scholarly journals The construction and the representation of the mother figure in the film production of Tennessee Williams: Typology and case studies | A construção e a representação da figura da mãe na produção do filme de Tennessee Williams: tipologia e estudos de caso

Pós-Limiar ◽  
2018 ◽  
Vol 1 (1) ◽  
pp. 34
Author(s):  
Valeriano Durán Manso
Keyword(s):  
Personality Traits ◽  
Case Studies ◽  
Great Influence ◽  
Personal Relationships ◽  
Film Adaptations ◽  
Tennessee Williams ◽  
Mother Figure ◽  
Glass Menagerie ◽  
Social Conservatism ◽  
The Rose

The maternal figure has an important presence in the literary and film works of the American playwright Tennessee Williams (1911–1983). This writer, who grew up in a southern environment marked by the religion and social conservatism, had in his own family a source of inspiration to build their characters. In this sense, the influence of his mother, the absence of his father and his sister’s disability, were determinants for the author to develop a special sensitivity to understand personal relationships. The person who exerted a great influence on his development was his mother, Edwina, who was first portrayed in “The Glass Menagerie”, and, subsequently, reflected his character and personality traits that were evident in some of his major works and adaptations. With the aim of reflecting on the important influence of Williams’ mother for the development and representation of their mothers in fiction, the aim of this article was to propose a typology of the parent that are present in his work. To do this, and with reference to Edwina, the article addresses mother-protagonists of some of his most relevant film adaptations, which were adapted in Hollywood between 1950 and 1968, such as “The Rose Tattoo” of Daniel Mann of the year of 1955, “Suddenly, Last Summer” of Joseph L. Mankiewicz of the year of 1959, and “This Property Is Condemned” of Sydney Pollack of the year of 1966, the latter being one of the most important film adaptations of the playwright.

scholarly journals Blue Mountain and Blue Roses: An Exploration of the Feminine Psyche in Tennessee Williams’ The Glass Menagerie

2021 ◽  
Vol 9 (1) ◽  
pp. 192-205
Author(s):  
Namitha V. S
Keyword(s):  
Identity Crisis ◽  
Role Expectations ◽  
Tennessee Williams ◽  
Traditional Role ◽  
Blue Mountain ◽  
The Feminine ◽  
Southern Belle ◽  
Close Study ◽  
Glass Menagerie ◽  
The Glass Menagerie

Tennessee Williams, the remarkably outstanding American dramatist of the 1920s, through his plays, presents a marked concern for the identity crisis a woman faces. He projects the crisis arising out of the conflict between a woman’s own aspirations and the traditional role expectations. The Glass Menagerie (1945) depicts the life of two women- Amanda Wingfield and her daughter Laura Wingfield. Amanda is the typical Southern belle that suffered a reversal of economic and social fortune, who withdraws from reality into fantasy. Her daughter Laura, the physically and emotionally crippled heroine of the play is a self-less character who does not speak as much of others. She is extra-ordinarily sensitive and delicate; and her cripple isolates herself into her own illusory world with her own glass menagerie. This paper is an attempt to close study the women protagonists in this play and to reveal that they are a combination of a particular personality type. Williams seems to be interested in the personal and psychological aspects of his women. This paper tries to analyse the psyche of these women and prove that they seem to be more complex and complicated than portrayed in the work.

Tennessee Williams’s Misunderstood ‘memory play’: Re-Imagining Amanda Wingfield in The Glass Menagerie

2021 ◽  
Vol 139 (3) ◽  
pp. 475-493
Author(s):  
Ramón Espejo Romero
Keyword(s):  
Twentieth Century ◽  
Tennessee Williams ◽  
Search For Meaning ◽  
Critical Tradition ◽  
The Past ◽  
Memory Work ◽  
Glass Menagerie ◽  
The Glass Menagerie

