Showing posts with label Streetcar. Show all posts
Showing posts with label Streetcar. Show all posts
Thursday, 8 June 2017
Tuesday, 16 May 2017
Streetcar paragraph structure
What’s your point…?
Where’s your proof?
Explain the dramatic impact of the most
telling detail.
Can you link this to other quotes in the
play?
Why was that idea important at the time?
What was it important to Williams?
Which critics/ perspectives/ performances
agreed/disagreed with you?
Clinch your point.
Eg
What’s your point…?
Blanche hates pragmatism:
Where’s your proof?
1) Her costume is ‘incongruous’ to the
setting; 2) “I don’t want realism. I want magic!”; 3) her regular florid
monologues: the opposite of practical dialogue
Explain the dramatic impact of the most telling detail.
“I don’t want realism. I want magic!”; the
turgid full stop reveals the boredom she associates with reality, and the
exclamation mark emphasises her love of fantasy, forcing the actor playing
Blanche to show her bias towards these two opposing ideals.
Can you link this to other quotes in the play?
This is reinforced by her hysterical
behaviour when confronted with Stella’s extremely pragmatic response to being
beaten by her husband: Blanche’s hysterical behaviour is juxtaposed with
Stella’s calm; she uses imaginative metaphors to describe the ‘ape’ Stanley,
even though she claims to be giving Stella the ‘facts’.
Why was that idea important at the time?
Blanche’s hatred of pragmatism was an
outright rejection of the ‘New American Male’ – inarticulate and illiterate –
who, like Paul Newman and Montgomery Clift, was becoming a hero in 1940s
American culture.
What was it important to Williams?
Williams himself wrote that he was ‘in a
fight to the death’ against the ‘butcher, baker and candlestick-maker’ –
practical trades that were the enemy of creative people.
Which critics/ perspectives/ performances agreed/disagreed with you?
Karl Malden captured the unattractive
nature of pragmatic males perfectly with his ‘dancing bear’ performance,
although it’s interesting to note that Marcello Mastroianni’s
Mitch was far better looking, making Blanche and Williams’ pragmatic opponent a
more attractive prospect.
Clinch your point.
Whether it was physically appealing or
not, there is no doubt that for author and his heroine, the pragmatism that
they hated so much was bound to defeat them.
Wednesday, 19 April 2017
Thursday, 30 March 2017
Marxist perspective essay on Streetcar
(The Fall of the Bourgeois and the Rise of
a New Social Order in A Streetcar Named
Desire by Tennessee Williams)
Thesis
statement: The social transition: the fall of the bourgeois and the rise of a
new social order that took place in America after the Second World War is
portrayed in A Streetcar Named Desire (1947).
Most
of the academic criticisms of A Streetcar
Named Desire (1947) by Tennessee
Williams (1911–1983) have been directed
toward the ethical and generic aspects of the play. However, it can be viewed
as a ‘social drama’ where two diverse worlds collide in order to portray a
certain form of transition or change within society. Tennessee Williams is
known as
one of America's major playwrights of the twentieth century and his absolute
place was secured in the pantheon of playwrights by the play A Streetcar Named Desire which won
both the Pulitzer Prize and the New York Drama Critics Circle Award.
When
the Second World War ended America was in a better economic condition than any
other country in the world. Due to tentacles of optimism and confidence America
was seen as the land of opportunity and equality. America was becoming a
melting pot during the 1940s. The play is set during this era and the events of
the play take place in New Orleans which is unique due to its multicultural
nature because New Orleans was the state where the majority of the immigrants,
emancipated African-Americans and job seeking Americans chose to reside in. Stanley
and Stella Kowalski live here when Blanche Dubois visits them with an
expression of shocked disbelief. It says
“Her appearance is
incongruous to the setting. She is daintily dressed in a white suit with a
fluffy bodice, necklace and earrings of pearl, white gloves and a hat, looking
as if she were arriving at a summer tea or cocktail party,” (Williams 11) ,
which signifies how
distant Blanche is from her surroundings and her incapacity to adapt into
different circumstances though she says “I’m very adaptable-to circumstances” (Williams 60) .
Blanche’s
and Stanley’s confrontation symbolizes the collision between two worlds, the
old world and the new world. It further shows a conflict between the values of the
old world and the new. Blanche, the Southern belle represents the bourgeoisie
element in the early American south that made their living exploiting the labor
of African American slaves in plantations. In her essay on “Southern Belle-hood,”
Biljana Oklopcic states that, “Williams portrays Blanche as the last
representative of the old aristocracy who tries to survive in the modern world
by escaping to alcohol, madness, and promiscuity” (Oklopcic) .
