A Steercar Named Desire - Blanche's Psychological Breakdown.
A Steercar Named Desire - Blanche's Psychological Breakdown In Tennesse Williams' play, "A Streetcar Named Desire" the readers are introduced to a character named Blanche DuBois. In the plot, Blanche is Stella's younger sister who has come to visit Stella and her husband Stanley in New Orleans. After their first meeting Stanley develops a strong dislike for Blanche and everything associated with her. Among the things Stanley dislikes about Blanche are her "spoiled-girl" manners and her indirect and quizzical way of conversing. Stanley also believes that Blanche has conned him and his wife out of the family mansion. In his opinion, she is a good-for-nothing "leech" that has attached itself to his household, and is just living off him. Blanche's lifelong habit of avoiding unpleasant realities leads to her breakdown as seen in her irrational response to death, her dependency, and her inability to defend herself from Stanley's attacks. Blanche's situation with her husband is the key to her later behavior. She married rather early at the age of sixteen to whom a boy she believed was a perfect gentleman. He was sensitive, understanding, and civilized much like herself coming from an aristocratic background. She was truly in love with Allen whom she considered perfect in every way. Unfortunately for her he was a homosexual. As she caught him one evening in their house with an
Scene by scene analysis of "Equus"
Romany Watkins (Act 01 – Scene 01) This scene indicates us a first overview about the psychiatrist Dysart. The scene is a monologue of Dysart, in what he thinks about the boy and the horse. Here you can understand that Dysart wants to find the problem of the horse, or what Sun 12:12 Romany Watkins (Act 01 – Scene 01) This scene indicates us a first overview about the psychiatrist Dysart. The scene is a monologue of Dysart, in what he thinks about the boy and the horse. Here you can understand that Dysart wants to find the problem of the horse, or what is wrong in the horse, that Alan did the crime. But Dysart's main problem is he cannot understand the horse's head - "a horse's head is finally unknowable to me". He only handled children's heads. Scene 1 delivers insight into the whole story and about the exercise that Dysart has to do. (Act 01 – Scene 02) In scene 2 Hesther is coming to Dysart because of an urgent concern. Entering the room Dysart welcomes her with a kiss on her cheek. So what kind of relationship do they have, is not clear but it seems that they have a strong and close relation. Hesther tells him the problem with the boy Alan Strang. He would be going to prison if nobody helped him. Dysart is not interested in this case and tells her that he has enough patients. Hester goes on telling him the story of this boy and what the boy is about and
Quotes from All My Sons
Quotes from All My Sons CHARACTORS Joe Keller "I saw your factory on the way from the stations. It looks like general motors"p150 Allusion-Savy businessman "Well that's only your business, Chris"p100 Inability to stand up to Kate "in hopeless fury, looks at her, turns around, goes up the porch, and into the house slamming screen door violently behind him" p126 Shows he can be neurotic "Chris... Chris, I did it for you...For you! A business for you."p158 Keller deals with guilt by blaming others and unfortunately taints his love for his son "A man can't be a Jesus in this world"p169 Allusion He is realistic but slightly jaded you can try to fulfil your moral and social responsibility "I'm his father and he's my son and if there's something bigger than that I'll put a bullet in my head!"p163 Dramatic irony and prolepsis- family is the most important thing for him commendable but leads to his downfall as he convinces himself that he shipped the cylinder heads for his family rather than himself "(Chris with admiration) Joe McGuts"p116 He is very brave "But I think to him they were all my sons. And I guess they were" p170 Recognition that he has social responsibility can't live with the realisation "I can't sleep here; I'll feel better if I go"p170 He shows determination there is a metaphorical recognition that he needs to die he is admirable even in death
"A view from the bridge".
