Mötet med SVEROK
Postad av Stifu den 19 Nov 2009 vid 22:43





På fredag, lördag och söndag så kommer jag närvara på SVEROKs riksmöte/stämma/årsmöte/whatnot i kista.

Jag kommer slåss för den lille mannen, kämpa för frihet, dra orätvisorna framför beslutsfattare och jasägare. Jag kommer ställa dom obekväma frågorna och bedriva intensiv lobbyverksamhet i koridorerna.

Eller ja... vara där i alla fall.

För att liva upp stämningen lite, och för att hålla mig själv vaken, så kommer jag försöka live-blogga från händelsernas centrum. Beväpnad med en mobilkamera och en laptop så kommer jag sekund för sekund dokumentera varje andetag från ground zero. Ni kommer kunna följa händelseutvecklingen på ett så personligt sätt att ni kommer tro att ni är jag. Det kommer helt enkelt bli win kryddat med awsome om allt går enligt planerna.

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Critical Evaluation (Critical Survey of Literature for Students)
Tennessee Williams was a prolific writer who published short stories, poems, essays, two novels, an autobiography, and dozens of plays. It is for his plays that he is most widely known. Just about the most successful of these, in both of those commercial and critical terms, are The Glass Menagerie (1944), A Streetcar Named Desire (1947), Cat over a Hot Tin Roof (1955), as well as Night on the Iguana (1961). All four received New York Drama Critics’ Circle awards, and both equally A Streetcar Named Desire and Cat on the Hot Tin Roof won Pulitzer prizes. Although Williams received less critical acclaim in his later years, he is regarded as a particular with the foremost American playwrights on the twentieth century.
Williams claimed that for him producing was therapy. He was always open about his troubled family background: his father’s drunken violence, the unhappy marriage of his parents, his private mental breakdown, in addition to the insanity of his beloved sister, who as a young woman was institutionalized to the rest of her life. Williams did not hide that he was gay or that he was an abuser of alcohol and drugs. Although he denied that his creating was autobiographical, things from his life appear frequently in his perform.
Inside a Streetcar Named Desire . Williams shows the reality of people’s lives, an enduring concern of his throughout his composing career. He wrote this engage in believing he was about to die, so he wrote about what he felt needed to be stated. When it was number one presented, the enjoy was considered shocking basically because of its frank presentation of sexual issues.
Williams did not rely on realism alone to portray reality. In a very Streetcar Named Desire as in other plays, he effectively utilizes dramatic products to convey and enrich meanings. Most within the action belonging to the perform takes spot while in the Kowalskis’ apartment, but there exists also action around the street. This action-the Mexican woman with “flores para los muertos” as well as struggle in the drunk and then the prostitute-provides not only local color but also a commentary around the main action. When Blanche to start with arrives in the apartment, a screeching cat is heard, a minor bit of stage business enterprise that helps generate a feeling of Blanche’s tension. The background music, too, is carefully contrived. The “Blue Piano” and then the “Varsouviana” fade in and out according to what is going on on the minds from the characters, particularly Blanche. Blanche’s rape is accompanied by “hot trumpet and drums.”
The use of literary units also underlines the meanings in the perform. There are quite a few significant names. Blanche DuBois, white woods, as Blanche herself points out “like an orchard in spring,” is clearly ironic. The family plantation was Belle Reve, a “beautiful dream” now gone. The Elysian Fields address of Stella and Stanley is really an ironic comment over the unheavenly reality with the spot, and Blanche arrives there by usually means of two streetcars, Cemeteries and Desire, which foreshadow the recurring photos of death and desire throughout the engage in.
Death and desire bring Blanche to this affordable point in her life. She never recovers from the devastating death of her young husband, indirectly caused by the nature of his sexual desires. The deaths of her relatives are instrumental in reducing her to poverty, as do the desires, the costly “epic fornications” of her forebears. Her possess promiscuous sexual desire destroys her reputation and her professional career. The rape by Stanley, which he promises is the culmination of the perverse desire they felt for every single other all along, is the act that finally pushes her into insanity.
Just as Belle Reve may be a relic within the plantation structure that was the cornerstone within the civilization for the Old South, so is Blanche an anachronistic leftover from that culture. She is mostly a southern belle, born to privilege and meant to be beautiful and refined, to study poetry, to flirt, and ultimately to marry and reproduce. Blanche is born too late around the history of her family and during the history belonging to the South to inherit this legacy: The money is gone; the values are disintegrating. She hangs on to what vestiges of gentility she can, but this serves only to alienate rather than to shield her. Tender and delicate, like the moth she resembles, Blanche is unable to survive while in the harsh reality of recent society.
You can find further to the character of Blanche than merely the role of pathetic victim. She, too, is actually active in her destruction. As she confesses to Mitch, she was not blameless in her husband’s suicide, for her cruel remark appears to have pushed him to it. “I have always depended in the kindness of strangers,” she says pathetically to the doctor who leads her absent, and perhaps it can be described as search for “kindness,” some warmth of human response, that leads to her gross, self-destructive sexual promiscuity. Despite recognizing her private undeniable flaws, she makes very minor attempt to disguise her contempt for those she feels are inferior to her in refinement, and she is willing make use of Mitch and Stanley to supply for her. She can be cruel to Stella, the just one remaining person who loves her, in criticizing Stella’s husband and her way of life.
If Blanche represents defunct southern values, Stanley represents the new, urban modernity, which pays small heed to the past. If Belle Reve is not really going to mean a personal inheritance, Stanley is not any longer interested in Belle Reve. Williams’s stage directions indicate that Stanley’s virile, aggressive brand of masculinity is to be admired. However, Stanley, like Blanche, is undoubtedly an ambiguous character. His cruel intolerance of Blanche may be seen as justifiable response to her lies, hypocrisy, and mockery, but his nasty streak of violence against his wife appalls even his friends. His rape of Blanche is often a horrifying and destructive act in addition as a cruel betrayal of Stella. Ultimately, however, Stanley prevails. He gets rid of Blanche, who loses everything, and with the closing lines belonging to the participate in, he soothes Stella’s grief, and their life goes on.
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