...Analysis and Plot Summary of “The Glass Menagerie” by Tennessee Williams Before beginning this summary and analysis of “Glass Menagerie” by Tennessee Williams, it is important to point out that this play is not happening in the narrator’s (Tom’s) present, but it is based on his memories. The setting of “The Glass Menagerie” is a cramped apartment in a lower-class part of St. Louis in the year 1937. The main character and narrator of “The Glass Menagerie” by Tennessee Williams, Tom, is in a merchant sailor’s uniform and he details the setting even further, telling us that America’s lower classes are still recovering from the Great Depression. In the early stages of the plot of the Glass Menagerie, we also learn that his father left the family a long time ago, even though there is a picture of him that is plain sight throughout “The Glass Menagerie”. While Tom is speaking (as well as throughout the play) pay attention to the screen which presents certain words and images important to the text and try to imagine how this might be if you were sitting in the audience. In these first few scenes of “The Glass Menagerie” by Tennessee Williams, we meet the mother, Amanda, who still seems caught up in her life as a former Southern belle. She chides both of her children about being odd (Laura wears a brace on her leg and is painfully shy while Tom writes poetry and disappears every night to go the movies and get away from the depressing house). Laura is a fragile figure and collects glass...
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...Rhetorical Analysis of Glass Menagerie The Glass Menagerie by Tennessee Williams is a play about the narrator turned hero named Tom. Tom works at a shoe warehouse and writes poetry in his free time; while also taking on the responsibilities of his family after his father left. The mother Amanda lives in her memories of gentleman callers and parties, while avoiding the reality of her crippled daughter Laura who is in a dream world of little glass animals. Her mother seeing no future for her, she gets Tom to find a bachelor for Laura and invite him to dinner. Instead Tom brings home Jim his employee and also unknown secret idol of Laura’s from high school. Jim gets her from out this dream world, but when he breaks off bad news of him being engaged Laura withdraws for good. Angering the mother and eventually leading to Tom leaving as his father did. In this play Tennessee Williams uses a multitude of symbols. From these symbols, there comes deeper understanding of the relationship between the play’s four characters. The most obvious symbol in this play is Laura’s glass menagerie, representing the world she lives in. Being that this glass menagerie is a representation of Laura’s world. I understood that when Jim bumped into the table and knocked the menagerie over causing it shatter; Laura picking up the pieces then handing it to Jim, showed then that she wanted Jim to be her world/her happiness. Another recurring symbol is that of the fire escape. Each symbol is a concrete...
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...Literary Analysis: The Glass Menagerie Many critics believe that “The Glass Menagerie” is one of Tennessee Williams finest literary pieces, and that like most of his work, it was a reflection of his own life story. Born as Thomas Lanier Williams III on March 26, 1911, in Columbus, Mississippi, he lived with his loving but possessive mother and his older sister, Rose, who later suffered a mental breakdown. His father was a hard man who tended to drink too much and who was often away from home due to his job as a traveling salesman. Through most of his childhood, Mr. Williams felt like an outcast due to both his delicate health and the ridicule he received for his southern accent after his father accepted a job in St. Louis. This ongoing theme of lack of self-worth throughout his life was in large part due to his sexual orientation and lifestyle both of which were not easily tolerated in the early part of the last century. Although Mr. Williams self-doubt is evident in much of his work, the rest of the literary world and his readers feel without a doubt that his work is award winning. His impact on the literary world can be seen by the many awards he received including his winning not one but two Pulitzer Prizes for “A Streetcar Named Desire” in 1948 and for “Cat on a Hot Tin Roof” in 1955; as well as the longevity of his work which is proven by its contemporary recognition. Therefore, due to his literary genius and personal life experience, Williams was able to use the...
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...The Glass Menagerie: An Analysis Tyson Evans University of Phoenix The Glass Menagerie offers a beautifully developed glimpse into humanity and more specifically familial dysfunction. Tennessee Williams uses this play as a definitive embodiment of the dangers of interdependence as well as low self- esteem. Williams begins this symbolic journey from the very inception of the work. The use of the word “menagerie” meaning a collection of wild animals kept in captivity for exhibition or a strange collection. In this case, the strange collection is the Wingfields. The play and the text presents us with an overbearing mother who clings to yesterday year, a daughter that is mentally bound by her psychological insecurities that stem from her physical disability, and an irresponsible brother who want to escape his this reality he has with his mother and sister. The word “Glass” represents their fragility, individually and as a unit. Frankly the family’s external problems seem fairly miniscule on the grander scale of the issues known to plague any familial unit. They are not rich, but not destitute, they have lost a parent, but they have each other. The play is set in the midst of the great depression following a war, therefore this family portrait was one that would have been mirrored in many American homes; financial turmoil and lost family members was commonplace. However, the psychological torment and idiosyncrasies characteristic of all three of our main characters holds...
