Thesis (M.F.A.)--University of Central Florida, 2010. / Adviser: John Shafer. Includes bibliographical references (p. 131-132).

Diss. : Philosophische Fakultät : Saarbrücken : 1980. - Bibliogr. p. 140-151. Bibliogr. des œuvres de Tennessee Williams p. 148. -

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A proposta desta tese é comprovar o número expressivo da obra ficcional de Tennessee Williams, relativamente extensa por abranger cerca de cinquenta contos, que representou de formas variadas a gênese ficcional de peças posteriores, além de apontar casos de peças vistas como matrizes que prefiguram a matéria ficcional de contos ou até mesmo de roteiros cinematográficos criados pelo autor. A predominância dos episódios em que os contos se colocam como matrizes ficcionais de importantes trabalhos dramatúrgicos do escritor foi constatada através do levantamento e da análise da produção dramatúrgica e ficcional de Tennessee Williams. Ao empreendermos o estudo analítico de três peças em um ato e uma peça em três atos [peça longa], foi possível estabelecermos a relação entre as peças e a estrutura ficcional dos contos, assim como apresentar um entendimento mais profundo dos processos formais e dos elos compositivos ligando sua ficção curta e a dramaturgia: The Dark Room [O Quarto Escuro, peça e conto, de aproximadamente 1939/1940], Something Unspoken [Algo não Dito, peça de 1953] e Happy August the Tenth [Feliz Dez de Agosto, conto de 1970]; Twenty-seven Wagons Full of Cotton [Vinte e sete Carros de Algodão, conto de 1935] e a peça em um ato de mesmo título [escrita antes de 1946] e The Night of the Iguana [A Noite do Iguana: conto escrito entre 1946-48 e peça de mesmo título, em um ato, de 1959 e em três atos, de 1961]. Dessa forma, o diálogo entre diversos tipos de arte foi mapeado e as representações da história na dramaturgia e em sua ficção curta investigadas. / The purpose of this thesis is to prove the expressive number of short stories by Tennessee Williams, relatively high to be composed of around fifty short stories which represented in various manners the genesis of later theater plays, besides highlighting cases of plays seen/ considered sources of short-story telling or even screenplays written by the author. The supremacy of episodes in which the short stories are seen as fictional sources of dramaturgic works by the writer was confirmed by verifying and analyzing the theater and the production/creation of short stories by Tennessee Williams. By doing the analytical study of three theater plays in one-act and a three-act play [fulllength play] it was possible to establish the relationship between the theater plays and the structure of the short stories as well as present a more profound understanding of the formal processes and the links between the plays and his short stories: The Dark Room [O Quarto Escuro, theater play and short story, approximately 1939/1940], Something Unspoken [Algo não Dito, play, 1953] and Happy August the Tenth [Feliz Dez de Agosto, short story, 1970]; Twenty-seven Wagons Full of Cotton [Vinte e sete Carros de Algodão, short story, 1935] and the one-act play with the same title [written before 1946] e The Night of the Iguana [A Noite do Iguana: short story written between 1946-48 and the play with the same title, in one act, in 1959 and in three acts, in 1961]. Therefore, the dialogue among various types of art was studied, besides the sources of inspiration of the playwright and the representations of history on drama and in his short stories investigated.

A proposta desta tese é comprovar o número expressivo da obra ficcional de Tennessee Williams, relativamente extensa por abranger cerca de cinquenta contos, que representou de formas variadas a gênese ficcional de peças posteriores, além de apontar casos de peças vistas como matrizes que prefiguram a matéria ficcional de contos ou até mesmo de roteiros cinematográficos criados pelo autor. A predominância dos episódios em que os contos se colocam como matrizes ficcionais de importantes trabalhos dramatúrgicos do escritor foi constatada através do levantamento e da análise da produção dramatúrgica e ficcional de Tennessee Williams. Ao empreendermos o estudo analítico de três peças em um ato e uma peça em três atos [peça longa], foi possível estabelecermos a relação entre as peças e a estrutura ficcional dos contos, assim como apresentar um entendimento mais profundo dos processos formais e dos elos compositivos ligando sua ficção curta e a dramaturgia: The Dark Room [O Quarto Escuro, peça e conto, de aproximadamente 1939/1940], Something Unspoken [Algo não Dito, peça de 1953] e Happy August the Tenth [Feliz Dez de Agosto, conto de 1970]; Twenty-seven Wagons Full of Cotton [Vinte e sete Carros de Algodão, conto de 1935] e a peça em um ato de mesmo título [escrita antes de 1946] e The Night of the Iguana [A Noite do Iguana: conto escrito entre 1946-48 e peça de mesmo título, em um ato, de 1959 e em três atos, de 1961]. Dessa forma, o diálogo entre diversos tipos de arte foi mapeado e as representações da história na dramaturgia e em sua ficção curta investigadas. / The purpose of this thesis is to prove the expressive number of short stories by Tennessee Williams, relatively high to be composed of around fifty short stories which represented in various manners the genesis of later theater plays, besides highlighting cases of plays seen/ considered sources of short-story telling or even screenplays written by the author. The supremacy of episodes in which the short stories are seen as fictional sources of dramaturgic works by the writer was confirmed by verifying and analyzing the theater and the production/creation of short stories by Tennessee Williams. By doing the analytical study of three theater plays in one-act and a three-act play [fulllength play] it was possible to establish the relationship between the theater plays and the structure of the short stories as well as present a more profound understanding of the formal processes and the links between the plays and his short stories: The Dark Room [O Quarto Escuro, theater play and short story, approximately 1939/1940], Something Unspoken [Algo não Dito, play, 1953] and Happy August the Tenth [Feliz Dez de Agosto, short story, 1970]; Twenty-seven Wagons Full of Cotton [Vinte e sete Carros de Algodão, short story, 1935] and the one-act play with the same title [written before 1946] e The Night of the Iguana [A Noite do Iguana: short story written between 1946-48 and the play with the same title, in one act, in 1959 and in three acts, in 1961]. Therefore, the dialogue among various types of art was studied, besides the sources of inspiration of the playwright and the representations of history on drama and in his short stories investigated.

In December 2007 I began an internship with the Tennessee Williams Scholars' Conference/Tennessee Williams Annual Review. The Conference and Review are co-produced by Williams expert and professor of English at Middle Tennessee State University Dr. Robert Bray and the publications department of The Historic New Orleans Collection. The majority of my internship took place from my home and at The Collection, where I also currently serve full-time as an editor on book projects and the institution's quarterly magazine. The following report provides an overview of my internship, my analysis of the operation of the Conference/Review, and my recommendations for the organization developed over the course of my tenure, which will conclude in December 2008.

Thesis (M.A. (Drama))--Rhodes University, 2003. / "A thesis sumbitted in partial fulfiment of the requirements for the degree of Master of Arts."

Thesis (M.A.)--Georgia State University, 2009. / Title from title page (Digital Archive@GSU, viewed July 16, 2010) Matthew Roudane, committee chair; Pearl McHaney, Wayne Erickson, committee members. Includes bibliographical references (p. 85-88).

The first chapter consists of an overview of the southern plantation as it survives in cultural imagination, especially in William Faulkner’s Absalom, Absalom! and Margaret Mitchell’s Gone With the Wind. The second chapter discusses A Streetcar Named Desire and how Williams reimagines the plantation in an urban setting through the New Orleans Marigny neighborhood. The third chapter examinesWilliams’s reinvention of the rural plantation in Cat on a Hot Tin Roof. The conclusion explores how Williams’s work is used as a blueprint in representing the plantation in postsouthern literature and culture.

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