Stanley
Kowalski becomes the representation of the American Dream of the new America
which stands up for a society where all men are born equal and can succeed
equally, and he says “what I am is a one hundred percent American, born and
raised in the greatest country on earth and proud as hell of it” (Williams 126) when he was been constantly addressed by
derogatory terms such as “Polack” by Blanche. Blanche considers class and
social status to be vital. She states about her ancestry, and says “we are
French by extraction. Our first American ancestors were French Huguenots” (Williams
60) .
Without a proper upbringing a person cannot achieve economic success or
intelligence or otherwise is what Blanche perceives and her derogatory remarks
serve to highlight her bourgeois pretentions as well as her insecurity in New
Orleans surroundings where a social transition was taking place. A society
where class status, parentage or inheritances are less significant is emerging
and therefore Blanche is facing a crisis of belonging as she lives in her class
conscious bourgeois past.
Blanche’s
past is primarily associated with the Belle Reve the lost estate which was “a
great big place with white columns” (Williams 14) . Belle Reve is
associated with past, death, and false illusion of a pastoral beauty. The name
Belle Reve is symbolic and significant as it depicts the meaning ‘beautiful
dream’. A dream is something temporary, an idea or vision that is created in
one’s imagination which is not real and the plantation suggests a disappearing,
fading and an unreal possession like the old American values and the faded
grandeur of the past of the American bourgeois which has been already lost in
oblivion. With this thought one can draw a parallel between A Streetcar Named Desire and The Cherry Orchard (1904) by Anton
Chekov where the cherry orchard becomes a symbol of the dying Russian
aristocracy. Liubov Andryeevna says “if there’s one thing interesting, one
thing really outstanding in the whole country, it’s our cherry orchard” (Chekov 29) and for her the
sentimental and aesthetic value of the orchard is more important. Thus, it is
interesting to see certain similarities between Blanche and Liubov Andryeevna
as both represent a fading class in society.
Both
of these characters are perceived as “spoiled aesthetes” (Sahu 78) who are unable to
face the present and reluctant to part with the past. They rely on past and
memories as they are unable to come to terms with the process of transition and
their inability to adapt, stagnation and preoccupation with old values make
them helpless before the overpowering circumstances. Hence, Blanche seeks
refuge in alcohol though she pretentiously says “I’m not accustomed to have
more than one drink” (Williams 59) , as it allows her to
escape reality, relieve stress, escape the juggernaut of monotony, and fill the
void left by her past while Liubov Andryeevna indulges herself to be
extravagant.
Furthermore,
it is important to notice how both of them depend on their imagination. Blanche
imagination revolves around Shep Huntleigh who was one of her acquaintances
from the past and Felicia Londre says “Blanche’s desire for illusion in
opposition to the harsh realities that surrounded her is probably the play’s
most obvious thematic value” (Londre 55) . In order to flee from her inner schism and the
inevitability of the change, she plunges deeply into unreality and this
confuses her immensely where she becomes unable to differentiate reality from
fantasy.
Tennessee
Williams portrays Blanche as an out of place character and this description,
“there is something about her uncertain manner, as well as her white clothes,
that suggests a moth” (Williams 11) enhances it further.
She constantly avoids light which suggests the understanding of the reality.
Liubov Andryeevna seeks solace in her old book case, nursery or the long lost
jam recipe to avoid any audience with the present circumstances. Blanche’s
feeble attempts to detach from reality such as avoiding bright light and using
a Chinese lantern to cover the bulb depict her helplessness as well as her own
understanding about her gradual decadence. Therefore, one could come to a
conclusion about how she has already become a ghostly image who seeks refuge in
darkness or ignorance. The ‘moth-like’ appearance of Blanche suggests
impermanency of her as well as her bourgeois value system. One could even say
that the derogatory terms such as ‘Polack’ are used to establish her
superiority over Stanley or the rising social order.
Her
disappearance becomes unavoidable though she tries to use her outdated ideas of
‘class’ to maintain a stable position in the society. One might say that it is
the law of nature which is the survival of the fittest according to Darwinism
but according to John Mason Brown
“her abiding tragedy comes neither from
her family’s dwindling fortunes nor from her widow’s grief. It is sprung from
her own nature. From her uncontrollable duplicity. From her pathetic
pretentions to gentility..from her love to the refined when her life is devoted
to coarseness. From the fastidiousness of her tastes and the wantonness of her
desires. Most particularly, from her selfishness and her vanity, which are
insatiable” (Brown 92) .