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...Subjected to an unhappy marriage, an alcoholic father often away from home, and an unsafe, abusive environment, Tenessee Williams defied all odds with his astounding success in the drama industry. Though his home life was troubled, he grew to be an author known across the country for his wildly popular novels and plays, most notably of the latter being The Glass Menagerie. Modeled after Williams’s own family, Tom, Amanda, and Laura Wingfield are the artfully created main characters of The Glass Menagerie, each with their own distinct personalities constructed carefully through symbolism. With consideration of the motif of memory, Tennessee Williams uses recurring music, the victrola, jonquils, and Laura’s crippled leg to characterize the members...
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...Representing Repression: A Psychological Reading of Menagerie Shih Ching-liang The Glass As the tradition of realism dominated in the late 19th century, expressionism emerged along with the rise of psychology at the very end of the century Expressionistic plays sought to give not the external reality or surface appearance of life but the inner reality, life as felt rather than as seen (Barnet 519). The Glass Menagerie is mostly expressionistic: the first sentence of the Production Notes declares that “it is a memory play.” The term “memory play” suggests that it is a play worked out in one’s mental process, rather than a realistic representation. Instead of external reality, the inner vision becomes the primary concern of expressionistic drama. Thus this paper focuses on the repressed state of each character in the Wingfield family, and tries to shed light on their inner psychology by means of psychoanalytical approach. As a mother figure, Amanda is quite distinctive from those in conventional drama. With the father absent for years, Amanda takes on not only maternal nuturing responsibilities but also the paternal disciplinary role. She is a breadwinner (though partly) as well as a caretaker. Yet in her attempt to fulfill this double-sided role, she actually encounters a series of frustrations and repressions, which provoke her to escape into the retreat of past. In the play, what characterizes Amanda is her poignant sentiment toward the Old South days. She believes in the...
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...Matt Lauber B. Sumey, Instructor Comp. II, MW, 1:30-2:45 p.m. 20 October 2014 Compare and Contrast Analysis While reading two good stories, you can find many comparisons and difference between the two. Mama in Alice Walker’s “Everyday Use” and Amanda in Tennessee Williams “The Glass Menagerie” have some comparisons and difference. Mama and Amanda both live in modest homes. Mama’s house, “It is three rooms, just like the one that burned, except the rood is tin; they don’t make shingle roofs any more. There are no real windows, just some holes cut in the sides, like the portholes in a ship, but not round and not square, with rawhide holding the shutters up on the outside” (Walker 71). Amanda’s house, her front porch is a fire escape, so her house isn’t really that nice either (Williams 991). Also both Mama and Amanda are single mothers with two children. Both of their husbands left them with no say. Mama’s husband really doesn’t say why he left. But Amanda’s husband left with a phone call: TOM. This is our father who left us a long time ago. He was a telephone man who fell in love with a long distances; he gave up his job with the telephone company and skipped the light fantastic out of town… The last we heard of him containing a message of two words-“Hello-Good-bye!” and an address. (Williams 972) Another thing that Mama and Amanda have in common is that they have a different relationship with one of their children. Mama will probably pick Maggie over Dee, just like...
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...Matt Lauber B. Sumey, Instructor Comp. II, MW, 1:30-2:45 p.m. 20 October 2014 Compare and Contrast Analysis While reading two good stories, you can find many comparisons and difference between the two. Mama in Alice Walker’s “Everyday Use” and Amanda in Tennessee Williams “The Glass Menagerie” have some comparisons and difference. Mama and Amanda both live in modest homes. Mama’s house, “It is three rooms, just like the one that burned, except the rood is tin; they don’t make shingle roofs any more. There are no real windows, just some holes cut in the sides, like the portholes in a ship, but not round and not square, with rawhide holding the shutters up on the outside” (Walker 71). Amanda’s house, her front porch is a fire escape, so her house isn’t really that nice either (Williams 991). Also both Mama and Amanda are single mothers with two children. Both of their husbands left them with no say. Mama’s husband really doesn’t say why he left. But Amanda’s husband left with a phone call: TOM. This is our father who left us a long time ago. He was a telephone man who fell in love with a long distances; he gave up his job with the telephone company and skipped the light fantastic out of town… The last we heard of him containing a message of two words-“Hello-Good-bye!” and an address. (Williams 972) Another thing that Mama and Amanda have in common is that they have a different relationship with one of their children. Mama will probably pick Maggie over Dee, just like...
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...three literary pieces The Glass Menagerie, Barn Burning, and Ulysses all have something in common. A significant character from each work abandoned his family to seek out his own needs. As I read the three different literary works recently I reflected on what a one-of-a-kind thing a family is to each of us. Is it wrong to put our own needs above that of our parents, our brothers and sisters, or even our spouses or children? Even when raised by the by the same parents, in the same community we all grow into unique individuals with directions of our own, independent from the aspirations of our parents and siblings. As I read the three pieces of literature The Glass Menagerie, Barn Burning, and Ulysses it got me thinking about some of the ways in which I feel about my own family situation. I know I could never leave them, but I do know so many people who have set off away from their families. I sometimes desperately envy those with that freedom. In all three works, there is a balance to be found towards responsibility and commitment to family, and freedom and choice to self. For the purpose of this essay I will compare the roles of Tom from The Glass Menagerie, Sarty in Barn Burning, and Ulysses in the poem Ulysses. Although they each served a different role in the family as a brother, father, and a son, they in the end all made a decision to leave their families in each literary piece. | In the play The Glass Menagerie by Tennessee Williams, the main character Tom...
