...“Men are the savage and brutal forces of society.” Compare and contrast how masculinity is explored in two texts you have studied in light of this comment. In A Streetcar Named Desire, the men are seen as cruel and bitter due to their harsh use of force to achieve what they want. Whereas in All New People, the men are perceived as the victims of society rather than its actual driving force. In A Streetcar Named Desire, Stanley fulfils the duty of carrying the traditional patriarchal role of the breadwinner in the society of the 1950’s era. He is represented as masculine through the use of his dominance in the household, control over Stella and being the prime influence in his social group of friends, as they see him as someone they want to be. However, this is contrasted in the modern day text of All New People, as Charlie conforms to the image of the ‘new man’ by emphasising the different types of masculine forms in society and how they are widely accepted. He expresses this through the use of showing emotion and being more considerate of other people’s feelings, while being aware of his own. Tennessee Williams makes it prominent that in 1950’s post war America, men and women each had specific gender roles that they had to attain and carry out. Stanley’s physical sovereignty is embedded throughout the play due to way he behaves and his innermost desire to control everyone around him. “Well, you can hear me and I said to hush up!” “[yelling]: Sit down!” Stanley demonstrates...
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...In A Streetcar Named Desire, the men are seen as cruel and bitter due to their harsh use of force to achieve what they want. Whereas in All New People, the men are perceived as the victims of society rather than its actual driving force. In A Streetcar Named Desire, Stanley fulfils the duty of carrying the traditional patriarchal role of the breadwinner in the society of the 1950’s era. He is represented as masculine through the use of his dominance in the household, control over Stella and being the prime influence in his social group of friends, as they see him as someone they want to be. However, this is contrasted in the modern day text of All New People, as Charlie conforms to the image of the ‘new man’ by emphasising the different types of masculine forms in society and how they are widely accepted. He expresses this through the use of showing emotion and being more considerate of other people’s feelings, while being aware of his own. Tennessee Williams makes it prominent that in 1950’s post war America, men and women each had specific gender roles that they had to attain and carry out. Stanley’s physical sovereignty is embedded throughout the play due to way he behaves and his innermost desire to control everyone around him. “Well, you can hear me and I said to hush up!” “[yelling]: Sit down!” Stanley demonstrates his supremacy in the household through his aggressive tone when speaking to others, due to being the only way he can govern them as a way of illustrating his...
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...Janet Ng Professor Faunce WRT 102 7 March 2012 Textual Analysis of A Streetcar Named Desire Based on Tennessee William’s A Streetcar Named Desire, Elia Kazan creates an award winning movie that helps readers visualize Stanley’s primal masculinity, the inner torments of the Kowalski women and the clash of the other characters’ problems which create a chaotic mess. Using stage directions in the play, William hints that Blanche is not who she appears to be while the movie subtly sheds light on Blanche’s strange little habits that suggests a bigger issue. The movie also censors many of the main themes in Williams’ play but makes up for it by having its actors flawlessly portray the characters’ emotions, allowing the readers to see the conflict at its full magnitude. Both the movie and the play sympathize with the powerless women by underlining the important theme of women’s dependence on men. Blanche is an insecure, miserable older woman who masks herself as a rich, upper class lady. She continues to shy from reality and seduce men as she cannot comprehend that her reliance on men will ultimately lead to her downfall. “Now run along, now, quickly! It would be nice to keep you, but I’ve got to be good-and keep my hands off children.” (Williams, pg 99) This isn’t the first time that Blanche has put moves on a kid as made evident when she states “I’ve got to be good and keep my hands off children.” She clearly hasn’t learned her lesson after losing her job. The scene is even more...
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...will leave you blind to the things around you. The play, A Streetcar Named Desire by Tennessee Williams creates a situation where A Streetcar Named Desire is driven by the fantasy of Blanche, Stanley, Stella and Mitch. In the play the characters hide from their reality by acting as if the events they went through didn’t happen or were not important. The idea of reality vs. illusion seems to bring on the idea that these characters want to escape their world or they want to act blind they don’t have to face reality. One of the main characters that brings the idea of reality vs. illusion and escapism is Blanche. Blanche came from a wealthy background and lived in city named Laurel. When Blanche’s husband died and her family members began to die, she spent her money on their funerals and she ended up losing her home. Blanche losing her home can be compared to a princess losing her castle and money but in this story she didn’t have a handsome prince rescue her. She gained a bad yet truthful reputation for sleeping around with different men. She wanted to escape this so she went to visit her sister Stella. When she came to Stella’s house she acted as if everything in Laurel didn’t actually happen. This is when her fantasy began, in Stella’s town she acted as an old-fashioned woman who was proper and modest, this was not true. Her past revealed that she is not what she claimed to be. While in Stella’s town Blanche met a man named Mitch who is a friend of Stella’s husband. Blanche and Mitch’s...