"A view from the bridge" is a play scripted by Arthur Miller in 1955. The play is based in a city called Brooklyn which is situated in the state of New York. A view from the bridge is presented to the audience by a prominent character called Alfieri. Alfieri is the most significant character in the play because he is known as a good lawyer, a good friend to Eddie Carbone (a longshoreman) and surprisingly he is also the narrator. Alfieri is obviously the most significant character in the play. Alfieri as a character is known as a well respected lawyer and a close friend to Eddie. Throughout all the play Alfieri is helping Eddie with all his problems. "I know it Mr Alfieri, the guy ain't right". Alfieri does not only help Eddie, he also helps his niece, Catherine. Catherine has strangely fallen in love with an immigrant from Sicily called Rodolpho and has promised to marry him in the near future. She speaks to Alfieri about Eddie's disapproval of the wedding and how he doesn't like Rodolpho. Without letting the audience know, Alfieri is showing himself as an educated and intelligent man by staying neutral and not taking sides in all the situations he had come across. Another one of Alfieri's roles in the play is a narrator. A narrator is an important role in any play, and to be a character and a narrator is very distinct. Throughout all of the play he introduces the scenes
How does Pinter exploit the verbal and the visual in the Birthday Party
The Birthday Party is a play in which the visual and the verbal are carefully put together to create certain effects in the spectators. Pinter exploits both the verbal and the visual to show the personalities of the characters as well as their relationships, often with much ambiguity as the visual and verbal do not always match. Indeed, the contrast between the visual and the verbal can at times be very disconcerting for the spectators, creating an atmosphere of uncertainty and secrecy. Pinter also explores power, both verbal and visual, and how it is used to create fear and violence as well as the idea of secrecy. Obviously, the verbal and visual are very important for the characterisation, it is through what characters say and do that we are able to know more about them and the other characters. Petey is the first character that we see on stage, he is also probably the character that we doubt the least; for example, when he says that it is his chess night we are inclined to believe him. He is perhaps the only character, aside from Stanley, who is not taken in by Goldberg and McCann, which we see through his questioning their actions; "Where are you taking him?" He also is not seduced by Goldberg's speeches the way Meg and Lulu are, all he says after Goldberg talks about his childhood is "Well, we all remember our childhood". Petey's blunt manner here shows that he is not
A streetcar named desire - Exploration notes context/structure/language/plot&subplot/visual aural spatial.
A Streetcar Named Desire Exploration Notes: Context The play Streetcar Named Desire (hereafter SND) was written in 1947 at a very unstable time in American society. A time of 'American Realism', which was about the corruption of the American dream. The events of the time clearly had a big influence on Williams' work and inspired a lot of his writing. * Part of context of the play is the concept of the civil war and the North- South divide on the issue of slavery, with Blanche representing the southern states of America, and Stanley representing the North. Before the civil war, the south of America was incredibly rich, in comparison with the North, due in the greater part to cotton production. The North was poor at this time and struggling economically. However, after the war, with the abolition of slavery the economic balance power shifted, as the prosperity had depended on slave labour. Production fell and with it the wealth of the South. * The parallels between the above and the relationship between Blanche and Stanley are very clear. Initially Blanche, as a guest in the house, has the power. Her behaviour reflects this and earns her some respect from Stanley. A further parallel can be drawn between the wealth of the North as opposed to the South and the way in which, at the beginning of the play it is implied that Blanche has some money and this has a great
A Streetcar Named Desire - scenes 2 and 3 reviewed.
