Journal articles: 'The glass menagerie'

1

Shaland, Irene, and Tennessee Williams. "The Glass Menagerie." Theatre Journal 42, no. 1 (March 1990): 121. http://dx.doi.org/10.2307/3207569.

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Burns, Morris U., and Tennessee Williams. "The Glass Menagerie." Theatre Journal 42, no. 2 (May 1990): 267. http://dx.doi.org/10.2307/3207772.

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Hoda, Syed A., and Theresa Scognamiglio. "“The Glass Menagerie”." International Journal of Surgical Pathology 19, no. 4 (June 2011): 492–93. http://dx.doi.org/10.1177/1066896911411186.

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Pond, Steven F., Billy Cobham, Michal Urbaniak, Mike Stern, Gil Goldstein, Tim Landers, Tazio Tami, et al. "Billy Cobham's Glass Menagerie." American Music 23, no. 4 (2005): 521. http://dx.doi.org/10.2307/4153075.

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Cobbe, Elizabeth C. "Williams's the Glass Menagerie." Explicator 61, no. 1 (January 2002): 49–51. http://dx.doi.org/10.1080/00144940209597752.

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Fambrough, Preston. "Williams's the Glass Menagerie." Explicator 63, no. 2 (January 2005): 100–102. http://dx.doi.org/10.1080/00144940509596906.

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Thierfelder, William R. "Williams's the Glass Menagerie." Explicator 48, no. 4 (July 1990): 284–85. http://dx.doi.org/10.1080/00144940.1990.9934033.

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Cardullo, Bert. "Williams’s the Glass Menagerie." Explicator 55, no. 3 (April 1997): 161–63. http://dx.doi.org/10.1080/00144940.1997.11484163.

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Crawford, Brett Ashley. "The Glass Menagerie (review)." Theatre Journal 57, no. 2 (2005): 308–11. http://dx.doi.org/10.1353/tj.2005.0056.

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Ardolino, Frank. "Tennessee Williams's THE GLASS MENAGERIE." Explicator 68, no. 2 (March 31, 2010): 131–32. http://dx.doi.org/10.1080/00144941003723907.

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Lee, Haimin. "Fugitive Kind in The Glass Menagerie." NEW STUDIES OF ENGLISH LANGUAGE & LITERATURE 76 (August 31, 2020): 121–39. http://dx.doi.org/10.21087/nsell.2020.08.76.121.

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Nensia, Nensia nensia. "Masculinity Values in The Glass Menagerie." ELS Journal on Interdisciplinary Studies in Humanities 3, no. 2 (June 30, 2020): 287–96. http://dx.doi.org/10.34050/els-jish.v3i2.9616.

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Masculinity is the labeling for men related to sex, identity, responsibility, culture, tradition, and others aspect. Masculinity is also the term of separating position for men from female. The aim of the research was to describe the masculinity values of the men characters in the drama whose name is Tom that he is depressed by his mother. The research employed a descriptive qualitative method with structuralism approach. Data sources were primary and supporting data. The primary data were taken from Tennessee William’s The Glass Menagerie, and supporting data were taken from the books, journals, articles, and internet sources. The research indicated masculinity values in this drama had shown man’s role as a son, man as an independent man, and man as a friend.

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Elliott, Kenneth. "The Glass Menagerie by Tennessee Williams." Theatre Journal 65, no. 4 (2013): 584–85. http://dx.doi.org/10.1353/tj.2013.0122.

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Santos, Fernanda. "Adesão e crítica ao cinema na dramaturgia de The glass menagerie." Significação: Revista de Cultura Audiovisual 47, no. 54 (July 8, 2020): 23–42. http://dx.doi.org/10.11606/issn.2316-7114.sig.2020.167624.

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O presente artigo analisa a dramaturgia da peça The glass menagerie (1944), de Tennessee Williams, tomando aspectos de aderência e crítica que o texto desenvolve em relação ao cinema clássico estadunidense dos anos 1930 e 1940. Por meio de uma abordagem intermidiática, advogarei a favor de uma “adesão-crítica” de The glass menagerie à linguagem e à cultura social do cinema do período, capaz de promover tensionamentos no caráter dramático do texto de Williams. O trabalho almeja um apontamento preliminar a respeito das trocas intermidiáticas entre os textos teatrais de Tennessee Williams e o cinema hollywoodiano.