However, Blanche
the relic of the bourgeois values of Southern America deteriorates while
symbolizing the inevitable deterioration and the downfall of the bourgeois
which becomes essential as Anton Chekov states “it is a pity to destroy it, but
it must be destroyed” (Arkansas 125) .
Stanley
Kowalski becomes the representation of the new social order which is evolving
without any outdated concepts about class and ancestry. However, critics like
Ronald Hayman say “it can almost be said that Stella represents young America,
torn between its loyalty to antiquated idealism and the brutal realism of the
present” (Hayman) , I believe Stella
represents the people who adapted and evolved according to the process of
transition like Pishchik and Varia in The
Cherry Orchard. Opinions by critics like D. Sahu enhance this concept
because according to him,
“Though Stella has her upbringing in
Southern aristocratic family and she is aware of the norms and etiquette of
that tradition, she considers the intrusion of a rough, masculine and
hedonistic civilization inevitable” (Sahu 76) .
Therefore, a
parallel between Stanley and Lopakhin can be drawn as they both represent
rising social groups. Felicia Londre says “Williams intended a balance of power
between Stanley and Blanche” (Londre 50) but it becomes
evident that it was not a balance of power which was intended but a contrast of
power between the two social conceptualizations.
Stanley
represents the present and the assumptions of the upcoming culture which are
brusqueness, violence, virility, earthly efficiency, primitive bluntness and
power. While Blanch tries to deviate from the absolute reality, Stanley strips
away the illusions embedded in the past. He says “there isn’t a goddamn thing
but imagination! And lies and conceit and tricks” (Williams 147) , as he confronts the
hypocrisy of the bourgeois symbolized by Blanche. The clash between Stanley and
Blanche can be seen as a battle between privileged plantation owners and
immigrants or a struggle between the hypocrisy of Old America and the vulgarity
of New America. It is interesting how both Stanley and Lopakhin become the
agents of reality in both situations. As Stanley says that he was never a
sentimental, ideal gentleman, Lopakhin too admits that he is a “country
bumpkin, a tight-fisted peasant,” (Chekov 27) and both of them
promote the maxim ‘everyone is equal’.
Stanley
is grounded in reality, represents reality, and leads a life that is defined in
terms of basic impulses and elementary drives which Blanche finds to be
primitive. She envisions men who are sentimental, poetic and sensitive who are
perceived by people like Stanley to be impractical and useless to survive in
upgrading, evolving and competitive world. Therefore, Stanley could be
identified as a survivor or a successor like Lopakhin. According to D. Sahu “he
sees the artifice, the artificiality, the pretense and pretentiousness which he
destroys” (Sahu 78) . As Stanley tears
apart the façade of Blanche, the rising social order which does not promote
class or ancestry as means of success reveals the reality of the bourgeois
class. The transition that takes place is the last desperate struggle of the
dying bourgeois, unable to give up and unable to accept the vulgarity of the
new class.
The
downfall of Blanche Dubois marks the decadence of the bourgeois values and
ideology, and the new born baby of Stanley’s and Stella’s offers a hope. The
child becomes the embodiment of both societal ideals and demonstrates a
blossoming a new post war American society full of confidence, sensibility,
power and sensitivity. Furthermore, this child resembles Ania in The Cherry Orchard who is full of hope
and potential. Therefore, it is justifiable to say that A Streetcar Named Desire by Tennessee Williams portrays the
downfall of the bourgeois and the rise of a new social order.
********
Works Cited
Arkansas, University of. Anton Chekov and His Times. Arkansas: University of
Arkansas Press, 1990.
Brown, John Mason. Dramatis
Personae. New York, 1963.
Chekov, Anton. The
Cherry Orchard. Nugegoda: Sarasavi Publishers, 2006.
Hayman, Ronald. Tennessee
Williams: Everyone else is an audience. New Haven: Yale University Press,
1993.
Londre, Felicia H. The
Cambridge Companion to Tennessee Williams. Cambridge UK: Cambridge
University Press, 1997.
Oklopcic, Biljana. "Southern Bellehood (De)Constructed:
A Case Study of Blanche Dubois." October 2008. Americana: E-Journal of American Studies in Hungary . 29 March
2014.
