Relevant bibliographies by topics / Tennessee Williams

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Tennessee Williams'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 May 2024

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Journal articles on the topic "Tennessee Williams"

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Kolin, Philip C., and Roger Boxill. "Tennessee Williams." Theatre Journal 42, no. 3 (October 1990): 398. http://dx.doi.org/10.2307/3208102.

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Jeste, Neelum D., Barton W. Palmer, and Dilip V. Jeste. "Tennessee Williams." American Journal of Geriatric Psychiatry 12, no. 4 (July 2004): 370–75. http://dx.doi.org/10.1097/00019442-200407000-00004.

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Foster, Verna A. "Tennessee Williams." Studies in Theatre and Performance 38, no. 2 (December 21, 2016): 215–17. http://dx.doi.org/10.1080/14682761.2016.1265831.

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Subashi, Esmeralda. "Tennessee Williams's Dramatic World." European Journal of Language and Literature 3, no. 1 (December 30, 2015): 77. http://dx.doi.org/10.26417/ejls.v3i1.p77-82.

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Tennessee Williams has been regarded as the greatest Southern dramatist and one of the most distinguished playwrights in the history of American drama. He is undoubtedly the most renowned American dramatist of the second half of the 20th Century. This paper addresses and explores some of the main features of his dramatic works. His drama was a lyric or poetic one, and that is why the critic and scholar Frank Durham referred to him as “Tennessee Williams, theater poet in prose”. When David Mamet describes William’s plays as “the greatest dramatic poetry in the American language”, he shares the widely accepted opinion that Williams brought to the language of the American theater a lyricism unequaled before or after. He infuses his dialogue with lyrical qualities so subtle that the reader or hearer, unaware, responds not to realistic speech but, instead, to speech heightened by such poetic effects as alliteration, rhythm, onomatopoeia, and assonance. As a Southern writer, Williams was attuned to the natural rhythm and melody of Southern speech, a melody, he says, heard especially in the voices of women. Characterization is one of Williams’s strongest achievements as a dramatist. His people are imaginatively conceived yet so convincing that it is tempting to take them out of context and theorize about their lives before and after the action of the play. In place of realism, which stressed photographic duplication of the actual, a style that had dominated American stage for four decades, Williams insisted on a theater that was “plastic” that combined all the elements of production- dialogue, action, setting, lighting, even properties- in a unified, symbolic expression of a truth.
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KOLIN, PHILIP C. "An Unpublished Tennessee Williams Letter to William Carlos Williams." Resources for American Literary Study 28, no. 1 (January 1, 2002): 159–62. http://dx.doi.org/10.2307/26366937.

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KOLIN, PHILIP C. "An Unpublished Tennessee Williams Letter to William Carlos Williams." Resources for American Literary Study 28, no. 1 (January 1, 2002): 159–62. http://dx.doi.org/10.2307/resoamerlitestud.28.2002.0159.

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Hale, Allean. "NOTEBOOKS: TENNESSEE WILLIAMS." Resources for American Literary Study 33, no. 1 (January 1, 2008): 355–57. http://dx.doi.org/10.2307/26367100.

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Hale, Allean. "NOTEBOOKS: TENNESSEE WILLIAMS." Resources for American Literary Study 33, no. 1 (January 1, 2008): 355–57. http://dx.doi.org/10.2307/resoamerlitestud.33.2008.0355.

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Griffies, W. Scott. "Incorporating Brain Explanations in Psychoanalysis: Tennessee Williams as a Case Study." Psychodynamic Psychiatry 50, no. 3 (September 2022): 492–512. http://dx.doi.org/10.1521/pdps.2022.50.3.492.