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Reynolds, James. "The Failure of Technology inThe Glass Menagerie." Modern Drama 34, no. 4 (December 1991): 522–27. http://dx.doi.org/10.3138/md.34.4.522.

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Halfmann, Randal. "A glass menagerie of low complexity sequences." Current Opinion in Structural Biology 38 (June 2016): 18–25. http://dx.doi.org/10.1016/j.sbi.2016.05.002.

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Sheehy, C. "FLEXI-GLASS: TENNESSEE WILLIAMS'S SUPREMELY MALLEABLE MENAGERIE." Theater 22, no. 1 (September 1, 1991): 79–82. http://dx.doi.org/10.1215/01610775-22-1-79.

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Ruelle, David. "Cracks in the glass menagerie of science." Physics World 7, no. 12 (December 1994): 43–44. http://dx.doi.org/10.1088/2058-7058/7/12/31.

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Cardullo, Robert J. "Liebestod, Romanticism, and Poetry inThe Glass Menagerie." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 23, no. 2 (April 30, 2010): 76–85. http://dx.doi.org/10.1080/08957691003712124.

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Kamalaveni, K., and Dr R. Venkataraman. "The Lonely Victims of the Glass Menagerie." International Journal of English Literature and Social Sciences 6, no. 3 (2021): 117–19. http://dx.doi.org/10.22161/ijels.63.19.

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21

Levy, Eric. ""Through Soundproof Glass": The Prison of Self-Consciousness inThe Glass Menagerie." Modern Drama 36, no. 4 (December 1993): 529–37. http://dx.doi.org/10.3138/md.36.4.529.

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ChoSookHee. "A Study of Narratemes in The Glass Menagerie." Jungang Journal of English Language and Literature 51, no. 4 (December 2009): 365–78. http://dx.doi.org/10.18853/jjell.2009.51.4.019.

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Kim, Yung-Yoon, and Joon Hui Cho. "A Study of Director’s Approach to Reinforce Metatheatricality in Tennessee Williams’s The Glass Menagerie." Humanities Contents 48 (March 31, 2018): 187–215. http://dx.doi.org/10.18658/humancon.2018.03.48.187.

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Batul Fatema Mubarak, Pathan. "THE EXPRESSIONISTIC TECHNIQUE OF PRESENTING NARRATOR AND MEMORY IN TENNESSEE WILLIAMS THE GLASS MENAGERIE." International Journal of Advanced Research 9, no. 03 (March 31, 2021): 543–45. http://dx.doi.org/10.21474/ijar01/12614.

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Expressionism was a movement in art and literature which presented a very subjective view of the world. The movement itself revolted against realism and naturalism, while the technique distorted reality, displayed the human emotions and tried to reveal the psycho-spiritual truth in the Modern world. The Glass Menagerie (1944) tells the story of a broken modern family with three characters- Tom, Laura and Amanda, all of whom live in their own reality. This familys encounter with another worldly character Jim, however, crashed their fragile world around them. In the modern era, when people are often fed extraordinary dreams through different channels, The Glass Menagerie tells the story of sufferings, unfulfilled desires, purposes, ambition, and fear of losing self, familial discord and exposes the reality to them. Tennessee Williams in his play uses expressionism to give his audiences a look into this undetected reality of the world.

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Nensia, '. "Escapism as Reflected in Tennessee William’s The Glass Menagerie." ELS Journal on Interdisciplinary Studies in Humanities 1, no. 1 (May 26, 2018): 110–16. http://dx.doi.org/10.34050/els-jish.v1i1.4189.

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Escapism is a part of psychology which in this research connected into literature as an interdisciplinary study which shows inclination of human personality to seeking for a way out or escape from unpleasant realities. The aim of the research was to describe the characters got acquainted with escapism and the way the characters’ cope with escapism in their daily life. The research employed a descriptive qualitative method with psychoanalytical approach of Sigmund Freud’s personality structure from anxiety theory, defense and problem solving mechanism. Data sources were primary and supporting data. The primary data were taken from Tennessee William’s The Glass Menagerie, and supporting data were taken from the books, journals, articles, and internet sources. The research indicated that each character experienced anxiety that made them got acquainted with escapism. They had their own way in dealing with escapism through defense and problem solving mechanism. Some characters solved emotional problems with negative mechanism consciously or unconsciously, and others handled emotion with positive mechanism, therefore the result were also positive.

