What do you believe Tennessee Williams is saying about human sexuality in ‘A Streetcar Named Desire’? ‘A Streetcar Named Desire’ is a play in which the themes of both male and female sexuality are explored, and their destructive and vitalizing forces are analysed. The play, which caused shockwaves in the literary world when it hit the theatres in 1947 was subject to much controversy and was one of the first to portray the basic elements that drive humanity as a whole: death, violence and sex. The distinction between these factors is fine, and the nature of their intertwinement is examined by Tennessee Williams. Throughout the course of the play, the playwright seems to define sexuality in terms of winners and losers; Stanley a ‘winner’, is a powerful man who is assertive in his sexuality, and who eventually triumphs over Blanche both morally and sexually, whereas Allan, Blanche’s late husband is a ‘loser’.
Karen understood that Regina was saying bad things about her, but her message to Regina was not understood. When she claimed to be sick, she was really saying that because she was hurt and didn’t want to hang out. Regina did not understand the message as she should have. It did not achieve its intended effect because Regina didn’t understand that she had hurt Karen. Regina’s message was not ethical when she told Karen not to invite Gretchen.
Sue clearly didn’t want to take the time to help Betsy learn anything and resented the time it was going to take to do so. I think when someone has a negative attitude it will come through in their speech, actions, behaviorisms and can translate to those around them. Betsy could have been sensitive to these negative feelings coming from sue and in turn set off some negative emotions. 2. Clearly there are abuse issues: 1.
The Narrative of the Life of Frederick Douglass and The Showman and the Slave: Race, Death, and Memory in Barnum’s America are two compelling tales of racial and class prejudice, the exploitation of black people, and the as well as the influence of the capitalist mass media in shaping opinion. Through a skillful use of depiction, both Davis and Reiss recover and retell the stories of Barnum, Heth, and Douglass from host primary sources. Reiss’s text is a result of newspaper accounts, court records, letters, drawings, pamphlets, and diaries. Both scholars capitalized on the use of autobiographies, one from Barnum and the other from Frederick Douglass. In piecing together the history and story told by the different primary sources used, Davis and Reiss paints a picture of people looking at history, at the black body, at social class, at slavery, at performance, at religion, at death, and at themselves.
The play explores stereotypical aspects of Australian society and uncovers the ugly truth of the community. Through the entirety of the play the composer tackles themes including masculinity, discrimination and the perceptions of females in Black Rock. Masculinity is a key issue in which Enright explores strongly during the play. The composer reveals the ugly reality which can sometimes occur in Australian society. The play shows and highlights what happens when a group of young males come together as a ‘clan’.
Despite her hard work, Delia is not respected by her abusive, mean husband Sykes. The story begins at, habitually meek, Delia’s turning point, where she sets her mind to no longer endure Sykes’s abuse. Meanwhile, Sykes has plans of his own. He wants to break Delia down so that he can get rid from her to leave the house
The characters represent the jaded American dream, and the kind of lives, standards and tensions within which the immigrant population found themselves living. Whilst not explicitly about race, Williams has developed a setting, culture and characters affected by racial prejudice. Williams believed that people are doomed to suffer from despair and mistrust. He said that 'we are all savages at heart' (Williams, T. (1959), Foreword to A Streetcar Named Desire, Penguin), and he certainly presents this notion through his characters, whose sexual instincts plays large part in their flawed identities and their personal downfalls. Sexuality plays a key role throughout: Williams' homosexuality perhaps influenced his interpretation of these characters.
This exaggerates his hate for his mother even more as Hooper is Kingshaw’s worst enemy, this suggests that Kingshaw’s worst relationship is with his mother, potentially implying she is the reason for his death. Hill presents this relationship as she does to imply that feelings in a relationship are not always as they seem, even relationships that are generically meant to be great do not always work . Mr Hooper and Ms Helena Kingshaw’s relationship is seen as one of the few seemingly developing ones throughout the novel. However, both of the character’s are seen to have very different views on the
Racism in William Shakespeare's Othello The play, Othello, is certainly, in part, the tragedy of racism. Examples of racism are common throughout the dialog. This racism is directed toward Othello, a brave soldier from Africa and currently supreme commander of the Venetian army. Nearly every character uses a racial slur to insult Othello at one point in the play. Even Emilia sinks to the level of insulting Othello based on the color of his skin.
Here we see an example of Sophy's lack of strong character. This shows us that not only was she too timid to refuse the parson, she was also too weak willed to even hold a strong opinion; she neither loved the parson nor detested him. Despite her own character's contribution to her own victimisation, this is in fact also victimisation by society, as she had been trained to see herself as subordinate to the vicar 'she hardly dared refuse a parsonage so august and reverend in her eyes'. Hardy's use of the word 'dared' implies that Sophy afraid of the vicar, and that to refuse him would have been being naughty. This is an example of Sophy being treated by society as a