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Despite Tennessee Williams's genius as a playwright who could represent his inner emotional struggles in his art, psychoanalysis was unable to free him from the powerful “blue devils” within him. Williams's inability to engage with psychoanalysis presents an opportunity to discuss ways that contemporary thinking about brain structure and function might guide our understanding and treatment of patients such as Williams. One of the core defensive behaviors that made analysis difficult for Williams was his avoidance of painful emotions through compulsive writing, sex, alcohol, and drug-addictive behaviors. These pre-mentalized reactions became Williams's habitual procedural body response, which occurs below the level of the self-reflective brain. Within a relatively traditional ego psychological frame, Lawrence Kubie, Williams's analyst in 1957, attempted to prohibit the compulsive behaviors to be able to process the underlying painful affects in the analysis. However, given that this level of mind and brain functions was Williams's chief means of regulation, Williams could not engage in the psychoanalytic process and left the treatment after one year. I propose that Williams was operating in brain circuits below the level of “higher” reflection or interpretation-receptive circuits and therefore he was unable to make use of a traditional ego psychological model. A review of these brain circuits seeks to encourage therapists to utilize simplified brain explanations for patients, which can destigmatize the pathologic behaviors and enhance engagement in the treatment process.
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Sens, Jean-Mark. "THE TENNESSEE WILLIAMS ENCYCLOPEDIA." Resources for American Literary Study 30, no. 1 (January 1, 2005): 389–90. http://dx.doi.org/10.2307/26367018.

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Dissertations / Theses on the topic "Tennessee Williams"

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Mees, Mary C. "The Tennessee Williams Scholars Conference/Tennesse Williams Annual Review." ScholarWorks@UNO, 2008. http://scholarworks.uno.edu/aa_rpts/3.

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In December 2007 I began an internship with the Tennessee Williams Scholars' Conference/Tennessee Williams Annual Review. The Conference and Review are co-produced by Williams expert and professor of English at Middle Tennessee State University Dr. Robert Bray and the publications department of The Historic New Orleans Collection. The majority of my internship took place from my home and at The Collection, where I also currently serve full-time as an editor on book projects and the institution's quarterly magazine. The following report provides an overview of my internship, my analysis of the operation of the Conference/Review, and my recommendations for the organization developed over the course of my tenure, which will conclude in December 2008.
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Correro, Augustine III. "Performing Tennessee Williams." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2713.

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This thesis is dedicated to illustrating the unique challenges of staging works by the playwright Tennessee Williams, and to making suggestions on how to avoid common pitfalls in production, performance, and direction of his plays. It uses evidence from the playwright’s various biographical works as well as insight and conjecture from the author’s experience to illuminate these challenges and help the reader to avoid hackneyed or ineffective staging practices. It touches on the effect of film adaptations on stage performances; the typical portrayal of American Southern characters onstage; the aural ramifications of Williams’s poetry to a now-visually-centered audience; stylistic elements similar to Williams’s contemporaries, including Rice, Brecht, O’Neill, and others; the delicacy of Williams’s signature meter and rhythm in his plays; dramaturgical groundwork in the playwright’s intentions; and a systemization of archetypical Williams characters. This thesis does not prescribe a cut-and-dried set of rules and regulations for performing Williams’s works, for the simple reason that the Williams canon is so diverse that no singular set of “tricks” will be effective in every play. Furthermore, the author understands that a producer, director, or actor will not find use in all facets of a rigid “system”. The thesis does outline a number of practices whose aims are to make productions more effective from an integral perspective. There are exercises to attempt, questions to pose, and matters to consider in the staging of Williams’s plays during any part of production—from in-class reading to designing the scenery, and from deciding why to put a Williams play in a season to the living moments of an actor’s performance. The thesis aims to be helpful, informative, and accessible, rather than doctrinaire: much like the playwright’s works, its purpose is to illuminate dark corners of something that viewers think they already fully understand.
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Poarch, Megan L. "Three women of Tennessee Williams /." Read thesis online, 2010. http://library.uco.edu/UCOthesis/PoarchML2010.pdf.

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Bowlen, Creed. "The estate of mendacity an interpretation of Williams's most ambiguous character /." Orlando, Fla. : University of Central Florida, 2010. http://purl.fcla.edu/fcla/etd/CFE0002981.

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Weiss, Katherine. "Book Review of Tennessee Williams, Paul Ibell." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/2286.

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Roche-Lajtha, Agnès. "Les mythes dans l'oeuvre de Tennessee Williams." Paris 10, 2001. http://www.theses.fr/2001PA100126.

