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    KS5 KO Streetcar Lang and Lit

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    Ayca Ugurlu
    The document provides context about the play A Streetcar Named Desire by Tennessee Williams. It includes biographical information about the playwright, geographical context about New Orleans, cultural context about the old and new South, relevant literary works, and American values during the time period.

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    © All Rights Reserved
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    KS5 KO Streetcar Lang and Lit

    Uploaded by

    Ayca Ugurlu
    8 views2 pages
    The document provides context about the play A Streetcar Named Desire by Tennessee Williams. It includes biographical information about the playwright, geographical context about New Orleans, cultural context about the old and new South, relevant literary works, and American values during the time period.

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    KS5-KO-Streetcar-Lang-and-Lit

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    The document provides context about the play A Streetcar Named Desire by Tennessee Williams. It includes biographical information about the playwright, geographical context about New Orleans, cultural context about the old and new South, relevant literary works, and American values during the time period.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    8 views2 pages

    KS5 KO Streetcar Lang and Lit

    Uploaded by

    Ayca Ugurlu
    The document provides context about the play A Streetcar Named Desire by Tennessee Williams. It includes biographical information about the playwright, geographical context about New Orleans, cultural context about the old and new South, relevant literary works, and American values during the time period.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 2

    FHS English Department ENGLISH LANGUAGE AND LITERATURE

    A Streetcar Named Desire Tennessee Williams (1947)


    Assessment: Paper 1 Voices in Speech and Writing
    Section B Drama Texts
    One extract based essay question (25 marks) 1 hour 15 minutes
    AOs
    AO1 Apply concepts and methods from integrated linguistic and literary study as appropriate, using associated termi-
    nology and
    coherent written expression
    AO2 Analyse ways in which meanings are shaped in texts

    Terminology Characters (vocabulary)


    coda
    a conclusion which provides a satisfying ending Blanche Stella Stanley Mitch
    connotations vulnerable dependent masculine gentle
    the associations that words have
    delicate devoted sexual magnetism sensitive
    denoument
    the final resolution or clarification of the plot-the events following the climax of the ac- dismissive loyal (n) awkward
    tion superior pliant confident inexperienced
    epigraph
    a short quotation or saying at the beginning of a literary work intended to suggest its self-absorbed amenable contemptuous naïve
    theme vain dutiful hostile gauche
    Expressionistic theatre refined placid bravado (n)
    Theatre which expresses the inner world of emotion rather than external objective reality
    foil fanciful obliging coarse
    a character who clearly contrasts with another deluded forgiving shrewd
    hamartia domineering
    volatile
    tragic flaw or error of judgement
    hyperbole impassioned callous
    exaggeration fantasist (n) primitive
    metaphor/simile
    comparison between two things where one thing is said to be another/ comparison using histrionic vengeful
    like or as distraught
    monologue
    a long speech by one character as part of a conversation
    motif Wider Reading/Further Study
    recurring image or idea
    oxymoron Tennessee Williams:
    a combination of contradictory or incongruous words
    Cat on a Hot Tin Roof;
    pathos
    a deep feeling of sympathy or pity for a character The Glass Managerie
    peripeteia Chekhov, The Cherry Orchard
    a character’s tragic reversal of fortune Margaret Mitchell, Gone With the Wind or 1939 film ver-
    Plastic theatre sion starring Vivien Leigh
    Williams’ term for his style- mix of naturalism and expressionistic theatre
    Tennessee Williams, Memoirs (1976)
    protagonist/antagonist
    main character/character who is in opposition to the main character S.McEvoy, Tragedy: A Student Handbook (2009)
    tableau

