An object relational psychoanalysis of selected Tennessee Williams play texts
- Authors: Tosio, Paul
- Date: 2003
- Subjects: Williams, Tennessee, 1911-1983 Williams, Tennessee, 1911-1983 -- Knowledge -- Psychology Object relations (Psychoanalysis) Psychoanalysis Drama -- Psychological aspects
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2150 , http://hdl.handle.net/10962/d1002382
- Description: Tennessee Williams is a playwright of great psychological depth. This thesis probes some of the complexities of his work through the use of Object Relational Psychoanalysis, specifically employing the theories of Melanie Klein, W.R.D. Fairbairn and Donald Winnicott. The Glass Menagerie, A Streetcar Named Desire, Cat On A Hot Tin Roof and The Night of The Iguana are analysed from this theoretical stance. All of these plays display great perceptiveness into the human condition, accurately portraying many psychological relational themes. Certain Object Relational themes become very apparent in these analyses. These themes include, Dependency (especially in The Glass Menagerie), Reparation (particularly in A Streetcar Named Desire), Falsehood (notably in Cat on a Hot Tin Roof), Idealisation (evident in The Night of The Iguana), Honest Empathetic Relations (apparent in Cat on a Hot Tin Roof and The Night of The Iguana) as well as Guilt, Object Loss, Sexual Guilt, and Obligation (recurring throughout these plays). It is advanced that Williams’ plays posses an honest and insightful understanding of human relations and, as such, are of contemporary value. This Thesis is not only an academic study, but also has practical applications for dramatists. With an increased understanding of the intrinsic tensions and motivations within such plays, offered by such psychoanalytic strategy, performance and staging of such work may be enhanced valuably.
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- Authors: Tosio, Paul
- Date: 2003
- Subjects: Williams, Tennessee, 1911-1983 Williams, Tennessee, 1911-1983 -- Knowledge -- Psychology Object relations (Psychoanalysis) Psychoanalysis Drama -- Psychological aspects
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2150 , http://hdl.handle.net/10962/d1002382
- Description: Tennessee Williams is a playwright of great psychological depth. This thesis probes some of the complexities of his work through the use of Object Relational Psychoanalysis, specifically employing the theories of Melanie Klein, W.R.D. Fairbairn and Donald Winnicott. The Glass Menagerie, A Streetcar Named Desire, Cat On A Hot Tin Roof and The Night of The Iguana are analysed from this theoretical stance. All of these plays display great perceptiveness into the human condition, accurately portraying many psychological relational themes. Certain Object Relational themes become very apparent in these analyses. These themes include, Dependency (especially in The Glass Menagerie), Reparation (particularly in A Streetcar Named Desire), Falsehood (notably in Cat on a Hot Tin Roof), Idealisation (evident in The Night of The Iguana), Honest Empathetic Relations (apparent in Cat on a Hot Tin Roof and The Night of The Iguana) as well as Guilt, Object Loss, Sexual Guilt, and Obligation (recurring throughout these plays). It is advanced that Williams’ plays posses an honest and insightful understanding of human relations and, as such, are of contemporary value. This Thesis is not only an academic study, but also has practical applications for dramatists. With an increased understanding of the intrinsic tensions and motivations within such plays, offered by such psychoanalytic strategy, performance and staging of such work may be enhanced valuably.
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Theatre and science, with specific reference to Shelagh Stephenson's An experiment with an air pump (1999)
- Authors: Van Niekerk, Dion
- Date: 2002
- Subjects: Science in literature , Stephenson, Shelagh -- Experiment with an air pump
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2152 , http://hdl.handle.net/10962/d1004270
- Description: Science has featured intermittently as the subject of theatrical texts since Thomas Shadwell first represented the Renaissance scientist in The Virtuoso (1676). The late twentieth century, however, saw an incremental growth in theatre's interest in scientific exploration, a growth concommitant with the vast impact that science has had on technology, warfare and the machinations of political power. The tensions generated by the disjuncture between the rationality of science and the unpredictability of human society have provided a rich source of material for theatrical investigation into the human experience. The purpose of this thesis is twofold: to reveal some of the thematic concerns that emerge in this genre, and to examine the interplay between theatre and science. Shelagh Stephenson's An Experiment with an Air Pump (1999) provides a useful point of focus for this inquiry. By parallelling two time periods, exposing the scientific objectification of women and, in addition, opening up contemporary ethics for negotiation with the audience, Stephenson calls into question the objectivity and certainty of history, gender and ethical conduct. These she presents as dynamic and evolving fields of discourse that contribute to, but do not solely constitute, knowledge and understanding of the world. An Experiment with an Air Pump also displays an awareness, through its metatheatricality, of theatre itself as an imaginative, subjective discourse which parallels the more intuitive and personal aspects of scientific exploration. The play functions as a microscope, bringing into focus a contemporary world in which traditional systems of understanding and knowledge need to be reassessed and reinvented.
- Full Text:
- Authors: Van Niekerk, Dion
- Date: 2002
- Subjects: Science in literature , Stephenson, Shelagh -- Experiment with an air pump
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2152 , http://hdl.handle.net/10962/d1004270
- Description: Science has featured intermittently as the subject of theatrical texts since Thomas Shadwell first represented the Renaissance scientist in The Virtuoso (1676). The late twentieth century, however, saw an incremental growth in theatre's interest in scientific exploration, a growth concommitant with the vast impact that science has had on technology, warfare and the machinations of political power. The tensions generated by the disjuncture between the rationality of science and the unpredictability of human society have provided a rich source of material for theatrical investigation into the human experience. The purpose of this thesis is twofold: to reveal some of the thematic concerns that emerge in this genre, and to examine the interplay between theatre and science. Shelagh Stephenson's An Experiment with an Air Pump (1999) provides a useful point of focus for this inquiry. By parallelling two time periods, exposing the scientific objectification of women and, in addition, opening up contemporary ethics for negotiation with the audience, Stephenson calls into question the objectivity and certainty of history, gender and ethical conduct. These she presents as dynamic and evolving fields of discourse that contribute to, but do not solely constitute, knowledge and understanding of the world. An Experiment with an Air Pump also displays an awareness, through its metatheatricality, of theatre itself as an imaginative, subjective discourse which parallels the more intuitive and personal aspects of scientific exploration. The play functions as a microscope, bringing into focus a contemporary world in which traditional systems of understanding and knowledge need to be reassessed and reinvented.
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