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Digitized by Kansas Correctional Industries

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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

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

Informe de Seminario para optar al grado de Licenciada en Lengua y Literatura Inglesa / Our seminar, ‘The city and the urban subject in British and American Literature’, revolved around the problem of cities and urban subjects, considering the relations they have with the metropolis and the way in which the constant flux of cities affects them. The consolidation of the cities created a space for new subjects, and new genres. But there is one element of these cities that caught my attention, and this is a shared element with the countryside, and a reminiscent idea of the early human communities. This is the house.