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论文格式

淮北师范大学

2012届学士学位论文

OnSymbolisminAStreetcarNamedDesire

学院、专业外国语、英语

研究方向

学生姓名

学号

指导教师姓名

指导教师职称

2012年月日

OnSymbolisminAStreetcarNamedDesire

Abstract:

SymbolismisprofoundlyusedinTennesseeWilliams’masterpiece,AStreetcarNamedDesireandplaysanimportantroleintheplaybyhelpingreadersunderstandtheconceptofthetheme.Thispaperisanattempttogiveacomprehensiveanalysisofspecificsymbolsinthisplayandtodiscusshowthemiseryandtheinnerworldofthecharactersaredisclosedthroughtheremarkableuseofsymbols.SymbolsareprofuseintheplayandtheyhelptoachieveathematicimportancewhencombinedwiththeromanticrealismthatWilliamsfavoredatthebeginningofhiscareer.Thethesisismadeupoffourparts.Thefirstchaptergivesabriefintroductionoftheplaywrightandtheplay.Alsoaliteraturereviewwhichstatessomescholar’sconcernsinthisplayisgivenandinthesecondchapter,anelaborateanalysisoftheindividualsymbolssuchasnames,colors,sound,languageandotherimagesinlifeappliedinthisplayispresented.Chapterthreeisathematicprobeintotheplaybasedonthesymbolicunderstandingsofthecharacters.Finally,aconclusionisgiventosummarizesymbolisminthisplay.

Keywords:

symbolism;AStreetcarNamedDesire;self-delusion;Southernculture

论《欲望号街车》的象征主义

摘要：

象征手法在田纳西·威廉斯的著作《欲望号街车》中得到了淋漓尽致的应用。

其对帮助读者理解戏剧主题起重要的作用。

本文试图对此戏剧中的象征物进行详尽的分析并讨论人物的悲惨境遇和内心世界如何通过象征物精彩的应用显现出来。

论文分为四部分。

第一章简介剧作家及戏剧并在文学评论中简述一些学者对此戏剧的研究。

第二章详细分析戏剧中应用的各个象征物，包括名称，颜色，声音，语言等。

第三章在对人物的象征性理解基础上探索主题。

最后一章总结戏剧中的象征主义。

关键词：

象征手法；《欲望号街车》；自我欺骗；南方文化

Contents

Abstract……………………………………………………………………..….………I

1.Introduction………………………………………………………………….……1

2.StudyofIndividualSymbols………………………………………….….….……2

2.1OnNames………………………………………………………….…..……..…3

2.2OnColors…………………………………………………………….….……...4

3.OnSymbolicUnderstandingofCharacters……………………………….………5

3.1VictimofSelf-delusions……………………………………………………6

3.2VictimofSocialCircumstances………………………………………...………7

3.2.1VictimoftheOldSouthernCulture……………………………..…………8

3.2.2TheDestructionoftheOldSouthGenteelWorld…………….……………9

4.Conclusion……………………………………………………………….………10

References…………………………………………………………………...…….…11

OnSymbolisminAStreetcarNamedDesire

1.Introduction

TennesseeWilliamswasoneofthemostimportantandtalentedplaywrightofallhistory.Oneofhismasterpieces,AStreetcarNamedDesire,whichwasopenedonBroadwayin1947,wasanimmediatesuccess,catapultinghimintothemainstreamidolatryasanAmericanplaywright.

Bynow,scholarshavepaidmuchattentiontovariousaspectsinAStreetcarNamedDesire.Forexample,FangJunandLiuNuoyaprobeintothematureofthedramatictechniquethepoeticrealismthroughmeticulousstudyonthesymbolicandexpressionisticwritingtechniquesandtheinterrelationsoftheminTheGlassMenagerieandAStreetcarNamedDesire（23）.InDesire,DeathandDementia,researcheshavebeenputintoanalysisoftheprotagonistwithunderstandingofsymbolism（杨晋,2002:

36-38）.

2.StudyofIndividualSymbols

2.1OnNames

Atthebeginningoftheplay,readersareconfrontedwithextremelyobvioussymbolicnamesofplaces.WhenBlanchearrivesathersister’splace,shesays,“Theytoldmetotakeastreet-carnamedDesire,andthentransfertoonecalledCemeteriesandridesixblocksandgetoffatElysianFields.”（Williams,1978:

471）Thus,itispossibleherepresentsacemeteryforBlanche.StanislausisthenameofakingofPoland.Clearly,Stanleyisthekingofhishousehold.

2.2OnColors

WhenBlanchefirstappears,sheisdescribedas“daintilydressedinawhitesuitwithafluffybodice,necklaceandearringsofpearl,whiteglovesandhat”.（Williams471）Blanche'swhitesuitandgloveswhicharethesymbolofpurityshowsherdesireforpurityandsuggeststhatshewantstoforgethersordidpast,tohideherinnersinsandtostayasanimageofadaintyoldsouthbeauty.Thisisveryironicbecausewhitealsoisthecolorwhichisthemosteasilystainedanddestroyed.

3.OnSymbolicUnderstandingofCharacters

AStreetcarNamedDesirecanbedescribedasanelegy,or poeticexpressionofmourning,fortheOldSouththatdiedinthefirstpartofthetwentiethcentury.Alcoholism,depression,thwarteddesire,loneliness,andinsanityareallpartsofthisplay.ThecharacterofBlancheDuboisisavividexampleoftheuseofsymbolismthroughouttheplay.Blancheisvictimofherownself-delusionsandOldSouthattitudes.

