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Shakespeare analysis essay introduction
William shakespeare brief introduction
William shakespeare brief introduction
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The key propeller of William's play Cat on a Hot Tin Roof is his exploration of the way in which mendacity, conformity and human faith can both cage and liberate an individual in post-war America. Whilst Richard Brook also seeks to elucidate the significance of the aforementioned concepts, the overt fashion of expression adopted in the film, alongside other alterations, have ultimately warped the literary intentions of the play itself.
It is, of course, inevitable that any shifts in medium should result in a shift in meaning, as the subtleties of language are often lost in translation when reincarnated cinematically. As the lyrical beauty of William's prose which stirs the human imagination is replaced by striking visuals, and the magnetic
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Indeed, as the sentiments of the Cold War pervaded Southern America, the ideals behind McCarthyism and the Lavender Scare made conformity integral to survival in a conservative, regimented society. In particular, sexual conformity is perhaps the most significant adjustment made in the film. While Tennessee actively condemns the "conventional mores" of his era and its vehement oppression of the homosexual community, Brook has controversially delineated Brick as a heterosexual man whose relationship with Skipper is as "pure" "clean" and "true" as he insists in the play. While the obscuring of this key feature is in part due to the Hay's Code, it cannot go unnoticed that filmic productions were also expected to conform and satisfy the appetites of the audience. A paradox hence arises, as a critical commentary on conformity as an institutional flaw of American society and by-product of Cold War paranoia has been contorted to please the very people William deplores. The deliberate omission of Straw and Ochello, hyper-sexualisation of Maggie and construction of her suspected affair with Skipper as the primary cause for Brick's "disgust" only perpetuates the conformist ideological that dictated what was socially acceptable in William's
In his theatrical work J.B., Archibald MacLeish hints to the postwar era of World War II through explicit and implicit references. J.B. is relevant to society and reflects the events that took place in the 1950s. For that reason, the play purposefully and effectively demonstrates that, despite the bitterness and calamities of the forties and fifties, people should remain optimistic and should have faith that there will be hope, instead of dwelling on the injustice in the world.
The bildungsroman ‘The Catcher in the Rye’ by J.D Salinger and the play ‘A Streetcar Named Desire’ by Tennessee Williams are both post-World War Two narratives which incorporate protagonists that challenge contemporary American attitudes. Blanche DuBois and Holden Caufield are quintessential examples of characters who subvert societal expectations, impositions and hegemony of America in the late 1940s and early 50s, the author and playwright have the plot revolve around these characters and their itinerant lifestyles as they literally and socially move from one milieu to another. Both Salinger and Williams use a plethora of literary devices such as symbolism, juxtaposition and imagery whether it is visual, auditory or olfactory to highlight
In this essay I will be comparing two playwrights, A Raisin in the Sun and A Doll’s House, to one another. I will also compare the two to modern time and talk about whether or not over time our society has changed any. Each of these plays has a very interesting story line based in two very different time eras. Even though there is an 80 year time gap the two share similar problems and morals, things you could even find now in the year of 2016. In the following paragraphs I will go over the power of time and what we as a society have done to make a change.
Comparing A Streetcar Named Desire and Cat on a Hot Tin Roof In the game of life, a man is given the option to bluff, raise, or fold. He is dealt a hand created by the consequences of his choices or by outside forces beyond his control. It is a never ending cycle: choices made create more choices. Using diverse, complex characters simmering with passion and often a contradiction within themselves, Tennessee Williams examines the link between past and present created by man's choices in "A Streetcar Named Desire" and "Cat on a Hot Tin Roof. "
As women's studies programs have proliferated throughout American universities, feminist "re-readings" of certain classic authors have provided us with the most nonsensical interpretations of these authors' texts. A case in point is that of Kathleen Margaret Lant's interpretation of Tennessee Williams' A Streetcar Named Desire in her essay entitled "A Streetcar Named Misogyny." Throughout the essay, she continually misreads Williams' intention, which of course causes her to misunderstand the play itself. Claiming that the play "has proved vexing to audiences, directors, actors, readers, and critics" (Lant 227), she fails to see that it is she herself who finds the play vexing, because it does not fit nicely into the warped feminist structure she would try to impose upon it.
At first glance, Samuel Beckett’s Waiting for Godot and Tony Kushner’s Angels in America appear to serve as two individual exercises in the absurd. Varying degrees of the fantastical and bizarre drives the respective stories, and their respective conclusions hardly serve as logical resolutions to the questions that both Beckett and Kushner’s characters pose throughout the individual productions. Rather than viewing this abandonment of reality as the destination of either play, it should be seen as a method used by both Beckett and Kushner to force the audience to reconsider their preconceived notions when understanding the deeper emotional subtext of the plays. By presenting common and relatable situations such as love, loss, and the ways in which humans deal with change and growth, in largely unrecognizable packaging, Kushner and Beckett are able to disarm their audience amidst the chaos of the on stage action. Once the viewer’s inclination to make assumptions is stripped by the fantastical elements of either production, both playwrights provide moments of emotional clarity that the audience is forced to distill, analyze, and ultimately, comprehend on an individual level.