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L'approche mythocritique de l'oeuvre de Williams met en évidence la prégnance de quatre grands mythes de référence, entre lesquels oscille l'imaginaire williamsien, dans un ordre qui reflète l'histoire de la psyché occidentale et la stratification de l'inconscient collectif dont ils sont issus. Le mythe de Dionysos, immortalisé par Les Bacchantes, est le premier substrat du corpus williamsien, la tragédie d'Euripide apparaissant comme le paradigme dramatique de plusieurs pièces majeures. Les comédies de Williams révèlent également une homologie avec l'autre versant du mythe, celui du dieu phallique et de la hiérogamie avec Ariane. Le déclin du mythe de Dionysos est lié à l'émergence rivale du mythe d'Orphée, qui hanta toute sa vie le poète dramaturge à l'inspiration élégiaque. La résurgence des mythèmes de la descente aux enfers, du regard en arrière et du sparagmos final témoignent d'une identification profonde à l'aède grec, dont le sacrifice est assimilé à l'oblation du Christ, par un rapprochement sacrilège caractéristique du gnosticisme williamsien. L'auteur partage aussi avec l'ancienne hérésie la relecture blasphématoire des mythes de la Genèse et de la Chute. La même pulsion mythoclastique est à l'origine de la profanation du mythe de la Vierge, de la Passion homosexuelle démonique des Antéchrist williamsiens, des parodies hagiographiques, comme de l'inversion de l'oeuvre iconotropique accomplie par l'Eglise, ennemie des mythes païens. L'archétype christique apparaît finalement, à la lumière de la psychologie jungienne, comme la représentation incomplète de la totalité psychique symbolisée l'androgyne, dont la nostalgie sous-tend tout l'oeuvre williamsien. Au-delà de la triade Dionysos-Orphée-Christ se dessine donc l'image d'une quaternité, le mythe de l'androgyne sous-tendant les trois autres et les dépassant par le rêve alchimique de l'harmonisation des contraires
Four vying myths will be demonstrated to have held sway in Williams's imagination, their successive influence mirroring the history of religion and the layering of the collective unconscious from which they spring. The Dionysian myth, as it is recorded in The Bacchae, can be identified as the first mythic foundation of Williams's writing, Euripides's famous tragedy appearing as the dramatic paradigm of several major plays. The comic side of the myth is also celebrated in tributes to the phallic god, whose hierogamy with the mortal Ariadne, is reenacted in Williams's works. The Dionysian myth is eventually superseded by the myth of Orpheus, which was a lifelong source of inspiration to the playwright, who always thought of himself as a poet. Orpheus's descent into hell, his looking back and his final sparagmos are obsessively recurrent mythic motifs in Williams's works. Orpheus's death is sacrilegiously invested with messianic overtones. This points to Williams's deep-seated gnosticism, further evidenced in his blasphemous debunking of Genesis and his demonic parodies of the myths of Mary, Christ and the saints. His morbid obsession with self-sacrifice is ultimately overcome as, in the light of Jungian psychology, the Christ archetype is revealed as an incomplete symbol of the psychological wholeness exemplified by androgyny. Thus a quaternity emerges beyond the mythic triad formed by Dionysos, Orpheus and Christ --the myth of the androgyn underlying and transcending all three through the quest for the alchemical union of opposites
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Tam, Wing-han. "Caught in a labyrinth : the notion of vulnerability in selected works of Tennessee Williams /." View the Table of Contents & Abstract, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31570859.

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Hoshikawa, Ana Maria Novi. "Anton Tchékhov e Tennessee Williams: dramaturgias em comparação." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-12012016-145507/.

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O presente trabalho apresenta três possibilidades de comparação entre os textos de Anton Tchékhov e Tennessee Williams: a primeira trata-se de uma comparação formal, que investiga as semelhantes soluções dramatúrgicas encontradas pelos autores em relação à crise do drama, conceito elaborado por Peter Szondi; a segunda possibilidade se concentra sobre as semelhantes posições de classe (conceito de P. Bourdieu) encontradas na história russa e na história americana, que servem como substrato temático às peças analisadas; a terceira e última possibilidade de comparação apresentada está baseada no fenômeno de recepção das peças tchekhovianas nos Estados Unidos, considerando também a vasta repercussão das encenações do Teatro de Arte de Moscou sobre a cena americana.
This work presents three distinct possibilities of comparison between the texts of Anton Chekhov and Tennessee Williams: the first one is a formal comparison, it investigates the similar dramatic solutions the authors found to dramas crisis, a concept created by Peter Szondi; the second possibility concentrates over the similarities of class position (P. Bourdieus concept) found in Russian and Amercian history, these serve as the thematic substract of the plays analysis; the third and last possibility explored is based upon the reception of Chekhovs plays in the United States, considering the reprecussions of their productions by the Moscow Art Theatre on the American stage.
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Tyrrell, Susan E. "Tennessee Williams' 'Plastic Theatre' : an examination of contradiction." Thesis, Keele University, 2013. http://eprints.keele.ac.uk/3826/.