Sahu, Dharanidhar. Cats
on a Hot Tin Roof: A Study of the Alienated Characters in the Major Plays of
Tennessee Williams. New Delhi: Academic Foundation, 1990.
Williams, Tennessee. A
Streetcar Named Desire. New York: New Directions Books, 1947.
Friday, 17 March 2017
Thursday, 9 March 2017
Wednesday, 8 March 2017
Baths, Hydrotherapy, and Blanche's PTSD?
Thanks JP for this info on how baths were used to treat the mentally ill during the early parts of the 20th century... and what this has to do with Blanche. Great AO3!
What is Hydrotherapy?
University of Western Ontario Library
Caltech Article on Hydrotherapy
“The first widely acknowledged effective
somatic therapy of the twentieth century was hydrotherapy. Introduced into
state hospitals throughout the United
States in the late nineteenth and early
twentieth centuries, this therapy consisted of a number of devices and
techniques that employed water. The two most frequently used forms of
hydrotherapy were the continuous bath and the wet sheet pack (Baruch, 1920;
Finnerty & Corbitt, 1960; Wright, 1940)… Continuous baths required more
elaborate devices than did wet packs. The baths most often consisted of a tub
with an inlet for hot water and an outlet to drain the water. Attendants placed
the patient in the hammock to which he or she was fastened. Attendants then
covered the tub and patient with a canvas sheet that had a hole for the
patient's head to go through. A series of valves and temperature gauges allowed
the attendant to regulate both temperature and water flow. A single treatment
could last anywhere from hours to days.”
NYU commentary on Streetcar
“is aware she has
got to “keep ahold of myself” (p. 10). She won’t be seen in the light, indulges
in a nip (or two) of liquor, and soothes herself with therapeutic baths
(hydrotherapy had been a popular 19th-century treatment for anxiety)”
“the text fully
supports a diagnosis of severe Posttraumatic Stress Disorder (plus Histrionic
Personality Disorder and Alcohol Abuse) the film appears to suggest that
Blanche is suffering from a psychotic disorder (i.e. schizophrenia).
Practically speaking, it can still be tricky to differentiate between the two.
Actually, if one imagines that Stanley’s explosive behavior is the result of
war trauma, a case might be made that there are two characters here who are
suffering from PTSD. “
From Guy Class MD, MFA
NYU school of medicine:
Tuesday, 7 March 2017
Marxist reading of Streetcar - in brief
Marxist approaches
According to a Marxist view, the plot, characters and themes of Streetcar express the socioeconomic conditions and class struggles of 1940s America. The play’s ‘dialectical’ conflicts and oppositions can be seen as leading towards their resolution. For example, a Marxist reading would view the play as a social drama working out the antagonism between the declining DuBois family and the newly assertive working class, represented by Stanley. It might see Stella’s passivity as an acceptance of the rise of the working class. Similarly, it might see the Blanche–Stanley conflict as a doomed bourgeois attempt to resist working-class energy and realism.
Thus some critics have followed Elia Kazan’s vision of Stanley as the hero defending his home and marriage against the threat represented by Blanche. This approach also relates to that of critics who see the play as depicting a clash between two cultural ‘species’, or in terms of Darwinian ‘survival of the fittest’, with Stanley being the survivor – the ‘gaudy seed-bearer’ (Scene One, p. 13) whose actual seed is embodied in his new son, entering the world just as Blanche is forced out.
According to a Marxist view, the plot, characters and themes of Streetcar express the socioeconomic conditions and class struggles of 1940s America. The play’s ‘dialectical’ conflicts and oppositions can be seen as leading towards their resolution. For example, a Marxist reading would view the play as a social drama working out the antagonism between the declining DuBois family and the newly assertive working class, represented by Stanley. It might see Stella’s passivity as an acceptance of the rise of the working class. Similarly, it might see the Blanche–Stanley conflict as a doomed bourgeois attempt to resist working-class energy and realism.
Thus some critics have followed Elia Kazan’s vision of Stanley as the hero defending his home and marriage against the threat represented by Blanche. This approach also relates to that of critics who see the play as depicting a clash between two cultural ‘species’, or in terms of Darwinian ‘survival of the fittest’, with Stanley being the survivor – the ‘gaudy seed-bearer’ (Scene One, p. 13) whose actual seed is embodied in his new son, entering the world just as Blanche is forced out.