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Gordon, Richard, Dusan Losic, Mary Ann Tiffany, Stephen S. Nagy, and Frithjof A. S. Sterrenburg. "The Glass Menagerie: diatoms for novel applications in nanotechnology." Trends in Biotechnology 27, no. 2 (February 2009): 116–27. http://dx.doi.org/10.1016/j.tibtech.2008.11.003.

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Pilkington, F. Beryl, Keville Frederickson, and Martha Velsasco-Whetsell. "The Glass Menagerie as Heuristic for Explicating Nursing Theory." Nursing Science Quarterly 19, no. 3 (July 2006): 190–96. http://dx.doi.org/10.1177/0894318406289435.

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Tabatabaei, Omid, and Maryam Mohammadi Sarab. "The psychological perception of the glass menagerie from author’s perspective." Journal of Applied Studies in Language 4, no. 1 (June 29, 2020): 90–96. http://dx.doi.org/10.31940/jasl.v4i1.1821.

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Sari, Dian Paramita, Feby Meuthia Yusuf, and Helmita Helmita. "The Introvert Character as Seen In Tennessee William’s Glass Menagerie." Jurnal Ilmiah Langue and Parole 1, no. 1 (July 23, 2017): 98–104. http://dx.doi.org/10.36057/jilp.v1i1.340.

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This thesis tell about a drama Glass Menagerie by Tennessee William. This drama memory play of narrator, Tom wingfield. He is an aspiring poet which work in warehouse to support his mother, Amanda and his sister, Laura. Mr. wingfield, Tom’s father, ran off family years ago, except for one postcard, has not been haeard from since. Amanda, originally from a genteel family, regales her children frequently with tales of her idyllic youth and the scores of suitors who once pursued her. She is disappointed that Laura, who wears a brace one her leg and is painfully shy, does not attract any gentlemen callers. Amanda then decides that Laura’s last hope must lie in marriage and begins selling magazine subscriptions to earn the extra money she believes will help to attract suitors for Laura.

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30

Hickey, Brian A. "Bowen's Family Projection Process and Tennessee Williams's “The Glass Menagerie”." Perspectives in Psychiatric Care 22, no. 1 (January 16, 2009): 26–32. http://dx.doi.org/10.1111/j.1744-6163.1984.tb00200.x.

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31

Kusovac, Olivera, and Jelena Pralas. "Repetition as Trapped Emotion in Tennessee Williams’s the Glass Menagerie." Studia Anglica Posnaniensia 51, no. 4 (December 1, 2016): 29–51. http://dx.doi.org/10.1515/stap-2016-0018.

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AbstractRepetition as a linguistic and stylistic device extensively used in Tennessee Williams’s plays has been noticed by many. At the same time, more psychologically-inclined scholars have frequently drawn parallels between Williams’s plays and his own experiences and emotional conflicts. In an attempt to combine the two perspectives, this article will explore the function of repetitions as indicators of trapped emotions in Williams’s celebrated and award-winning play The Glass Menagerie. Starting from the stylistic theoretical background, but at the same time taking into account the psychological insights into the link between Williams’s life and work through some basic concepts of Freud and Lacan, an attempt will be made to demonstrate that in this play linguistic repetition appears as an obsessive expression of the characters’ emotions as well as those of the dramatist himself, making him repeat and relive both his experiences and his emotions. The authors will first introduce the concept and functions of repetition as a linguistic and stylistic device and then explore its representative instances in individual characters and their meanings, ending with the parallels which can be drawn between the characters’ and the dramatist’s own experiences and emotions expressed or intensified through repetitions.

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V. S, Namitha. "Blue Mountain and Blue Roses: An Exploration of the Feminine Psyche in Tennessee Williams’ The Glass Menagerie." SMART MOVES JOURNAL IJELLH 9, no. 1 (January 28, 2021): 192–205. http://dx.doi.org/10.24113/ijellh.v9i1.10891.