A STREETCAR NAMED DESIRE. Scene 2 * Blanche is not in this scene but we are constantly reminded of her through her singing.- this scene has a lot to do with the loss of Belle Reve. * 'Blanche is bathing' i.e. she is washing off her dirtiness/ her sins from the past. * 'Stella jumps up and kisses him which he accepts with lordly composure. Stanley is the great lord. He is king of the territory. * Stella; 'I'm taking Blanche is Galatoires'- This is French and refined. * Stanley; 'How about my supper, huh? I'm not going to no Galatoire's for supper!' This line shows that Stanley is not used to Stella going out. * Stella; 'I put you a cold plate on ice' - salad's and meat, i.e. basic foods. * Stella; 'you better give me some money'- Stella is dependant on him. This is another thing stacking up against Blanche. She needs him in materialistic stage , he needs her in emotional. There is a difference. * Stella; 'Oh it had to be-sacrificed or something.' This shows that Blanche does not interest her. * Stella; 'be sure to say something nice about her appearance. And, oh! Don't mention the baby.' From this we can see that Stella is aware of Blanche's fragility. However Stanley ignores the advice about the baby and uses it as a weapon. Stella wanted to tell her sister about the baby in her own time for she is barren old alone and single. * Here the role changes and Blanche is
An Analysis of the Dramatic Impact of the Restaurant Scene in Death of a Salesman - Death of a Salesman was first performed in 1947 and was seen to be a powerful and moving piece of drama. I will now be going through the appeal and the impact of the pla
This document was downloaded from Coursework.Info - The UK's Coursework Database - http://www.coursework.info/ HOSSEIN AMINI 4H NWCW2 DRAMA COURSEWORK: LITERATURE An Analysis of the Dramatic Impact of the Restaurant Scene in Death of a Salesman Death of a Salesman was first performed in 1949 and was seen to be a powerful and moving piece of drama. I will now be going through the appeal and the impact of the play. First of all, the book of Death of a Salesman can be said to be a universal book, in the sense that it has broad range of themes and is a book for everybody. It has all sorts of aspects, and real life situations that one has to take in mind. Lets first look at the characters. Willy Loman is an insecure and self-deluding travelling salesman. Despite him desperately searching through his past, he is not the typical tragic hero that we have come to depict. He is rather a man who doesn’t achieve self-realization and self-knowledge. He fails to realize his personal failure, and an emotional and spiritual understanding of himself. Willy’s crucial problem is the failure to understand the anguished love that is offered to him. This is the real problem, and tragedy of the play. In the end, he is forced to making the most extreme sacrifice to allow Biff to follow the American Dream. In the end, we remember him by his quote that he made to Charley,
Character Analysis - Willy Loman
Emily Rugg Character Analysis Willy Loman Arthur Miller introduces us to the character of Willy through the stage directions at the start of the play. Our first impression of Willy is that of an old, tired, hardworking man who gets home after everybody is in bed. We then learn that he has mood swings and massive dreams. As soon as Willy enters the house we get the feeling that something is wrong with the fact that he is home, as Linda calls "with some trepidation". She then asks him if he has crashed the car again. This implies that he has done it before and is a danger on the road. When talking to Linda about what happened when he was driving he says "I cant seem to - keep my mind to it". This gives us the first indication about his state of mind, and, as he finds it hard to get the words out, that he shows some difficulty in telling the truth about his failure. We learn of his inner dream of living in the countryside and growing carrots, but he is hiding this dream under the dream of being successful as a businessman. A bit later we get an idea of how successful Willy is. Willy tries to blame his unsuccessfulness on the fact the Frank Wagner is no longer alive and his son, Howard, does not like him. We then learn that Biff, his favourite son, works on a farm. Willy does not approve of this and says "How can he find himself on a farm? Is that a life? A farmland?" This
The End(s) of the Canon Minor Writing and Writing of Minorities
The End(s) of the Canon Minor Writing and Writing of Minorities By addressing the concept of "minor literature" in their study of Kafka, Deleuze and Guattari paved the way to new theoretical concepts.1 They interpreted Kafka's cultural marginality as the stimulus for a new mode of writing which resulted in what Kafka himself called a "minor literature" reflecting a polyvocality and heterogeneity that is central to contemporary minority literature. This concept of a small or minor literature, eine kleine Literatur, is seen as the collective and revolutionary literature of a minority writing in a major, dominant language. "A minor literature doesn't come from a minor language; it is rather that which a minority constructs within a major language" (Deleuze 16). Kafka believed himself to be creating a literature that is aware of the established literary works and genres but consciously creates itself a space outside of it. This literature does not imitate but situates itself in a distance to the canon in order to be cognizant of the differences that separate it from the position of established literary works. By this act the canon becomes a fragile construct and as David Lloyd exemplifies with Jean Genet's writing, eventually the canon ceases to exist when a writer refuses to write "literature" that is to say refuses to accept its major or in Genet's case minor status.2