Tennessee Williams’ Suddenly Last Summer is a one-act play with a cast of colourful characters ranging from the eccentric Violet to the troubled Catherine. One individual, George Holly, is more minor than others, and as such might get overlooked. However, the Fictional World method of analysis uncovers new insight into his nature. By analysing George’s character in the Social World of the play specifically, we get a better understanding of how traumatic and powerful the climax really is.
"Stage and Screen." Of Mice and Men: A Kinship of Powerlessness. Charlotte Cook Hadella. New York: Twayne Publishers, 1995. 64-81. Twayne's Masterwork Studies 147. Literature Resources from Gale. Web. 11 Jan. 2012.
In 1939, Victor Fleming directed one of the most influential films of the 20th century. While Gone With The Wind serves as a time capsule for southern lifestyle in the antebellum period, the film’s narrative delivers a great deal of social and political implications toward the 19th and 20th century. When first released in 1939, the film was a major turning point in the motion-picture industry; Audiences were dazzled by both the grand scale of the film, and its portrayal and idolization of the American lifestyle in the South. But while the film’s commercial success secured its categorization as a classic, it contains many historical inaccuracies and racist narrative elements. Gone With the Wind delivers an inaccurate depiction of the Southern
Henrik Ibsen’s A Doll’s House and Anton Chekhov’s The Cherry Orchard were famous for the way in which they depicted the changing of cultures. Both plays act as a sort of social commentary during times of widespread liberation, and use the contortive nature of these seemingly stereotypical characters’ actions to speak about groups of people as a whole. Throughout the course of both plays, this subversion of how different groups of people were typically perceived created a distinct contrast which often shocked and appalled audiences of the time. However, the effects of these plays were felt long after they were presented.
To Kill a Mockingbird revolves around human behavior and the boundaries that it facilitates. The boundaries of the quiet little town of Maycomb, Alabama are constantly tested by the games that people play. In each game, distinctions evolve. The distinctions become the rules of the game, of life, and from them, different boundaries form for each new character. With each new drama, characters and distinctions change, as do the boundaries which form them.
As a playwright write William’s was not afraid to depict his own life through his literary works. William’s has been a very significant author in literature, as described by the New York Times (1983) as “the most important American playwright after Eugene O 'Neill”. Tennessee William’s was also recognized because of the way he wrote, and his impact on society, and his personal experiences, inserted into the plays. ‘He had a profound effect on the American theater and on American playwrights and actors. He wrote with deep sympathy and expansive humor about outcasts in our society. Though his images were often violent, he was a poet of the human heart’ (M. Gussow, 1983). Three of his most famous works, out of all that he had were The Glass Menagerie, A street Car Named Desire, and lastly Cat on a Hot Tin Roof. In all three of these plays they depicted/ reflected a point in time where William’s went through a negative experience, which influenced him to insert these experiences into the plays. Also in all his plays, they were about a family and their struggles to see the reality of their world and trying not to go along with the norms of society. A similarity in all the plays was that William’s made the women in all these plays as himself. In other words the women represented his life. "It 's true my heroines often speak for me. That doesn 't make them transvestites. Playwrights
Salzman, J. The American Novel: New Essays on the Catcher in the Rye. Cambridge University Press, 1991.
In 1979, Caryl Churchill wrote a feminist play entitled Cloud Nine. It was the result of a workshop for the Joint Stock Theatre Group and was intended to be about sexual politics. Within the writing she included a myriad of different themes ranging from homosexuality and homophobia to female objectification and oppression. “Churchill clearly intended to raise questions of gender, sexual orientation, and race as ideological issues; she accomplished this largely by cross-dressing and role-doubling the actors, thereby alienating them from the characters they play.” (Worthen, 807) The play takes part in two acts; in the first we see Clive, his family, friends, and servants in a Victorian British Colony in Africa; the second act takes place in 1979 London, but only twenty-five years have passed for the family. The choice to contrast the Victorian and Modern era becomes vitally important when analyzing this text from a materialist feminist view; materialist feminism relies heavily on history. Cloud Nine is a materialist feminist play; within it one can find examples that support all the tenets of materialist feminism as outlined in the Feminism handout (Bryant-Bertail, 1).
2 Alvin B. Kernan, Truth and Dramatic Mode in A Streetcar Named Desire, Modern Drama Vol 1, no.2