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...When Blanche is fed up with Stanley’s accusations, Williams’ directions state she “sprays herself with her atomizer; then playfully sprays him with it. He seizes the atomizer and slams it down on the dresser” (Williams 41). Stanley is repulsed by Blanche’s facade. His hyper-masculine temperament propels him to violently reject the perfume because of its feminine scent; he finds wearing it would pollute a fundamental facet of his character. Stanley’s aggressive manliness makes sense in the context of the time period. The nation had suffered through an unprecedented war, and it was reverting back to the old-fashioned values of family and home. Stanley has just come back from the war as a decorated soldier, and after proving his masculinity on the battlefield, he is ready to display his manhood within the home. Throughout the play, Blanche continues to shield herself from reveal, hiding from the light and playing up her backstory. Conflict arises when her love interest, Stanley’s friend Mitch, insists on taking a look at her “good and plain”. Blanche is flustered, “Of course you don’t really mean to be insulting!” to which Mitch replies “No, just realistic” (144). Blanche’s greatest fear—reality. She admits to her allure: “I don’t want realism. I want...
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...compete in the same spheres as men, resulting in a blurring of the once distinct boundaries between the male and female worlds. This intersection of the sexes had two effects: first, because women were no longer confined to domestic work, they had less incentives to remain in dominantly female circles; second, because women could operate in the male world as individuals, they had to learn to mirror male patterns of dominance or portray the traditional role of women. These combined effects resulted in the breakdown of sisterhood as women distanced themselves from female bonds in order to gain power in the male world. This fall of sisterhood is evident in literature, which I will convey through an analysis of three selections: A Streetcar Named Desire, a play by Tennessee Williams; “Recitatif,” a short story by Toni Morrison; and “Everyday Use,” a short story by Alice Walker. First, I will...
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...In Tennessee Williams’ play, A Streetcar Named Desire, the main antagonist, Stanley Kowalski, can only be described as down-to-earth and brutish. This is unquestionable, and is evident numerous times throughout the play. Stanley serves as the antithesis to Blanche who, in turn, is quiet, fragile, and deceitful. The conflict in the play arises from Blanche’s arrival to the Kowalski’s residence and is a direct result from the meeting of these two contrasting characters. As such, it is perhaps not difficult to see that the motivations for most of Stanley’s defining actions in the play stem from Blanche who, from his point of view, is just a disruptive presence that doesn’t belong and only serves to annoy him. Blanche’s occupancy, coupled with Stanley’s dominant personality, is the basis for his multiple signs of aggression and assertion in the play. Stanley, as is so often claimed by Blanche, is simple. His motivations throughout the play aren’t very complex: he wants to be able to do what he wants, and to maintain control while he’s at it. Stanley is evidently an alpha male; if someone is doing something that he doesn’t approve of, whether it makes sense or not, he’s going to disagree. This makes it very easy to understand his actions. Blanche came uninvited into his home – the place where Stanley dominates. This already puts their relationship off to a bad start. Throughout the play Blanche made changes to his home as well as ripples in his relationship with Stella. Stanley...
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...In the play of A Streetcar Named Desire, Tennessee Williams refers to human sexuality through the strong use of gender roles that represent the attitudes of post-war. Stanley sees himself as the provider and head of the household. He is a very dominant and in control figure throughout the play. Stanley wears denim, drinks beer and plays poker several times in the play to show his carefree and powerful attitude towards life. He sees Stella's role as a homemaker, who stays at home, cooks his meals, and generally takes care of him. From the very start of the play we see that Stella and Stanley seem pretty happy with each other, and also content in their gender roles we see this in scene one when Stanley returns from work, bellows, and hurls a pack of meat up to his wife. He's providing the day's dinner, and she laughs at his gruff antics, happy to make their meal and watch him go bowling with his friends. Stella in the play represents a very calm and relaxed woman. She cooks dinner, does the laundry and waits on her husband day after day. Stella is so wrapped up in Stanley’s appearance and sexually pleasing features that she doesn't seem to care about the way he treats her. During this time period women were very oblivious to the rude and harsh ways in which their husbands were treating them. All they wanted was to please them and to fulfil their every desire. Stella is a lost and powerless woman in society that is a slave to her husband. Stella represents most of the women...
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...Death of a Salesman and A Streetcar named Desire how far they tragic in a classical sense? Both “Death of a Salesman” and “A Streetcar named Desire” have tragic elements to them. Yet many critics say that both plays deviate too far from Aristotle’s foundations of what a tragedy should be. For example neither character is in an “elevated position”, which Aristotle says is vital for a tragic hero as it gives the character a “height” to fall from. Willy and Blanche aren’t royal or particularly high class, although Blanche believes herself to be a Southern Belle and portrays that image publically there is evidence that she isn’t a Southern Belle, Willy is a working class salesman who would be consider a “common man”. Both characters are relativity common people, however in Miller’s “Tragedy and a Common man” he says that he believes “a common man is as apt a subject for tragedy in its highest sense as kings were.” Miller goes on to say that the “tragic feeling is evoke in us when we are in the presence of a character who is ready to lay down their life… to secure… their sense of personal dignity”. For Willy this is to be known as a salesman, He bases his goals for the American Dream, which is flawed as it forever leaves him wanting more as a person. He bases his end goal on Dave Singleman who has people from all America come to his funeral; Willy believes that he is the embodiment of the American dream. Aristotle says in his Poetics, that tragedy represents men as better...
