...A street The character of Blanche Dubois in the story of A Streetcar Named Desire is considered a tragic protagonist for the various conflicts she is suffering both internally and externally. It is mainly her self-delusion that ultimately leads to her destruction and the reason she is committed to an insane asylum. From the very beginning of the play we can tell that Blanche is being standoffish and not revealing everything. For instance, Blanche tells her sister in scene one that she’s simply taking a leave of absence from her job as a schoolteacher. In reality Blanche has been fired from her position and was basically run out of the town she is from because of her scandalous behavior. Blanche has been lying to so many people for so long, she can no longer can see the delineation between fantasy and reality. Blanche’s husband’s death at his own hands causes her a great deal of anxiety and guilt. We realize she is most haunted by that scene of her husband’s suicide, and that the memory is present by the sound of the polka music and then the sound of a gunshot. The death of all her older relatives and the loss of the family mansion Belle Reve contribute further to her mental instability. The struggle between Blanche and her brother in law Stanley Kowalski are a major focal point of A Streetcar Named Desire; almost immediately after meeting Blanche, Stanly has formed an opinion of her and doesn’t hold back from letting it be known how he feels about her. Stanley is a workingman...
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...Williams in 1947 we are able to find many well-defined characters, where Williams highlighted their flaws to make them memorable. The play revolves around Blanche Dubois meaning that many of the themes concern her directly. Blanche is seen as a tragedy as an individual stuck between two worlds, which are the past and the present and does not pretend to let go of the past and live in the present. With the idea of living in the past Blanche creates her own world and all she ever does in it is live a fantasy and an illusion and so she catches our attention because of her fragile and sincere personality which as the play proceeds turns to be a illusionistic image of herself. And I believe she does this to protect herself from the “threats” outside and her fears as well. So the main themes being discussed in this essay relate to how illusion and fantasy is important. She lives in the world of illusions in order to protect herself against outside threats and against her own fears. In the play Tennessee Williams contrasted Blanche’s delusions with Stanley’s realism while in the end, Stanley and his worldview wins. Blanche’s hope throughout the play is to salvage her life in the world of brutality where the inner anxiety clashes with the outside threats by using different coping mechanism: delusions, alcoholism and illusions. Blanche dwells in illusion; fantasy is her primary means of self-defense, both against outside threats and against her own demons. But her deceits carry no trace...
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...can be destructive, and take over someone's life. Lying takes over Blanche’s life throughout “A Street Car Named Desire” lying allows Blanche to escape the reality of her life when she tells lies to other people, because she starts to let herself believe her own lies. Blanche escapes reality because she is not proud of her past, and wants to be something else but herself. Blanche tries to hide who she is to her friends, and even her family. When Blanche just meets someone, it’s easier to feed them lies about who she is because they don’t know anything about her so it’s easier to believe. It’s more of a struggle to tell her own family lies because they question her because they know her past. Blanche let’s lying destructs her life slowly, by ruining each relationship with someone important to her. Blanche lives in a fantasy world to hide from her reality. Lying can be destructive because people let it overtake their life, and the truth always ends up coming out because people end up forget their lies. In “A Street Car Named Desire” Blanche starts lying to her sister, and she knows she’s lying. Blanche says to Stella in Scene One that she’s taking a “leave of absence” from her job as a schoolteacher. The truth on that situation is that Blanche got fired from her job as a school teacher, and got asked to leave. Later on Blanche lies about her age to Mitch telling him that she is younger than her twenty-five year old sister to Mitch who is seventeen. She lies to she...
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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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...Thomas Lanier Williams was born on March 26th, 1911 in Columbus, Mississippi. Williams wrote fiction and motion picture screenplays but is recognized for his plays. Thomas was the first son and second child of Cornelius Coffin and Edwina Dakin Williams. He was named after his grandfather and he insisted on being called Tom by the age of ten. His siblings include an older sister named Rose and a younger brother named Dakin. Williams spent a great deal of time with his sister Rose because she was not very stable, emotionally or mentally. Daryl E. Haley once said that Rose "was emotionally disturbed and destined to spend most of her life in mental institutions." His mother raised Tom because his father was a traveling shoe salesman. Edwina Dakin Williams was the daughter of a minister and very over protective of Thomas. She began to be over protective after he caught Diphtheria when he was five years old. His mother was also an aggressive woman caught up in her fantasies of genteel southern living. Amanda Wingfield, a character in his play The Glass Menagerie, was modeled after Williams' mother. Cornelius Coffin Williams, Tom's father, spent most of his time on the road. Cornelius came from a very prestigious family that included Mississippi's very first governor and senator. Mr. Haley also states that Tom's father was "at turns distant and abusive," that is, when he was actually around. Toms father also repeatedly favored his younger brother Dakin over both of his older children...
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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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