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This thesis proposes a new reading of Tennessee Williams which enables his work to be seen as a cohesive dramaturgy which challenges realist and liberal notions of dramatic space, identity, and time. It examines the biographical and historical origins of ‘plastic theatre’, and the aesthetic and philosophical implications of this crucial term. This thesis analyses the development and hardening of Williams’ reputation during the 1940s and 1950s as a realist (or ‘failed’ realist) playwright through an examination of contemporary reviews and the work of literary critics such as Raymond Williams and Christopher Bigsby. The thesis argues that the critical reception of Williams during these decades was inflected by biographical readings which pathologised Williams and his work from the perspective of ‘straight’ realism. It considers more recent critical re-­‐evaluations of Williams’ work: including those of David Savran, Annette Saddik and Linda Dorff. These re-­‐evaluations, and Williams’ work as a whole, are seen in the cultural, political and historical contexts of the 1950s and 1960s, which saw the development of the notion that the ‘personal is political’ and a major shift in the ‘structure of feeling’. The thesis goes on to develop a new theoretical perspective on Williams’ work which draws on the philosophical work of G.W.R. Hegel’s views on contradiction and his analysis of the master/slave relationship, W.E.B. Du Bois’ notion of veiling and Malcolm Bull’s theories of hiddenness. This new perspective is employed in extended close readings of early successful plays (The Glass Menagerie and A Streetcar Named Desire) as well as the more problematic later plays (Camino Real, The-­‐Two Character Play, The Remarkable-­‐Rooming House of Mme Le Monde, I Can’t Imagine Tomorrow and In the Bar of a Tokyo Hotel). The final chapter makes use of Gérard Genette’s theories of narratology to explore the plasticity of time in Something Cloudy, Something Clear and Clothes for a Summer Hotel.
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Pereira, Eloíse Mara Grein. "The imagery of decadence in Tennessee Williams' Vieux Carré." reponame:Repositório Institucional da UFPR, 2010. http://hdl.handle.net/1884/24341.

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Books on the topic "Tennessee Williams"

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Bak, John S. Tennessee Williams. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137308474.

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Boxill, Roger. Tennessee Williams. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-18654-9.

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Adler, Thomas P. Tennessee Williams. Edited by Nicolas Tredell. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-29283-4.

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Boxill, Roger. Tennessee Williams. London: Palgrave Macmillan, 1992.

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Boxill, Roger. Tennessee Williams. New York: St. Martin's Press, 1987.

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Harold, Bloom, ed. Tennessee Williams. Broomall, PA: Chelsea House Publishers, 2000.

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Tennessee Williams. London: Macmillan, 1987.

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Brenda, Murphy, ed. Tennessee Williams. Pasadena, Calif.: Salem Press, 2011.

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Tennessee Williams. Paris: Gallimard, 2010.

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C, Kolin Philip, ed. Tennessee Williams. Mississippi State, Miss: Mississippi State University, 1995.

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Book chapters on the topic "Tennessee Williams"

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Schweer, Claus, and Stefanie Schulz. "Tennessee Williams." In Kindler Kompakt: Drama des 20. Jahrhunderts, 121–23. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04526-3_24.

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Lilly, Mark. "Tennessee Williams." In Lesbian and Gay Writing, 153–63. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20837-1_8.

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Murphy, Brenda A. "Tennessee Williams." In A Companion to Twentieth-Century American Drama, 175–91. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996805.ch12.

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Schulz, Stefanie. "Williams, Tennessee." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_18923-1.

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Lilly, Mark. "Tennessee Williams." In American Drama, 70–81. London: Palgrave Macmillan UK, 1995. http://dx.doi.org/10.1007/978-1-349-24086-9_5.