Abstract Tennessee Williams famously called The Glass Menagerie a ‘memory play’. This remark has been consistently overlooked or misinterpreted by critics, unleashing a tradition of approaching the play in a rather confusing fashion concerning who the characters are and how the playwright uses them. This paper engages with the character of Amanda. First of all, I will trace major transformations in the conception of characters throughout twentieth-century drama, providing background for Williams’s attempt to redefine major aspects of a playwright’s craft such as what a ‘character’ is. Secondly, I will survey a critical tradition surrounding Tom Wingfield’s mother and consider major views concerning the character. Recurrent in them, as my analysis indicates, is the failure to acknowledge her as a tool for the ‘memory work’ Tom carries out. The character is subsequently posited as a fluid entity that helps Tom (and Williams) make sense of the past and explore how their families shaped who they were. As opposed to a realistic play, where so much is given at the start, a ‘memory play’, as Williams seems to have conceived it, remains a cry for the reader to join the playwright in a common search for meaning, one that utilizes, rather than just displays, characters in order to reach standpoints that are far from fixed and immutable.

scholarly journals Fantasmas no palco: Dancing at Lughnasa e o Teatro de Memória de Friel

2018 ◽  
pp. 135
Author(s):  
Maria Isabel Rios de Carvalho Viana
Keyword(s):  
Tennessee Williams ◽  
Brian Friel ◽  
Glass Menagerie ◽  
The Glass Menagerie

É característica marcante da obra do dramaturgo irlandês Brian Friel a representação da memória no palco. Dancing at Lughnasa é uma de suas peças classificada pelos críticos como uma “peça de memória” por apresentar, assim como a peça The Glass Menagerie de Tennessee Williams, um narrador-personagem que narra eventos de seu passado. Porém, a relação dessa peça de Friel com a memória vai muito além da mera temática e passa a ser o procedimento e a forma do dramaturgo de fazer teatro à memória do próprio teatro, recuperando suas origens nos rituais e na tragédia e relendo elementos marcantes da fundação do Teatro Literário Irlandês. Partindo da ideia do “fantasmático” no teatro desenvolvida por Carlson, o objetivo desse artigo é detectar alguns dos “fantasmas” presentes no texto de Friel, mostrando o caráter metateatral da peça e de que forma Friel faz do seu teatro um Teatro de Memória.

scholarly journals DEVERES E QUERERES: CONFLITOS TRÁGICOS EM 'FILOCTETES' E 'O ZOOLÓGICO DE VIDRO' | DUTIES AND DESIRES: TRAGIC CONFLICTS IN 'PHILOCTETES' AND 'THE GLASS MENAGERIE'

2016 ◽  
pp. 80
Author(s):  
Carolina De Pinho Santoro Lopes
Keyword(s):  
Ethical Dilemma ◽  
Classical Antiquity ◽  
Tennessee Williams ◽  
Short Period ◽  
Glass Menagerie ◽  
The Glass Menagerie

<p>O objetivo deste trabalho é explorar a permanência de elementos trágicos no teatro contemporâneo, tendo como base as obras <em>Filoctetes</em>, de Sófocles, e <em>O zoológico de vidro</em>, de Tennessee Williams. Embora a produção da tragédia grega tenha se limitado a um curto período da Antiguidade clássica, elementos dessa forma artística ainda perduram e têm influenciado obras teatrais de diversos lugares até os dias de hoje. As duas peças analisadas compartilham a temática de um dilema ético, retratando um conflito entre a vontade e o dever que se reflete nos embates entre os personagens. </p><p><strong>Abstract:</strong><em> </em><em>This article explores the permanence of tragic elements in contemporary drama by focussing on Sophocles's </em>Philoctetes<em> and Tennessee Williams's </em>The Glass Menagerie<em>. Although the production of Greek tragedies was limited to a short period of classical antiquity, some elements of this artistic form endure and have influenced drama in various places up until the current day. Both plays thematize an ethical dilemma by portraying a conflict between one's will and one’s sense of duty, which is reflected in the verbal disputes between characters</em>.</p>