    Past Paper Questions


    SAMS
    Extract: Blanche: May l — speak — plainly? to As the lights fade away, with a lingering brightness on their embrace, the music of the ‘blue piano’ and trumpet and drums is heard.)
    [From Scene 4 pp. 46–48]
    Using this extract as a starting point, and with reference to other parts of the play, discuss how Williams develops the conflict between the values of the old and new South. In your an-
    swer, you must consider Williams’ use of linguistic and literary features and relevant contextual factors.
    2017
    Extract: Blanche: How about taking a swim, a moonlight swim at the old rock-quarry? to Stanley: Well, just so he’s from somewhere! [From Scene Ten, pp. 90–92]
    Using this extract as a starting point, and with reference to other parts of the play, discuss how Blanche’s construction of a fantasy escape with Shep reflects the dependency of the female
    characters on men. In your answer, you must consider Williams’ use of linguistic and literary features and relevant contextual factors.
    2018
    Extract: Stella: And admire her dress and tell her she’s looking wonderful to Stella: Hush! [From Scene Two pp.17-18]
    Using this extract as a starting point, and with reference to other parts of the play, discuss how Williams uses the loss of Belle Reve to present Stanley’s attitudes towards property. In your
    answer, you must consider Williams’ use of linguistic and literary features and relevant contextual factors
    2019
    Extract: Blanche: He’s left? to Stella: I said I am not in anything that I have a desire to get out of. [From Scene Four, pp 41–42]
    Using this extract as a starting point, and with reference to other parts of the play, discuss how Williams uses contrasting attitudes to Stanley’s violence to explore the cultural differences
    between Stella and Blanche.
    2020
    Using this extract as a starting point, and with reference to other parts of the play, discuss Williams’ use of the relationship between Blanche and Mitch to explore how Blanche responds
    to her changed circumstances.
    Context
    Playwright
    • In 1931 Williams had a nervous breakdown, and in 1937 his sister Rose was sent to a mental institution – like Blanche – and was lobotomised.

    • Like Blanche’s husband Allan (called ‘a degenerate’), Williams was a practising homosexual at a time when it was still illegal.

    • Suffering from depression, he resorted to heavy drinking (like Blanche) and drugs.

    • He had a lifelong fear of death, especially death from cancer – hinted at in the death of Margaret, one of the many at Belle Reve.

    Geographical (New Orleans)


    • A city in Louisiana, a southern state in the USA, whose legal system was influenced by the Napoleonic code, cited by Stanley.

    • Known as something of a cultural melting pot, where in some parts, including the French Quarter (district), black and white lived alongside each other.

    • A ‘streetcar’ (tram) went to an area called Desire, another to Cemeteries; there is also an avenue called Elysian Fields, referring to where the souls of heroes and the virtuous went
    in Greek mythology.

    • Known as a free-and-easy sort of place, with a lot of music (as in this play), especially jazz, bars and gambling – including poker.

    The South
    • The DuBois family’s wealth would probably have been built on slavery, abolished in the South in 1865.

    • After the Southern Confederate states lost the Civil War (1861–5), the South became poor and families like the DuBois declined.

    • The decline of wealthy (but slave-owning) Southern families was romanticised in literature and the cinema, for example in Gone with the Wind.

    • Blanche’s refined tastes, including her dislike of vulgarity, reflect the values of the old South

    Literary and Theatrical


    • Williams can be seen as part of the ‘Southern Gothic’ movement, characterised by a rich, even grotesque, imagination, and an awareness of being part of a decaying culture.

    • Chekhov’s play The Cherry Orchard is based on a declining family, like the DuBois family, who have to sell their property.

    • Strindberg’s Miss Julie may have influenced Williams’s pairing of class conflict and sexual tension in Stanley and Blanche.

    American Values
    • The USA prided itself on opening its arms to immigrants from all over the world, including Poland, but Blanche still calls Stanley a ‘Polack’.

    • Stanley feels he is all-American, and that America is ‘the greatest country on earth’.

    • Stanley has a positive attitude towards conflict and fate, as shown by his belief that, despite poor odds, he would survive the war.

    • Stanley is an example of a go-getting, thrusting, competitive working-class man, prepared to crush others (like Blanche) to get what he wants.

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