摘要:田纳西·威廉斯是20世纪美国戏剧史上最突出的人物之一,几乎所有的工作都在对人类灵魂的探索。他喜欢用象征手法,帮助观众理解戏剧,分析戏剧中应用的各个象征物,包括名称,颜色,声音,语言等。
ld” of Blanche DuBois, a woman of the Old South and on the other hand is the “world” of Stella and Stanley Kowalski, who belong to the working class and live in the downtown immigrant neighborhood of New Orleans.
The Northern and Southern cultures at that time were acting against each other, mirrored in Stanley and Blanche. The setting of New Orleans is important to the play. The city is one of powerful contrasts: old French
architecture and the new rhythms of jazz; a kind of old world refinement mixed with a sign of poverty and modern life; decay and corruption with the regenerative powers of desire and creation. The city is eternally in a state of mixture, a mix of the modern world and New Orleans' confused history; in Americans’ eyes, New Orleans is also associated with desire and sexuality. From the beginning, the three main characters in this play are in a state of tension. Williams establishes that the apartment is small and confining, the weather is hot and oppressive, and the characters have good reasons to come into conflict.
4. Conclusion 结论
When the history of American theater is written for the 20th Century, Tennessee Williams is one of the most prominent names to be mentioned. He pushed the exploration of the human soul to the very limit in his work.
Williams is fond of symbols and he successfully uses these varieties of symbols to help the audience to understand the play, especially in A Streetcar Named Desire. The symbolic use of images including names, colors, sound, language and other images in life in this play is the purest device Williams applies to resonate with the theme. The hidden ugliness from the past, both emotional and sexual neediness of Blanche and her fading beauty, vulnerability, and weakness are successfully revealed through the images such as light, bath, color whose symbolic functions have been specifically discussed in chapter two. The symbolic understanding of the characters comes to the conclusion that Blanche and Stanley are respectively the representations of the Old South and the New South and Blanche’s mental deterioration into madness and the triumph of Stanley are the sign of the destruction of the old south genteel world.
References 参考文献
[1] Londre, Felicia Hardison. A Streetcar Running Fifty Years[A]. in Matthew C. Roudane. The Cambridge Companion to Tennessee Williams[C]. New York: Cambridge UP, 1997.
[2] Williams, Tennessee. A Streetcar Named Desire[M]. New York: New Directions, 1978.
[3] 方军、刘诺亚. 论田纳西.威廉斯‘诗化现实主义’的成熟——《玻璃动物园》和《欲望号街车》中的象征主义和表现主义之比较研究[J]. 荆门职业技术学院学报,2001(2):23-26.
[4] 汪义群. 当代美国戏剧[M]. 上海:上海外语教育出版社, 1992.
[5] 杨晋. 欲望、死亡和疯癫——试论《欲望号街车》女主角布兰奇•杜波依斯的象征之旅[J]. 井冈山师范学院学报(哲学社会科学),2002(5): 36-38.
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