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Schweer, Claus, and Stefanie Schulz. "Tennessee Williams." In Kindler Kompakt Amerikanische Literatur 20. Jahrhundert, 106–8. Stuttgart: J.B. Metzler, 2015. http://dx.doi.org/10.1007/978-3-476-05528-6_21.

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Adler, Thomas P., and Nicolas Tredell. "Introduction." In Tennessee Williams, 1–9. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-29283-4_1.

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Adler, Thomas P., and Nicolas Tredell. "Film and Television Adaptations." In Tennessee Williams, 115–26. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-29283-4_10.

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Adler, Thomas P., and Nicolas Tredell. "Conclusion." In Tennessee Williams, 127–30. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-29283-4_11.

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Adler, Thomas P., and Nicolas Tredell. "Producing Performance Texts." In Tennessee Williams, 10–23. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-29283-4_2.

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Conference papers on the topic "Tennessee Williams"

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"Offstage Characters in Tennessee Williams’ Plays." In 2019 International Conference on Advances in Literature, Arts and Communication. The Academy of Engineering and Education (AEE), 2019. http://dx.doi.org/10.35532/jahs.v1.004.

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An, Guo-Ping. "Tennessee Williams' Ecological Awareness in His Plays." In 3rd Annual International Conference on Social Science and Contemporary Humanity Development (SSCHD 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/sschd-17.2017.24.

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"CAN THE ANALYSIS OF THE PLAY THE STREETCAR NAMED DESIRE BY TENNESSEE WILLIAMS THROUGH THE SOCIAL MODEL OF DISABILITY, ENCOURAGE THE DEVELOPMENT OFCRITICAL THINKING." In International Conference on Education and New Developments. inScience Press, 2023. http://dx.doi.org/10.36315/2023v1end057.

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Zhao, Li. "The Predicament of Modern People An Analysis of the Southern Gentlewomen of Tennessee Williams's Major Plays." In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.63.

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Bratanović, Edita. "Emotional And Existential Dependence on Men in Tennessee Williams’s Plays The Glass Menagerie and a Streetcar Named Desire." In 2nd Global Conference on Women’s Studies. Acavent, 2021. http://dx.doi.org/10.33422/2nd.womensconf.2021.06.324.

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Park, Joel T., J. Michael Cutbirth, and Wesley H. Brewer. "Hydrodynamic Performance of the Large Cavitation Channel (LCC)." In ASME/JSME 2003 4th Joint Fluids Summer Engineering Conference. ASMEDC, 2003. http://dx.doi.org/10.1115/fedsm2003-45599.

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The U. S. Navy William B. Morgan Large Cavitation Channel (LCC) in Memphis, Tennessee, is the world’s largest water tunnel. Its hydrodynamic performance is outlined in this paper. Three key characteristics of tunnel velocity were measured: temporal stability, spatial uniformity, and turbulence. Temporal stability and spatial uniformity were measured by laser Doppler anemometer (LDA), while the turbulence was measured with a conical hot-film and constant temperature anemometer (CTA). The velocity stability at a single point for run times greater than 2 hours was measured as ±0.15% at the 95% confidence level for velocities from 0.5 to 18 m/s. The spatial non-uniformity for the axial velocity component was ±0.34 to ±0.60% for velocities from 3 to 16 m/s. The non-uniformity in the vertical velocity was nominally 2%. The turbulence or relative turbulence intensity, which is the commonly reported performance characteristic for water tunnels, was measured as 0.2 to 0.5% depending on tunnel velocity. Additional information includes calibration of the LDA and CTA, test section velocity as a function of pump speed, acceleration of the test section velocity, velocity spectra, and color contour plots of the axial and vertical components for velocity uniformity. The measurements demonstrate that the LCC is a high-quality world-class water tunnel.
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Reports on the topic "Tennessee Williams"

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Geology of an area near Brentwood, Williamson County, Tennessee. US Geological Survey, 1988. http://dx.doi.org/10.3133/wri884176.

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Hydrogeology of a hazardous-waste disposal site near Brentwood, Williamson County, Tennessee. US Geological Survey, 1990. http://dx.doi.org/10.3133/wri894144.

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Effects of septic-tank effluent on ground-water quality in northern Williamson County and southern Davidson County, Tennessee. US Geological Survey, 1991. http://dx.doi.org/10.3133/wri914011.

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