Tennessee Williams’s A Streetcar Named Desire portrays a dog-eat-dog world, in which the winner takes it all: a person not just watches out closely for his/her own interest but also preys on the weak. This portrayal is mostly embodied in the confrontation between Blanche DuBois and Stanley Kowalski, the two major characters in the play. The confrontation partly arises from difference in class, Blanche from high society while Stanley from low one. But most noteworthy is that the element that contributes the most to this confrontation is their desires for sex, money, revenge, and even survival of life. Over time, the tension between Blanche and Stanley grows to a climax and eventually goes down with Blanche, the weak, losing the battle while Stanley, the strong, standing out as the victor and taking away Blanche’s soul and body. Given this, in this dog-eat-dog showdown there exists ambiguous moments: Is the physical contact between Blanche and Stanley a rape, a date, or a rape-date? A look into this issue is in order.
At first glance Disney’s Lady and the Tramp released in 1955 is a classic romantic love story between two dogs where the upper-class girl falls in love with a lower class boy. It follows the struggles they encounter when trying to be together. However, after reading Locating America: Revisiting Disney’s Lady and the Tramp by Daniel Goldmark and Utz McKnight it is clear that the undertones of the film tell the viewers a different story. The film depicts how American culture should be and what is socially acceptable in America. This has been made clear by different sections of the film that will be examined throughout the paper.
In Parker’s film adaptation, his emphasis of the sub-plot between Dr. Chasuble and Miss Prism, while becoming more entertaining, further detracts from Wilde’s concerns and only serves to strengthen the film as a romantic comedy. In Wilde’s play, Chasuble and Prism’s
How does Williams present the themes of illusion and fantasy in A Streetcar Named Desire?
Another difference between the two is the way in which characters are presented. In the novel the audience is introduced to Billy's captive mate, Montana Whildhack, as she is first placed into the Tralfamadorian zoo. She is place in the cohabitation with Billy while she is unconscious and is filled
The two short stories share one similar theme, and contrast in others. The theme these two stories can compare is how the women, Mrs. Mallard and Clair feel about their loved ones and the relationship problems they face. The unsteady relationship becomes apparent when Mrs. Mallard expresses that she feels a sense of freedom when she hears of her husband’s death, which is odd for any marriage unless there is a sense of unhappiness within the relationship. Learning Mrs. Mallard feels free after her husband’s death makes the reader believe she was in an unhealthy
She will not allow her brothers to persuade her to live with her sister Lucy. She will not allow herself to be taken into another household in which she will not be heard. In this obstinence she stands in marked contrast with her brothers. While they are described as "subject animal[s]" in the face of their future (239), Mabel's "'bulldog'" face shows her determination (238). She fights stubbornly for her independence. Her determination and power are manifested when the doctor, Jack Ferguson, comes to visit. Notably, Jack is immediately made uncomfortable by the way she looks at him. Even in her silence, she wields a power that intimidates Jack.
Tennessee Williams’ ‘A Streetcar Named Desire’ is set in the ‘Roaring Twenties’ when America was going through a great deal of change in the order of society. The three main characters; Blanche DuBois, Stella Kowalski and Stanley Kowalski jostle claustrophobically in a small apartment, set in Elysian Fields in New Orleans, Elysian Fields is an ironic name as it evokes the sense that the apartment is heaven, when in reality it is very much the opposite. Stella and Blanche are sisters, but during the course of the play, we notice very clearly that Blanche is stuck in the in the Old World of plantations and inequality, with very large social divides. In contrast, Stella has almost seamlessly evolved to live in the New
The following will elucidate how disturbing behaviour is conveyed in the novel The Wasp Factory by Iain Banks and the play, A Streetcar Named Desire by Tennessee Williams.
Miller presents the character of Mary Warren in an important way to show the message of status and power. Mary Warren’s character is seen to be vulnerable and timid. The key events that makes her role important are her roles in the girls’ group, the scene with the poppet and her confession in court. Through the events in the play Miller portrays Mary Warren with tension and suspense. This makes the audience question her status and power.
