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Thesis (Ph. D.)--University of Wisconsin, 1964. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliography.

Orientador: Eric M. Sabinson / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-07-28T13:01:51Z (GMT). No. of bitstreams: 1 Ilari_MayumiDeniseSenoi_M.pdf: 4663728 bytes, checksum: f5f3714b74a10d9c4e249e42da0d44b4 (MD5) Previous issue date: 2001 / Resumo: O presente trabalho analisa as seguintes obras do dramaturgo americano Tennessee Williams: (i) as peças 27 Wagons Full ifCotton (1946), The Unsatisfactory Supper (1946) e Tiger Tail (1976); (ii) o roteiro cinematográfico Baby Doll (1955); (iii) um conto publicado em 1936, também intitulado 27 Wagons Full if Cotton. Tanto as peças quanto o roteiro foram inspirados no conto de 1936; mas ao passo que essas sucessivas recriações partem do mesmo conflito inicial, elas trazem, no entanto,personagens e desfechos diferentes. Pela comparação dessas obras, foram analisadas certas transformações do teatro williamsiano, encaradas como função de transformações sImultaneamente o ocorridas no contexto social norte-americano. Além de se procurar estudar as obras da perspectiva de determinadas teorias da dramaturgia, buscou-se entender de que modo questões como a marginalização social, as relações entre poder, dinheiro e sexo, o preconceito em suas variadas formas, o papel social da mulher dentro da família e da tradição, e outras análogas, foram-se alterando no teatro de Williams ao longo das détadas, materializadas artisticamente nas diferentes versões de uma mesma trama - versões essas que respondem a um mesmo conjunto de indagações e buscas sobre os papéis exercidos pelas diferentes personagens nos diferentes momentos das décadas de 30-40, 50 e 70, em que as yárias obras foram criadas. Dentre as transformações mencionadas, optou-se por dar maior ênfase às sofridas pelas personagens femininas, relacionadas a modificações históricas ocorridas no papel social da mulher, e considerando certas relações de gênero características daquelas diferentes épocas / Abstract: The thematic development of tive related works of the American playwright Tennessee Williams are analyzed in this dissertation: the short story 27 WagonsFull of Cotton, published in 1936, the one-act pIays 27 WagonsFull of Cotton and The Unsatisfactory Supper (1946), the full-Iength pIay TigerTail(1976) and the screenpIay Baby Doll(1955). Through a comparison of these works, the development of the theater of the pIaywright can be understood as a function of transformations of American society itself, each work, in a sense, a prism of the moment in which it was eIaborated. Each successive recreation on the basis of an initial conflict produces variations in theme, character and dénouement. Thematic material of the pIays -- discrimination, power, economic and sexual reIations, as well as prejudice in its various manifestations -- is discussed, laying particular emphasis on the role of women within social and familial structure over the course of forty years. The works are also discussed in terms of recent contributions to dramaturgy and genre theory / Mestrado / Teoria Literaria / Mestre em Letras

It is the purpose of this paper to examine the major plays of Tennessee Williams in an effort to formulate the key concepts which appear in the work of a modern successful dramatist who is sensitive to the tragedy of man and to discover Williams' beliefs in regard to man, his need, and the tragedy that results if he does not find the fulfillment of his nature.

Tennessee Williams is a playwright of great psychological depth. This thesis probes some of the complexities of his work through the use of Object Relational Psychoanalysis, specifically employing the theories of Melanie Klein, W.R.D. Fairbairn and Donald Winnicott. The Glass Menagerie, A Streetcar Named Desire, Cat On A Hot Tin Roof and The Night of The Iguana are analysed from this theoretical stance. All of these plays display great perceptiveness into the human condition, accurately portraying many psychological relational themes. Certain Object Relational themes become very apparent in these analyses. These themes include, Dependency (especially in The Glass Menagerie), Reparation (particularly in A Streetcar Named Desire), Falsehood (notably in Cat on a Hot Tin Roof), Idealisation (evident in The Night of The Iguana), Honest Empathetic Relations (apparent in Cat on a Hot Tin Roof and The Night of The Iguana) as well as Guilt, Object Loss, Sexual Guilt, and Obligation (recurring throughout these plays). It is advanced that Williams’ plays posses an honest and insightful understanding of human relations and, as such, are of contemporary value. This Thesis is not only an academic study, but also has practical applications for dramatists. With an increased understanding of the intrinsic tensions and motivations within such plays, offered by such psychoanalytic strategy, performance and staging of such work may be enhanced valuably.

LD2668 .T4 1966 W752 / Master of Science

The sound ascending is a musical theater work for two actors, four singers and piano. This project was a collaboration with playwright, Jason Tremblay. The story is a loose adaptation of Orpheus descending, by Tennessee Williams. Displaced from the rural, American South, most of our story takes place in Mazer, Afghanistan. Jason and I attempted to create an untraditional model. The work lies somewhere between a musical, oratorio and a song cycle. We both walked away with mixed feelings about the success of the work, following a preliminary premiere. I believe that the work is successful in its drama and storytelling. But in such a confined presentation, the work needs more diversity of material and character strength. Although complete for now, Jason and I plan on revising The sound ascending in the coming year. Most significantly, this project has been a learning experience. We both take away valuable lessons about writing and collaboration. / text

Blanche DuBois marked the most significant literary achievement of Tennessee Williams. Though her rape functions dramatically as a powerful climax which has troubled critics and bothered audiences, it is more a thematic culmination of Blanche's inability to sequester her sexuality. In fact, nearly everything Williams wrote prior to 1947 was building toward Blanche's rape; nearly everything that came after was a thematic attempt to resolve that issue left incomplete in her character--the southern dialectic, the preponderant theme and unsolved riddle of Williams's long career.The southern dialectic--a model developed from the joint theories of southern historian W. J. Cash, theorist Allen Tate, novelist William Faulkner, literary critic C. Hugh Holman, and playwright Tennessee Williams--is the internalization of opposites virulent in human nature which seeks to synthesize its disparate traits. Williams juxtaposed onto most of his characters this metaphysical debate between antinomies, most notably flesh and spirit, past and present, and miscegenation. Although he explored each with precise attention to balance, Williams returnedto flesh and spirit and its teleological (as opposed to theological) assessment of the human condition as his thematic touchstone.From his first performed play in 1935 to his last works of-the Eighties, Williams harnessed the dialectic in himself --between his innate desire for flesh and his learned duties to spirit--and generated from it the art that was as much his career as it was his exercise in psychotherapy. By placing both traits in his characters and dramatizing their interaction through two key images--the cat and the bird, whose own timeless battle reflected the same attraction/ repulsion nexus of the flesh-spirit dialectic--Williams could search for the one-androgynous hero who, like Christ, would successfully integrate them.Androgyny, for Williams, was not strictly hermaphroditism, though he was drawn to the asexual, but the ideal state of human existence--the integration of paradoxically repellent and attractive forces created by the dialectic. Though his Grail-like pursuit led him to discover different ways to end or survive this dialectic (denial, then death, then endurance), Williams's search for his androgynous hero would ultimately be in vain. / Department of English

Thesis (Ph. D.)--Georgia State University, 2007. / Title from file title page. Matthew C. Roudane, committee chair; Pearl McHaney, Nancy Chase, committee members. Electronic text (208 p.) : digital, PDF file. Description based on contents viewed Feb. 28, 2008. Includes bibliographical references (p. 192-208).

Thesis (Ph.D.)--University of North Carolina at Greensboro, 2007. / Title from PDF t.p. (viewed Mar. 3, 2008). Directed by Scott Romine; submitted to the Dept. of English. Includes bibliographical references (p. 203-214).