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...|[pic] |Syllabus | | |College of Humanities | | |ENG/125 Version 3 | | |Literature in Society | Copyright © 2010, 2008, 2006 by University of Phoenix. All rights reserved. Course Description This course introduces themes in literature and provides guided study and practice in reflecting on themes which describe the human experience across cultural and societal boundaries. The course includes readings from literature in different genres and cultures. Students study the literature in thematic units and are asked to make connections to their own lives and cultures. Policies Faculty and students/learners will be held responsible for understanding and adhering to all policies contained within the following two documents: • University policies: You must be logged into the student website to view this document. • Instructor policies: This document is posted in the Course Materials forum. University policies are subject to change. Be sure to read the policies...
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...21 23 32 SECOND DRAFT 4.1.4 Drama 4.1.5 Films 4.1.6 Literary Appreciation 4.1.7 Schools of Literary Criticism 4.2 Catering for Learner Diversity 4.3 Meaningful Homework 4.4 Role of Learners Chapter 5 41 45 52 69 71 72 73 74 Assessment 5.1 Guiding Principles 5.2 Internal Assessment 5.2.1 Formative Assessment 5.2.2 Summative Assessment 5.3 Public Assessment 5.3.1 Standards-referenced Assessment 5.3.2 Modes of Public Assessment 74 74 74 75 77 77 77 Quality Learning and Teaching Resources 104 6.1 Use of Set Texts 6.2 Use of Other Learning and Teaching Resources 104 108 Chapter 6 Chapter 7 109 Supporting Measures 7.1 Learning and Teaching Resource Materials 7.2 Professional Development 109 109 Appendix 1 Examples of Poetry Analysis 110 Appendix 2 Examples of...
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...Дневник читателя READER’S JOURNAL Ernest Hemingway. The Old Man and the Sea (1952). Joseph Heller. Catch-22 (1961). Tennessee Williams. A Streetcar Named Desire (1959). Iris Murdoch. The Black Prince (1973). Jerome David Salinger. The Catcher in the Rye (1951). Michael Ondaatje. The English Patient (1992). Ray Bradbury. Fahrenheit 451 (1953). Ken Kesey. One Flew Over the Cuckoo’s Nest (1962). Edward Albee. Who’s Afraid of Virginia Woolf? (1962). Arthur Miller. Death of a Salesman (1949). ------------------------------------------------- ------------------------------------------------- Ernest Hemingway. The Old Man and the Sea (1952). ------------------------------------------------- ------------------------------------------------- FULL TITLE · The Old Man and the Sea ------------------------------------------------- ------------------------------------------------- AUTHOR · Ernest Hemingway ------------------------------------------------- ------------------------------------------------- TYPE OF WORK · Novella ------------------------------------------------- ------------------------------------------------- GENRE · Parable; tragedy ------------------------------------------------- ------------------------------------------------- LANGUAGE · English ------------------------------------------------- ------------------------------------------------- TIME AND PLACE WRITTEN · 1951, Cuba ------------------------------------------------- ...
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...National Conference on Liberal Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch SECTION FIVE: Memory Does The History of Western Art Tell a...
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...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...
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...Кухаренко В.А. Практикум з стилістики англійської мови: Підручник. – Вінниця. «Нова книга», 2000 - 160 с. CONTENTS FOREWORD...............................................................................…………………………………………... 2 PRELIMINARY REMARKS.....................................................………………………………………….. 3 CHAPTER I. PHONO-GRAPHICAL LEVEL. MORPHOLOGICAL LEVEL…............................... 13 Sound Instrumenting. Craphon. Graphical Means…………………………………………………………...6 Morphemic Repetition. Extension of Morphemic Valency………………………………………………….11 CHAPTER II. LEXICAL LEVEL..............................................……………………………………….…14 Word and its Semantic Structure…………………………………………………………………………….14 Connotational Meanings of a Word………………………………………………………………………….14 The Role of the Context in the Actualization of Meaning…………………………………………………….14 Stylistic Differentiation of the Vocabulary…………………………………………………………………..16 Literary Stratum of Words. Colloquial Words…..…………………………………………………………..16 Lexical Stylistic Devices…………………………………………………………………………………….23 Metaphor. Metonymy. Synecdoche. Play on Words. Irony. Epithet…………………………………………23 Hyperbole. Understatement. Oxymoron. ……………………………………………………………………23 CHAPTER III. SYNTACTICAL LEVEL..................................…………………………………………38 Main Characteristics of the Sentence. Syntactical SDs. Sentence Length…………………………………..38 One-Word Sentences. Sentence Structure. Punctuation. Arrangement...
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