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Tennessee Williams, the remarkably outstanding American dramatist of the 1920s, through his plays, presents a marked concern for the identity crisis a woman faces. He projects the crisis arising out of the conflict between a woman’s own aspirations and the traditional role expectations. The Glass Menagerie (1945) depicts the life of two women- Amanda Wingfield and her daughter Laura Wingfield. Amanda is the typical Southern belle that suffered a reversal of economic and social fortune, who withdraws from reality into fantasy. Her daughter Laura, the physically and emotionally crippled heroine of the play is a self-less character who does not speak as much of others. She is extra-ordinarily sensitive and delicate; and her cripple isolates herself into her own illusory world with her own glass menagerie. This paper is an attempt to close study the women protagonists in this play and to reveal that they are a combination of a particular personality type. Williams seems to be interested in the personal and psychological aspects of his women. This paper tries to analyse the psyche of these women and prove that they seem to be more complex and complicated than portrayed in the work.

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Park, Chae-yoon. "Remembering to Forget: Fragile Memories in Tennessee Williams’s The Glass Menagerie." Journal of Modern English Drama 32, no. 3 (December 31, 2019): 199–217. http://dx.doi.org/10.29163/jmed.2019.12.32.3.199.

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Naghdipour, Bakhtiar. "Death of a Salesman and The Glass Menagerie: A Phenomenological Reduction." International Journal of Applied Linguistics & English Literature 2, no. 3 (May 1, 2013): 147–52. http://dx.doi.org/10.7575/aiac.ijalel.v.2n.3p.147.

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Jacobs, Daniel. "Tennessee Williams: The Uses of Declarative Memory in the Glass Menagerie." Journal of the American Psychoanalytic Association 50, no. 4 (August 2002): 1259–70. http://dx.doi.org/10.1177/00030651020500040901.

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36

Sutton, Brian. "Williams's the Glass Menagerie and Uhry's the Last Night of Ballyhoo." Explicator 61, no. 3 (January 2003): 172–74. http://dx.doi.org/10.1080/00144940309597799.

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Retnowati, Retnowati. "Symbols and Sexual Perversion of Laura Wingfield in Tennesse Willimas’s The Glass Menagerie." Humaniora 6, no. 3 (July 30, 2015): 291. http://dx.doi.org/10.21512/humaniora.v6i3.3350.

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The Glass Menagerie, a play written by Tennessee Williams, is full of symbols in which some of them refer to the sexual perversion in the character of the play such as Laura Wingfield. The research applied library research by taking data from the script of the play, then analysed based on the two theories, those were the theory of symbol and psychological theory called sexual perversions. The symbols in this play was analyzed, especially those related to Laura Wingfield. There were symbols like the glass collection, glass unicorn, blue roses, fire escape and Jim O’Connor which explained the sexual perversion of Laura Wingfield. These symbols were clues to understand the psycological problems suffered by Laura. It can be concluded that The cause of the strange sexual desire is because of her being abnormal because she is crippled and suffers from pleurosis.

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Ahmed, Shokhan Rasool. "A Comparative Study of Modern Theatrical Technicalities in The Glass Menagerie and The Cherry Orchard." Journal of University of Raparin 8, no. 2 (September 19, 2021): 192–204. http://dx.doi.org/10.26750/vol(8).no(2).paper9.

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The nineteenth Century produced some of the most complex plays that today represent modern theatrical technicalities that differed in several ways from twentieth Century plays. In the twentieth Century, Tennessee Williams was acknowledged for the diversity of genres he covered in his plays, most of which focused on the dark aspects of human experience, which lent significant technicalities to his plays, most notably, The Glass Menagerie. Similarly, Anton Chekhov is a nineteenth Century playwright who developed plays that introduced several theatrical technicalities. He was renowned for portraying realism, a feature that characterised 19th Century theatre. Chekhov’s The Cherry Orchard is a play considered the landmark of modern theatrical technicalities. This study explores three ways in which Williams and Chekhov made The Glass Menagerie and Cherry Orchard respectively as landmarks of theatrical technicalities, i.e., the multiplicity of genres, effective use of indirect action and irony as theatrical conventions, and the integration and portrayal of nineteenth Century and twentieth Century realism. The research finds that while Williams employs a multiplicity of genres and the use of irony as the ideal theatrical conventions, Chekhov integrates all three elements to create modern theatrical technicalities that not only influence the audience's perception of the characters but also the playwright’s intention. This study is important for both undergraduate and postgraduate readers as it can enrich a reader’s thinking about different theatrical techniques and conventions used in both plays.