Thursday, 26 January 2017
Friday, 6 January 2017
Thursday, 5 January 2017
Wednesday, 4 January 2017
Deep South Culture
10 great films about the Deep South:
http://www.bfi.org.uk/news-opinion/news-bfi/lists/10-great-films-set-deep-south
This is a good list too:
http://www.imdb.com/list/ls005162423/
http://www.bfi.org.uk/news-opinion/news-bfi/lists/10-great-films-set-deep-south
This is a good list too:
http://www.imdb.com/list/ls005162423/
Tuesday, 17 May 2016
Essays from another exam board...
... how many of these points would you be able to make?
AO2: aspects of dramatic form and genre, e.g. melodrama, comedy and tragedy, social realism; structure, e.g. crisis– climax–resolution, forward-moving action with 'flashback' (Blanche's discovery of her young husband's homosexuality and his subsequent suicide); setting in the Elysian Fields quarter of New Orleans; naturalistic effects: the use of music (the 'Negro' Blue Piano, the Polish Varsouviana), sound (thunder, passing train) and lighting (described in meticulous detail in the stage directions); dialogue (Stanley's is colloquial, working-class and assertive while Stella's is higher register but sensible and down-to-earth); action (Stanley can be violent, clumsy, impetuous, but also tender and always passionate, while Stella answers his passion in equal measure and in behaviour that bespeaks a wife who, motivated by self-interest as well as by love, will unquestioningly stand by her man).
To address AO3 students will need to show how the marriage of Stanley and Stella is embedded in a specific historical context, i.e. that of America immediately after the Second World War. The essential nature of that marriage is also determined by their differing class backgrounds and values. During the war Stanley served as an NCO in the US Army; now a civilian, he is employed as a commercial traveller at the same engineering 'plant' as Mitch with whom he plays poker and goes bowling. Stella, like Blanche, is a product of a bygone colonial era; she made her way to New Orleans during the war where she met Stanley and the two fell in love. In determining the inconceivability or otherwise of their relationship, students will want to take account of the tremendous social and cultural disruption which the war brought about, making their meeting a possibility against the odds.
Candidates could also explore the roles of men and women within marriage, so connecting with the representation of one of the central issues of modern literature. They may cite examples of the differences between the social backgrounds and personalities of Stanley and Stella. He is working-class, 'common', from a European immigrant family, an arrogant, assertive alpha male; insensitive, coarse, bestial, capable of raping his sister-in-law while she is a guest under his own roof. She is refined but from a ruinously decadent aristocratic family, submissive, loyal, rejoicing in her new motherhood, protective towards her sister but unwilling to accept the accusation of rape. They are both sexually passionate (which leads to some 'stormy' scenes), but also capable of showing tenderness towards each other, of giving and taking pleasure; both are needy and self-centred, both are materialistic.
Exploring different interpretations, the requirements of AO5 are met if students conduct a debate around the notion of the Kowalskis' marriage being 'inconceivable'. If they accept the proposition set up in the task they may focus on some of the following: Stella's previous life in Belle Rêve; the differences between them as seen in their respective values, speech and actions; Blanche's difficulty in understanding the attraction they have for each other. In addition, they might like to consider Williams's themes (the 'ambiguous nature of sexuality, the betrayal of faith, the corruption of modern America, the over-arching battle of artistic sensitivity against physical materialism') and whether or not the relationship between Stanley and Stella ties in with those themes. Some candidates may decide that Stella's migration from Belle Rêve to the Elysian Fields is not entirely plausible. If they do not accept the 'view' of inconceivability, they will probably focus on the magnetic attraction that the two characters experience for each other which is sexual, powerful and undeniable; the presentation of Stanley as physically attractive, but also persuasive and manipulative; the presentation of Stella's 'narcotized tranquility', her tolerance of Stanley's brutish behaviour and his weaknesses.
Question 8: A Streetcar Named Desire
Examine the view that A Streetcar Named Desire fails because the relationship between Stella and Stanley is 'inconceivable'.
Possible content
Students might choose to write about the following and thereby addressAO2: aspects of dramatic form and genre, e.g. melodrama, comedy and tragedy, social realism; structure, e.g. crisis– climax–resolution, forward-moving action with 'flashback' (Blanche's discovery of her young husband's homosexuality and his subsequent suicide); setting in the Elysian Fields quarter of New Orleans; naturalistic effects: the use of music (the 'Negro' Blue Piano, the Polish Varsouviana), sound (thunder, passing train) and lighting (described in meticulous detail in the stage directions); dialogue (Stanley's is colloquial, working-class and assertive while Stella's is higher register but sensible and down-to-earth); action (Stanley can be violent, clumsy, impetuous, but also tender and always passionate, while Stella answers his passion in equal measure and in behaviour that bespeaks a wife who, motivated by self-interest as well as by love, will unquestioningly stand by her man).
