. 1 (April 30, 2019): 265–88. http://dx.doi.org/10.19068/jtel.2019.23.1.11.

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38

Adam, Julie, and Philip C. Kolin. "Confronting Tennessee Williams's "A Streetcar Named Desire". Essays in Critical Pluralism." Theatre Journal 46, no. 3 (October 1994): 435. http://dx.doi.org/10.2307/3208635.

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39

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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40

Roche-Lajtha, Agnès. "Dionysus, Orpheus and the Androgyn: Myth in A Streetcar Named Desire." Études anglaises 64, no. 1 (2011): 58. http://dx.doi.org/10.3917/etan.641.0058.

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41

Devlin, Diana, and Philip C. Kolin. "Confronting Tennessee Williams's a Streetcar Named Desire: Essays in Critical Pluralism." Yearbook of English Studies 25 (1995): 343. http://dx.doi.org/10.2307/3508922.

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42

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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43

Watson, Charles S., Tennessee Williams, and Philip C. Kolin. "Confronting Tennessee Williams's "A Streetcar Named Desire": Essays in Critical Pluralism." South Atlantic Review 58, no. 4 (November 1993): 163. http://dx.doi.org/10.2307/3201028.

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44

Pickrell, Don H. "A Desire Named Streetcar Fantasy and Fact in Rail Transit Planning." Journal of the American Planning Association 58, no. 2 (June 30, 1992): 158–76. http://dx.doi.org/10.1080/01944369208975791.

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45

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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46

Kane, Leslie, and Philip C. Kolin. "Confronting Tennessee Williams's A Streetcar Named Desire: Essays in Critical Pluralism." World Literature Today 67, no. 4 (1993): 832. http://dx.doi.org/10.2307/40149697.

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47

Eckardt, Marianne. "Commentary on “A Streetcar Named Desire—Psychoanalytic Perspectives” by Joseph Silvio." Journal of the American Academy of Psychoanalysis 30, no. 1 (March 2002): 145–48. http://dx.doi.org/10.1521/jaap.30.1.145.21981.

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48

Chang, Eunjoo. "Eugenics Discourse and the Control of Venereal Disease in A Streetcar Named Desire." Journal of Modern English Drama 31, no. 3 (December 31, 2018): 73–111. http://dx.doi.org/10.29163/jmed.2018.12.31.3.73.

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49

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">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.Keywords: Women, Anxiety, Freud's defense mechanisms</div>

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50

Schlueter, June. "Imitating an Icon: John Erman's Remake of Tennessee Williams'sA Streetcar Named Desire." Modern Drama 28, no. 1 (March 1985): 139–47. http://dx.doi.org/10.3138/md.28.1.139.

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Journal articles on the topic 'Streetcar named desire'

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