A Streetcar Named Desire is an intricate web of complex themes and conflicted characters. Set in the pivotal years immediately following World War II, Tennessee Williams infuses Blanche and Stanley with the symbols of opposing class and differing attitudes towards sex and love, then steps back as the power struggle between them ensues. Yet there are no clear cut lines of good vs. evil, no character is neither completely good nor bad, because the main characters, (especially Blanche), are so torn by conflicting and contradictory desires and needs. As such, the play has no clear victor, everyone loses something, and this fact is what gives the play its tragic cast. In a
Ellen is an orphaned girl who appears to have agency up until the point that she runs into Charlie Chaplin who plays a factory worker. Once again, the theme of upward mobility is shown with consumerism. This is alluring to Ellen and she becomes romantically involved with Chaplin. Prior to this, Ellen appears to have great agency with her ability to maneuver for herself and her siblings even though she is extremely poor. However, once the idea of acquire more than what is needed to survive comes into play the audience sees that she is satisfied with just being a housewife for Chaplin. This film greatly exemplifies the complexities of the female identity because Ellen is clearly a woman who could posses independence, but seemingly leaves that behind for the life of a housewife. The film however takes a turn when Ellen is revealed to be a dancer at a local restaurant. By being a working woman, Ellen solidifies to the audience that she is an independent woman with complete agency. Thus, her relationship with Chaplin is merely a romantic interest and not a way to gain social mobility as was seen with Maggie. This movie shows the progression of a woman with agency.
There are salient junctures in Pip’s upbringing that make him who the person he was; this is a tale that in which Pip was soliciting for awareness of himself, as well he realized that his life had major elements of obscurity; due to the fact, he was presented clearly, two radical different lifestyle choices; one, involving a life as a blacksmith and the other; involving the path as life as am affluent prosperous gentleman. Dickens carefully wrote in the periods of Pip’s life and how those set of circumstances; affected by choice, as well affected Pip’s later choices he had made. The temptation of class and wealth perverted the actions of Pip and other people around him; Pip is therefore contemplating on how he was saved by reminiscence of the stages of his life. In the first stage; Pip encounters Magwitch; by accident, this affects the outcome of later events of his life; Pip is than introduced to Miss Havishism and Estella, he fell in love with Estella, and was dramatically persuaded by the promises he made to himself, from his encounters with Miss Havhishism and Estella. Dramatically; Pip than learned the truth about his wealth and that Magwitch was Estella 's father; this collapsed Pip’s vision of reality and forced him to alter his exceptions concerning the truth; Pip than had to save himself from his own selfishness, as well as his malice actions, to the ones who were faithful to him; finally, at the end Pip is a full grown adult and had gain
When she arrives on her sister’s doorstep, the tragic hero of Williams’ play A Streetcar Named Desire, Blanche DuBois, is blatantly out of place. However, with no where else to go, the former aristocrat arrives at the home of Stella and her husband Stanley in downtown New Orleans. Once there, Blanche seeks refuge from reality through the acceptance of men. However, Stanley, sees through Blanche’s compulsive lies and investigates her suspicions past. After being confronted and sexually abused Blache’s increasingly disillusioned mental state compels Stella to put her sister in a mental hospital. Willy Loman, the protagonist of Arthur Miller’s play Death of A Salesman, experiences a similar mental deterioration. After an unsuccessful business
The class system becomes a focal point in young Pip's life. Pip first began to think about his place in society when he was sent to visit the wealthy, old lady, Miss Havisham at her mansion. Through these visits Pip becomes socially conscious and begins to dislike his commonality. Almost instantly he wants to become uncommon. The adopted daughter of Miss Havisham, Estella, becomes a focal point and goal for Pip to obtain. Any morality Pip used to have slips away with each visit. Pip walks in circles in a barely lit room with Miss Havisam holding onto his shoulder and in doing so, Pip is somehow leaving behind all the values he was raised with. Miss Havisham and Estella end up corrupting Pip with the rich life. Greed, beauty and hubris are Pips downward spiral into an immoral life. Pip finds Estella very attractive, but Estella calls him common and this does not sit well with Pip. All of Pip's expectations of becoming a rich gentleman are due to this love of Estella.