Falling Star

2020 ◽  
pp. 345-362
Author(s):  
Steven C. Smith
Keyword(s):  
Constant Pressure ◽  
Tennessee Williams ◽  
Panoramic Image ◽  
Music Department ◽  
Ghost Town ◽  
Studio System ◽  
Gangster Film ◽  
Glass Menagerie ◽  
The Glass Menagerie ◽  
Hollywood Studio System

This chapter dissects the demise of the Hollywood studio system, caused by several factors including the incursion of television. Warner Bros.’ legendary music department became, to quote Steiner, “a ghost town”; Max was among the few composers remaining on staff. Amid constant pressure to economize, Steiner continued to do fine work. He earned Ayn Rand’s praise for his musical depiction of nonconformity in The Fountainhead, created incendiary accompaniment for James Cagney’s valedictory gangster film White Heat; and devised an evocative “glass effect in music” for The Glass Menagerie. “Steiner has written a beautiful score,” Tennessee Williams wrote Jack Warner, “one that blends perfectly with the moods of the play.” Steiner also innovated as musical supervisor of the stereo-surround blockbuster This Is Cinerama, whose panoramic image foreshadowed IMAX. But most of his assignments were cheap, forgettable programmers, and his battles with Louise over Ronald grew increasingly bitter.

Making creativity more effective

2017 ◽  
Vol 31 (2) ◽  
pp. 26-29
Keyword(s):  
Personality Traits ◽  
Case Studies ◽  
Design Methodology ◽  
Reading Time ◽  
Management Support ◽  
Content Type ◽  
Cross Domain ◽  
Pertinent Information ◽  
Practical Implications ◽  
Gain Access

Purpose This paper aims to review the latest management developments across the globe and pinpoint practical implications from cutting-edge research and case studies. Design/methodology/approach This briefing is prepared by an independent writer who adds their own impartial comments and places the articles in context. Findings Cross-domain collaborations enable firms to gain access to new capabilities that better position them to meet the increasingly complex problems which face businesses. But, significant differences exist in the way that various disciplines and sectors perceive and approach creativity. Management must therefore consider issues that include idea ownership, personality traits, management support and how creativity is quantified and measured to prevent misalignment and enhance the effectiveness of creative endeavors. Practical implications The paper provides strategic insights and practical thinking that have influenced some of the world’s leading organizations. Originality/value The briefing saves busy executives and researchers hours of reading time by selecting only the very best, most pertinent information and presenting it in a condensed and easy-to-digest format.

Foulds' “Continuum of Personal Illness” and the 16 P.F.

1968 ◽  
Vol 114 (506) ◽  
pp. 53-56 ◽  
Author(s):  
James McAllister
Keyword(s):  
Personality Traits ◽  
Personality Disorders ◽  
Mentally Ill ◽  
Psychiatric Illness ◽  
Cognitive Disorder ◽  
Personal Relationships ◽  
Social Alienation ◽  
First Case ◽  
Mutual Relations ◽  
Interpersonal Situations

Foulds (1965) proposed that the classes of psychiatric illness can be described in terms of a continuum of increasing degrees of failure to maintain or establish mutual personal relationships. This concept of all psychiatric illness as an “illness of the person” centres on processes which occur in the mentally ill that interfere with the satisfactory establishment and relative endurance of adequate personal relationships. Foulds conceptualizes these interfering processes as barriers to achieving “personhood”: they may present as signs or symptoms of psychiatric illness or as abnormal degrees of personality traits. Thus, for example, cognitive disorder would make the schizophrenic unable to cope with the demands of interpersonal situations. Similarly, egocentricity would render the psychopath incapable of empathy and with a tendency to treat “others as objects or as organisms than as persons”. In both examples social alienation is inferred, manifested in the first case as withdrawal and in the second case as rejection. It is Foulds' thesis that this incapacity for mutual relations increases along a continuum from normality, through the personality disorders, neurosis, integrated psychosis (melancholics, manics and paranoids) to non-integrated psychosis (the schizophrenics).

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