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Bhawar, Pradnya. "Conflict between Reality and Illusion in Tennessee Williams’ play The Glass Menagerie." International Journal of English Literature and Social Sciences 5, no. 6 (2020): 2166–70. http://dx.doi.org/10.22161/ijels.56.50.

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Greiff, Louis K. "Fathers, daughters, and spiritual sisters: Marsha Norman's'night motherand Tennessee Williams'sthe Glass Menagerie." Text and Performance Quarterly 9, no. 3 (July 1989): 224–28. http://dx.doi.org/10.1080/10462938909365934.

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41

Abdelsamie, Adel Mohamed. "The Concept of the Southern Lady in Tennessee Williams' The Glass Menagerie (1945)." مجلة کلیة الآداب بقنا 24, no. 43 (September 1, 2014): 57–79. http://dx.doi.org/10.21608/qarts.2014.112854.

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42

Kim Gye-Sook. "Melodrama and music: Focusing on A streetcar named desire and The glass menagerie." STEM Journal 17, no. 1 (February 2016): 39–54. http://dx.doi.org/10.16875/stem.2016.17.1.39.

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Romero, Ramón Espejo. "Tennessee Williams’s Misunderstood ‘memory play’: Re-Imagining Amanda Wingfield in The Glass Menagerie." Anglia 139, no. 3 (September 1, 2021): 475–93. http://dx.doi.org/10.1515/ang-2021-0039.

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Abstract Tennessee Williams famously called The Glass Menagerie a ‘memory play’. This remark has been consistently overlooked or misinterpreted by critics, unleashing a tradition of approaching the play in a rather confusing fashion concerning who the characters are and how the playwright uses them. This paper engages with the character of Amanda. First of all, I will trace major transformations in the conception of characters throughout twentieth-century drama, providing background for Williams’s attempt to redefine major aspects of a playwright’s craft such as what a ‘character’ is. Secondly, I will survey a critical tradition surrounding Tom Wingfield’s mother and consider major views concerning the character. Recurrent in them, as my analysis indicates, is the failure to acknowledge her as a tool for the ‘memory work’ Tom carries out. The character is subsequently posited as a fluid entity that helps Tom (and Williams) make sense of the past and explore how their families shaped who they were. As opposed to a realistic play, where so much is given at the start, a ‘memory play’, as Williams seems to have conceived it, remains a cry for the reader to join the playwright in a common search for meaning, one that utilizes, rather than just displays, characters in order to reach standpoints that are far from fixed and immutable.

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Sohn, Hongeal. "Re-reading of The Glass Menagerie and Seven Guitars from a Disability Studies Perspective." NEW STUDIES OF ENGLISH LANGUAGE & LITERATURE 70 (August 31, 2018): 157–76. http://dx.doi.org/10.21087/nsell.2018.08.70.157.

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Tabatabaei, Omid, and Maryam Mohammadi Sarab. "The psychological perception of the glass menagerie from author’s perspective: Critical perception and view." Journal of Applied Studies in Language 4, no. 1 (June 29, 2020): 90–96. http://dx.doi.org/10.31940/jasl.v3i2.1470.

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Ponciano, Gustavo. "Os limites do realismo em The Mutilated, de Tennessee Williams: expressionismo e verfremdungseffekt." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 70, no. 1 (January 27, 2017): 275. http://dx.doi.org/10.5007/2175-8026.2017v70n1p275.

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http://dx.doi.org/10.5007/2175-8026.2017v70n1p275Este artigo inicia sua reflexão sobre a dificuldade de parcela da crítica em classificar a produção dramática de Tennessee Williams (1911-1983) sob termos rígidos, especialmente ao tentar vinculá-lo ao “Realismo”. Porém, a atenção às notas de produção de The Glass Menagerie (1944) – o manifesto do que o dramaturgo chama de Plastic Theater – evidencia que o desejo do autor era o de afastar-se das convenções dramáticas do Realismo descritivo. Ao final, o estudo localiza em The Mutilated (1967), de Williams, o influxo de características caras ao Expressionismo e ao Verfremdungseffekt brechtiano, técnicas dramáticas que apontam para outra concepção de Realismo.