3.1VictimofSelf-delusions

BlanchearrivesinNewOrleansasanarrogant,fragile,andultimatelycrumblingfigure.Clingingdesperatelytoherself-delusion,unabletoacceptthesavagerealityofwhathashappenedtoher,andjustasunabletocomprehendhowhersisterStellacanendurehercurrentlivingcondition,Blancheisslowlylosinghermind.Herdesperateline,“Idon'twantrealism!

Iwantmagic!

”（Williams,1978:

545）isacryfromtheheart.Shewishestoviewlifeasonethatisrose-coloredandthatgoesalongwithherold-fashionedsouthernbellepersonality.ThelossofheryounghusbandAllanhascausedherloneliness,sexualdesire,andevencertainsignsofpsychologicalinstability.WhatBlanchedoesnotrealizeisthatshecannotchangethepastthroughthepresent.Blanche'syouthisgone,andshetriestogivetheappearanceofbeingasyouthfulandinnocentassheoncewas,butherillusioncannotlast.Asanepigraphtotheplay,Williamsquotesfromthepoem“TheBrokenTower”,byHartCrane:

AndsoitwasthatIenteredthebrokenworld

Totracethevisionarycompanyoflove,itsvoice

Aninstantinthewind（Iknownotwhitherhurled）

Butnotforlongtoholdeachdesperatechoice.

TheuseofthispoemhelpstoexpressWilliams'schoiceofthemeinAStreetcarNamedDesire.AfterBlanche’syounghusbandAllanGreydies,shehasentereda“Brokenworld”offear,longing,andsorrowbecauseofhersimpledesiretohear“thevisionarycompanyoflove,itsvoice”,ortender,gentlewordsofloveandappreciationfromStellaandMitch.However,thesewordsareonly“visionary”.ThelossofAllanandthedesireto“trace”orrecaptureherloveleadhertomakesomanydesperatechoices.（Londre,1997:

49）

3.2VictimofSocialCircumstances

3.2.1VictimoftheOldSouthernCulture

GivenMitch’sstatement,itseemsthatBlanche’sbadsexualexperiencesandromanticdelusionshavebeenthesourceofherfall.YetWilliamsdepictsthefallen,SouthernwomenasBlanchewhoisalsoavictimofsociety’srules.

BeforeweseeBlanche’smiserablelifeexperiencesandfall,let’sfirsthavealookatthesouthlandshehaslost.InTheMindoftheSouth,Cashpresentusadescriptionofthelandwhichcultivatesthoseoldsoutherngentlemenandladies.Thewarmpleasantclimateandleisurerichlifetheregivethislandcertainatmosphereofromance.Theplantationownerscanhavetheirownwayintheirlandandenjoytheharvestbytheslaves’labors.Thus,aspiritofindulgingandpleasureseekingiscultivated.Butatthesametime,Cashpointsoutthatthoseoldsouthernresidents,especiallywomen,arepuritansthataresternlyrestrictedbytheirvalueofmorality.Theeconomicstructureoftheplantationleaveswomenhighlydependentonmenbecauseforalongtime,theyaredetachedfromworkingandmanagementoftheplantation.Thustheyclingtomenorbecometoysthatentertainandpleasemen.Ononehand,theyshouldactandspeakappropriatelyandbelady-likebecauseofthepuritandoctrinestheybelieve,ontheotherhand,theyhavetogetmen’sadmirationandheartsinordertomaintaintheirdependentposition.Therefore,thereisamixtureofPuritanismandhedonisminthem（汪义群,1992:

83）.Clearly，wecanseethecontradictionofdesireandsoulinBlanche.

3.2.2TheDestructionoftheOldSouthGenteelWorld

AStreetcarNamedDesiredescribestheculturalandsocialdifferencesandthearisingproblemsbetweentwodifferent“worlds”.Ontheonehandistheformer“world”ofBlancheDuBois,awomanoftheOldSouthandontheotherhandisthe“world”ofStellaandStanleyKowalski,whobelongtotheworkingclassandliveinthedowntownimmigrantneighborhoodofNewOrleans.

TheNorthernandSouthernculturesatthattimewereactingagainsteachother,mirroredinStanleyandBlanche.ThesettingofNewOrleansisimportanttotheplay.Thecityisoneofpowerfulcontrasts:

oldFrencharchitectureandthenewrhythmsofjazz;akindofoldworldrefinementmixedwithasignofpovertyandmodernlife;decayandcorruptionwiththeregenerativepowersofdesireandcreation.Thecityiseternallyinastateofmixture,amixofthemodernworldandNewOrleans'confusedhistory;inAmericans’eyes,NewOrleansisalsoassociatedwithdesireandsexuality.Fromthebeginning,thethreemaincharactersinthisplayareinastateoftension.Williamsestablishesthattheapartmentissmallandconfining,theweatherishotandoppressive,andthecharactershavegoodreasonstocomeintoconflict.

4.Conclusion

WhenthehistoryofAmericantheateriswrittenforthe20thCentury,TennesseeWilliamsisoneofthemostprominentnamestobementioned.Hepushedtheexplorationofthehumansoultotheverylimitinhiswork.

Williamsisfondofsymbolsandhesuccessfullyusesthesevarietiesofsymbolstohelptheaudiencetounderstandtheplay,especiallyinAStreetcarNamedDesire.Thesymbolicuseofimagesincludingnames,colors,sound,languageandotherimagesinlifeinthisplayisthepurestdeviceWilliamsappliestoresonatewiththetheme.Thehiddenuglinessfromthepast,bothemotionalandsexualneedinessofBlancheandherfadingbeauty,vu