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Literature Criticism
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From: Modern Drama[(essay date December 1993) In the following essay, Levy explores the significance of mirrors as a symbol for superficial appearances and fragile self-image in The Glass Menagerie.] In his production notes introducing...
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From: Modern Drama[(essay date fall 1994) In the following essay, Remen uses Michel Foucault's theories of prisons and punishment to explore key themes of power and consequences in M. Butterfly.] It's an enchanted space I occupy.1...
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From: Mississippi Quarterly[(essay date 1971) In the following essay, Presley identifies three philosophical dilemmas confronted by Williams's central characters--"isolation, the absence of God, and the reality of death." Presley contends that...
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From: Modern DramaThat realism should be the convention fundamental to the work of Tennessee Williams is altogether logical. Until his late adolescence, Williams had little opportunity to see any form of theater other than the American...
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From: Western Humanities ReviewIn an interview with Newsweek in the spring of 1960, Tennessee Williams made an announcement which was bound to be of interest to widespread audiences and critics of the drama alike. He declared that he was “through with...
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From: Staging Difference: Cultural Pluralism in American Theater and Drama[(essay date 1995) In the following essay, Sarote examines Williams's treatment of discrimination and resistance to mainstream American "normalcy" in his three major plays. According to Sarote, " Streetcar, like most of...
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From: Modern DramaTennessee Williams's first professionally produced play, Battle of Angels (1940), failed during its Boston tryouts. However, the play did not die. Williams continued to rewrite, to add, to modify and in March, 1957, with...
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From:Drama for StudentsTennessee Williams is admired for the theatricality of his plays and for introducing literary, specifically poetic, devices into the theater. In The Glass Menagerie particularly, he relies on the craft of modern...
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From: The Politics of Reputation: The Critical Reception of Tennessee Williams’ Later Plays[(essay date 1999) In the following essay, Saddik argues that Williams was not the realistic playwright critics conventionally deemed him. She demonstrates how The Glass Menagerie (1944), as well as other iconic Williams...
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From: The Glass Menagerie[(essay date 1999) The following excerpt, Tom’s opening monolog, introduces the setting, context, characters, and some of the dramatic techniques employed in The Glass Menagerie, a “memory play” that presents “truth in...
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From: Disability Theatre and Modern Drama: Recasting Modernism[(essay date 2016) In the following essay, Fox explores how the character Laura from The Glass Menagerie (1944) represents an “authentic disability experience, showing how that experience illuminates our understanding of...
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From: RenascenceTennessee Williams' writing reveals a striking preoccupation with the problem of time. Like other modern dramatists, he has juxtaposed past and present, created worlds of fantasy, and employed mythical substructures in...
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From: The Fugitive Art: Dramatic Commentaries, 1947-1951[(essay date 1952) In the following review, Worsley evaluates a production of The Glass Menagerie (1944) at the Haymarket Theatre, deeming the play as inferior to A Streetcar Named Desire (1947). However, Worsley praises...
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From: South Atlantic Bulletin[(essay date May 1975) In the following essay, Dedmond discusses the way McCullers came to adapt The Member of the Wedding as a drama on the advice of Tennessee Williams and the work's success as a play despite the...
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From: A Student Handbook to the Plays of Tennessee Williams[(essay date 2014) In the following essay, Bottoms conducts a scene-by-scene explication of the plot and themes of The Glass Menagerie (1944), followed by a commentary on the significance of the play within Williams’s...
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From: The Influence of Tennessee Williams: Essays on Fifteen American Playwrights[(essay date 2008) In the following essay, Cho compares how Williams and Hansberry wrote plays at an “unstable junction of mainstream culture and political resistance” to homosexuality and African American cultures.]...
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From: Renascence[(essay date winter 2007) In the following essay, Gagne examines various critical considerations of Dancing at Lughnasa.] The stiff and unbending is the disciple of death. The gentle and yielding is the disciple of...
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From: “The Salesman Has a Birthday”: Essays Celebrating the Fiftieth Anniversary of Arthur Miller’s Death of a Salesman[(essay date 2000) In the following essay, originally presented at a conference in April 1999, Bigsby offers a detailed assessment of the function of time and memory in Miller’s work, using Death of a Salesman as a...
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From: Tennessee Williams: A TributeWhen The Rose Tatto made its Broadway appearance on 3 February 1951, Tennessee Williams did not have a reputation as a comic writer. Quite to the contrary, his two hits, The Glass Menagerie and A Streetcar Named Desire,...
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From: Modern Drama[(essay date December 1991) In the following essay, Reynolds discusses the significance of modern technology in The Glass Menagerie, which he views as a commentary on progress and the effect of technology on the...