To address AO3 students will need to show how the marriage of Stanley and Stella is embedded in a specific historical context, i.e. that of America immediately after the Second World War. The essential nature of that marriage is also determined by their differing class backgrounds and values. During the war Stanley served as an NCO in the US Army; now a civilian, he is employed as a commercial traveller at the same engineering 'plant' as Mitch with whom he plays poker and goes bowling. Stella, like Blanche, is a product of a bygone colonial era; she made her way to New Orleans during the war where she met Stanley and the two fell in love. In determining the inconceivability or otherwise of their relationship, students will want to take account of the tremendous social and cultural disruption which the war brought about, making their meeting a possibility against the odds.
Candidates could also explore the roles of men and women within marriage, so connecting with the representation of one of the central issues of modern literature. They may cite examples of the differences between the social backgrounds and personalities of Stanley and Stella. He is working-class, 'common', from a European immigrant family, an arrogant, assertive alpha male; insensitive, coarse, bestial, capable of raping his sister-in-law while she is a guest under his own roof. She is refined but from a ruinously decadent aristocratic family, submissive, loyal, rejoicing in her new motherhood, protective towards her sister but unwilling to accept the accusation of rape. They are both sexually passionate (which leads to some 'stormy' scenes), but also capable of showing tenderness towards each other, of giving and taking pleasure; both are needy and self-centred, both are materialistic.
Exploring different interpretations, the requirements of AO5 are met if students conduct a debate around the notion of the Kowalskis' marriage being 'inconceivable'. If they accept the proposition set up in the task they may focus on some of the following: Stella's previous life in Belle Rêve; the differences between them as seen in their respective values, speech and actions; Blanche's difficulty in understanding the attraction they have for each other. In addition, they might like to consider Williams's themes (the 'ambiguous nature of sexuality, the betrayal of faith, the corruption of modern America, the over-arching battle of artistic sensitivity against physical materialism') and whether or not the relationship between Stanley and Stella ties in with those themes. Some candidates may decide that Stella's migration from Belle Rêve to the Elysian Fields is not entirely plausible. If they do not accept the 'view' of inconceivability, they will probably focus on the magnetic attraction that the two characters experience for each other which is sexual, powerful and undeniable; the presentation of Stanley as physically attractive, but also persuasive and manipulative; the presentation of Stella's 'narcotized tranquility', her tolerance of Stanley's brutish behaviour and his weaknesses.
Wednesday, 11 May 2016
Arthur Miller: Tragedy and the Common Man
February 27, 1949
Tragedy and the Common Man by ARTHUR MILLER
I believe that the
common man is as good a subject for tragedy as kings were.
We feel tragedy
when we meet a character who is ready to lay down his life to secure one thing:
his sense of personal dignity.
The struggle
inside all tragedy is that of the individual attempting to gain his
"rightful" position in his society.
Only the passive,
only those who accept their lot in life without fighting back, are
"flawless." (Like most of us.)
Our biggest fear
is being torn away from our chosen image of what and who we are in this world. It
is the common man who knows this fear best.
The tragic
struggle demonstrates the indestructible will of man to achieve his humanity.
Wednesday, 27 April 2016
Some brilliant student's revision blog...
Excellent work on the poems and on Streetcar... tuck in!
https://blogasenglish.wordpress.com/2016/04/18/another-essay-on-blanche-a-streetcar-named-desire/
https://blogasenglish.wordpress.com/2016/04/18/another-essay-on-blanche-a-streetcar-named-desire/
Monday, 25 April 2016
Tuesday, 19 April 2016
Southern Gothic - summary of the conventions
This was a talk at the British Library on Souther Gothic recently. What do you learn about the conventions that apply to Streetcar?
http://www.bl.uk/events/darker-hauntings-imagery-of-the-southern-gothic
Clip on Southern Gothic:
http://study.com/academy/lesson/southern-gothic-literature-definition-characteristics-authors.html
http://www.bl.uk/events/darker-hauntings-imagery-of-the-southern-gothic
Clip on Southern Gothic:
http://study.com/academy/lesson/southern-gothic-literature-definition-characteristics-authors.html
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