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Maloutas, Thomas, and Maro Pantelidou Malouta. "The glass menagerie of urban governance and social cohesion: concepts and stakes/concepts as stakes." International Journal of Urban and Regional Research 28, no. 2 (June 2004): 449–65. http://dx.doi.org/10.1111/j.0309-1317.2004.00528.x.

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Pasenchuk, N. "Social and Cultural Context of the Dramatic Text: Problems of Reproduction (based on the Ukrainian and Russian translations of Williams Tennesse’s play «The Glass Menagerie»)." Studia Linguistica, no. 12 (2018): 85–97. http://dx.doi.org/10.17721/studling2018.12.85-97.

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The article is devoted to the problem of translation of the drama. The article focuses on revealing peculiar linguistic and stylistic features of the drama. The research has been done on the case study of Russian and Ukrainian translation variants of the drama text by T.Williams «The Glass Menagerie». Basic methods of translation are investigated in the article. On the basis of comparative analysis the author investigates the problem of lexico-semantic transformations in translation of the drama. There has been proved that lexico-semantic transformations play an important role in the process of translation, providing the text with dynamics, enhancing expressivity, serving to enhance the image-expressive functions of a language. The units of different language levels, which help to verbalize cultural information of the source text, words with national and cultural semantic component have been considered. It was outlined that structural and functional peculiarities of each target language in regard to source English language and personality of translator have an impact on the reflection of the national and cultural colour of the source text. The task of the translator is to provide the reader with necessary explanations, since the transfer of the cultural and social specifics of the dramatic text requires a special approach from the translator in achieving the pragmatic adequacy of the translation. It is determined that the literal translation does not correspond to the adequacy of reproduction of the source text. The nationally marked means contribute to the emotional and expressive colour of the source text and emphasize the national colour. The adequate reproduction of stylistic means leads to the preservation of the original intention of the author. The dramatic text is a peculiar model of the socio-historical context of society. The main task of the translator is the reproduction of the national components of the model of another culture and preservation of national-historical context of the source text.

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Garland-Thomson, Rosemarie. "Representing the Erotic Life of Disabled Women: Jennifer Egan's Manhattan Beach and Anne Finger's A Woman, in Bed." PMLA/Publications of the Modern Language Association of America 134, no. 2 (March 2019): 378–83. http://dx.doi.org/10.1632/pmla.2019.134.2.378.

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Disabled women in literature seldom have erotic lives. Think of poor, crippled laura wingfield in Tennessee Williams's The Glass Menagerie, waiting passively alongside her anxious mother to be taken up by a man. Or consider Gertie McDowell in James Joyce's Ulysses, the object of Leopold Bloom's voyeuristic fantasies, limping along, herself sexually blank. Even Eva Peace, the one-legged crone goddess in Toni Morrison's Sula, is done with sex. There is something at least untoward and at most perverse about representing disabled women as erotic. In The Sexual Politics of Disability, the sociologist Tom Shakespeare and his coauthors detail a long history of disability as a sexual disqualifier or as an occasion for perversity for both men and women in narrative representation.

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Astrauskienė, Jurgita, and Indrė Šležaitė. "Appropriation of Symbol as Disclosure of the World of the Play in Tennessee Williams’s “The Glass Menagerie”." Respectus Philologicus 23, no. 28 (April 25, 2013): 67–82. http://dx.doi.org/10.15388/respectus.2013.23.28.6.

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This paper examines the symbol as a key to understanding the world of Tennessee Williams’s play The Glass Menagerie (1945) within the frame of hermeneutics offered by Paul Ricoeur. Various conceptions of the symbol are presented, and the impact of religion upon the playwright’s drama is discussed. The interest of the authors is particularly directed towards the role of Christian symbols and their power to present, in a distinctive and irreplaceable way, the interplay of sacred and profane contexts. The Christian images inspire and shape the narrative structure of the drama. The analysis of particular symbols reveals that the playwright artistically uses Christian iconographic and liturgical implications as the symbolic pattern of the play. The spiritual meanings are evoked by the symbol of the rose, which is traditionally regarded as an emblem of the Virgin Mary, while the symbolic representation of the unicorn is associated with the Annunciation.

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Journal articles on the topic 'The glass menagerie'

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