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Sat. 2006.09.02
13:37:44

noughts::

上の写真を絵にした

というわけで、僕も書いてみましたよ、絵を。

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  1. 簡単にお気に入りの腕時計ユリスナルダンから彼らの有名な「フリーク」が、2001年以降、「アンチ・クラシック」の高級時計とモダンなデザインの時計nerderyが好きである人々のためでした。 ブルガリスーパーコピー ユーレッセナーディン彼らの有力なシリコン腕時計で賭け金を上げ続けるということを私は何より好きです(異常な機械的運動における成分としてのシリコン部分を含む最初のスイス時計の生産)、多くの特徴を加えて、システムの性能と耐久性を増やします。その心は、時計の長針に実際にあるダイヤルの上で全てのシリコンギヤ列を特徴とします。最新の生成・フリークで、「freaklabとして知られ、「ユリスナルダンをさらに追加し、会社の新しい社内」ulychoc」技術の衝撃吸収材として機能を含む。
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  2. ?A Streetcar Named Desire ?
    A Streetcar Named Desire Critical Evaluation - Essay
    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. Probably the most successful of these, in the two commercial and critical terms, are The Glass Menagerie (1944), A Streetcar Named Desire (1947), Cat with a Hot Tin Roof (1955), along with the Night belonging to the Iguana (1961). All four received New York Drama Critics’ Circle awards, and the two A Streetcar Named Desire and Cat over a Hot Tin Roof won Pulitzer prizes. Although Williams received less critical acclaim in his later years, he is regarded as an individual on 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, as well as 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 composing was autobiographical, features from his life appear frequently in his function.
    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 claimed. When it was number one presented, the participate in was considered shocking due to the fact 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 makes use of dramatic products to convey and enrich meanings. Most on the action of your participate in takes location during the Kowalskis’ apartment, but there exists also action within the street. This action-the Mexican woman with “flores para los muertos” as well as struggle belonging to the drunk also, the prostitute-provides not only local color but also a commentary relating to the main action. When Blanche to begin with arrives within the apartment, a screeching cat is heard, a minor bit of stage enterprise that helps form a perception of Blanche’s tension. The background music, too, is carefully contrived. The “Blue Piano” as well as “Varsouviana” fade in and out according to what is going on on the minds within the characters, particularly Blanche. Blanche’s rape is accompanied by “hot trumpet and drums.”
    The use of literary products also underlines the meanings belonging to the engage in. There are a lot of 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 can be an ironic comment about the unheavenly reality belonging to the put, and Blanche arrives there by means that of two streetcars, Cemeteries and Desire, which foreshadow the recurring illustrations or photos of death and desire throughout the engage in.
    Death and desire bring Blanche to this minimal 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 have 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 just about every other all along, is the act that finally pushes her into insanity.
    Just as Belle Reve is known as a relic of your plantation program that was the cornerstone in the civilization in the Old South, so is Blanche an anachronistic leftover from that culture. She is regarded as a southern belle, born to privilege and meant to be beautiful and refined, to browse poetry, to flirt, and ultimately to marry and reproduce. Blanche is born too late during the history of her family and from the history in 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 will find even more to the character of Blanche than merely the role of pathetic victim. She, too, have been active in her destruction. As she confesses to Mitch, she was not blameless in her husband’s suicide, for her cruel remark would seem to have pushed him to it. “I have always depended within the kindness of strangers,” she says pathetically to the doctor who leads her absent, and perhaps it is often a search for “kindness,” some warmth of human response, that leads to her gross, self-destructive sexual promiscuity. Despite recognizing her personal undeniable flaws, she makes very small attempt to disguise her contempt for those she feels are inferior to her in refinement, and she is willing to apply Mitch and Stanley to give for her. She is usually cruel to Stella, the a single 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 minimal heed to the past. If Belle Reve is absolutely not going to mean a fiscal 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 really 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 regarded as a horrifying and destructive act too as a cruel betrayal of Stella. Ultimately, however, Stanley prevails. He gets rid of Blanche, who loses everything, and around the closing lines of your enjoy, he soothes Stella’s grief, and their life goes on.
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    by Williamwhivy at 2017-06-22 01:57:47
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