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...on cars and dirty jobs, such as construction. However, it was uncommon for men to be nurses, teachers, secretaries, etc. In another instance, when Myrtle becomes frustrated and starts to repeatedly scream Daisy’s name, Tom tells her to stop, but when she does not, he punches her (Lee 50). From this instance, Tom exerts the idea that women are supposed to be submissive and obey demands from men, or otherwise they will suffer the consequences of not doing so. Likewise, A Streetcar Named Desire builds Stanley’s character around the image of a man that existed in the 1940’s. According to Blanche, Stanley’s sister-in-law, “What such a man has to offer is animal force and he gave a wonderful exhibition of that! But the only way to live with such a man is to- go to bed with him! And that’s your job- not mine!” (Williams 52). Provided this description, Blanche criticizes both the male and female stereotype- men are animalistic brutes, and women are submissive pushovers. She also denounces her sister, Stella, for her desire to...
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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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...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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...THE DIARY OF A YOUNG GIRL : THE DEFINITIVE EDITION Anne Frank Edited by Otto H. Frank and Mirjam Pressler Translated by Susan Massotty -- : -BOOK FLAP Anne Frank's The Diary of a Young Girl is among the most enduring documents of the twentieth century. Since its publication in 1947, it has been read by tens of millions of people all over the world. It remains a beloved and deeply admired testament to the indestructable nature of the human spirit. Restore in this Definitive Edition are diary entries that had been omitted from the original edition. These passages, which constitute 30 percent more material, reinforce the fact that Anne was first and foremost a teenage girl, not a remote and flawless symbol. She fretted about, and tried to copie with, her own emerging sexuality. Like many young girls, she often found herself in disagreement with her mother. And like any teenager, she veered between the carefree nature of a child and the full-fledged sorrow of an adult. Anne emerges more human, more vulnerable, and more vital than ever. Anne Frank and her family, fleeing the horrors of Nazi occupation, hid in the back of an Amsterdam warehouse for two years. She was thirteen when the family went into the Secret Annex, and in these pages she grows to be a young woman and a wise observer of human nature as well. With unusual insight, she reveals the relations between eight people living under extraordinary conditions, facing hunger, the ever-present threat of discovery and death, complete...
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...CALIFORNIA CALIFORNIA An Interpretive History TENTH EDITION James J. Rawls Instructor of History Diablo Valley College Walton Bean Late Professor of History University of California, Berkeley TM TM CALIFORNIA: AN INTERPRETIVE HISTORY, TENTH EDITION Published by McGraw-Hill, a business unit of The McGraw-Hill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright © 2012 by The McGraw-Hill Companies, Inc. All rights reserved. Previous editions © 2008, 2003, and 1998. No part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written consent of The McGraw-Hill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. Some ancillaries, including electronic and print components, may not be available to customers outside the United States. This book is printed on acid-free paper. 1234567890 QFR/QFR 10987654321 ISBN: 978-0-07-340696-1 MHID: 0-07-340696-1 Vice President & Editor-in-Chief: Michael Ryan Vice President EDP/Central Publishing Services: Kimberly Meriwether David Publisher: Christopher Freitag Sponsoring Editor: Matthew Busbridge Executive Marketing Manager: Pamela S. Cooper Editorial Coordinator: Nikki Weissman Project Manager: Erin Melloy Design Coordinator: Margarite Reynolds Cover Designer: Carole Lawson Cover Image: Albert Bierstadt, American (born...
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...An Introduction to Sociolinguistics AITA01 1 5/9/05, 4:36 PM Blackwell Textbooks in Linguistics The books included in this series provide comprehensive accounts of some of the most central and most rapidly developing areas of research in linguistics. Intended primarily for introductory and post-introductory students, they include exercises, discussion points, and suggestions for further reading. 1. Liliane Haegeman 2. 3. 4. 5. 6. 7. 8. 9. Andrew Spencer Helen Goodluck Ronald Wardhaugh Martin Atkinson Diane Blakemore Michael Kenstowicz Deborah Schiffrin John Clark and Colin Yallop 10. 11. 12. 13. Natsuko Tsujimura Robert D. Borsley Nigel Fabb Irene Heim and Angelika Kratzer 14. Liliane Haegeman and Jacqueline Guéron 15. Stephen Crain and Diane Lillo-Martin 16. Joan Bresnan 17. Barbara A. Fennell 18. Henry Rogers 19. Benjamin W. Fortson IV 20. AITA01 Liliane Haegeman 2 Introduction to Government and Binding Theory (Second Edition) Morphological Theory Language Acquisition Introduction to Sociolinguistics (Fifth Edition) Children’s Syntax Understanding Utterances Phonology in Generative Grammar Approaches to Discourse An Introduction to Phonetics and Phonology (Second Edition) An Introduction to Japanese Linguistics Modern Phrase Structure Grammar Linguistics and Literature Semantics in Generative Grammar English Grammar: A Generative Perspective An Introduction to Linguistic Theory and Language...
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