Introduction

Sexton, Jamie

doi:10.3366/edinburgh/9780748625338.003.0001

Cited by 3 publications

(3 citation statements)

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“…Amanda, the matriarch of the Wingfield family, is a faded Southern belle from a prominent family, after being deserted by her husband, Amanda lives with her children Laura and Tom. Together with the loss of her husband, there are "decisions made in both the present and the long-ago past" (Sexton, 2007) which all contribute to the family breakdown. Throughout the play, we see Amanda strive to control the lives of her children and is constantly haunted by the fear of their abandonment.…”

Section: The Glass Menagerie and The Maimentioning

confidence: 99%

“…Unfortunately, much of the children's trouble stems from Amanda's devotion and she bemoans her sad fate: "My devotion has made me a witch and so I make myself hateful to my children" (Williams, 1977: 4, 257). Though Amanda is sincere and has good intentions for her children, she "engages in behavior that alienates her son and sends her daughter spiraling further and further into her dream world" (Sexton, 2007). All through the story, Amanda orders Tom about, giving him instructions about what to eat and drink, when to wake up and what to wear: " You've got ten minutes -don't gulp!…”

Section: The Glass Menagerie and The Maimentioning

confidence: 99%

“…She even tries to control Laura's use of words: "Laura, I've told you never, never to use that word" (Williams, 1977: 2, 247). The result is that Laura "grows up to fulfill a social role that has [been] predetermined for her by" her mother and is never given the opportunity to " develop into [an] emotionally mature" (Sexton, 2007) adult. In Marina Carr's play, the focal point is the turbulent marriage of The Mai and her wayward husband Robert.…”

Section: The Glass Menagerie and The Maimentioning

confidence: 99%

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Fragile Women in Tennessee Williams’ The Glass Menagerie and Marina Carr’s The Mai

Al-Ghoreibi¹

2020

SJKFU

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Both Tennessee Williams and Marina Carr are interested in female issues. Throughout his literary career, Williams expresses his feelings towards his mother and sister through the female characters that inhabit his plays. Mostly, they are fragile women in a hostile world devoid of sympathy and care. The Glass Menagerie, through the characters of Amanda Wingfield and her daughter Laura, offers exemplary figures of such characters whose only weapons against a cruel and severe present is retreat into illusionary worlds of beautiful memories or glass figurines. Similarly, Carr's females in The Mai are trapped women who cannot free themselves from imprisoning circumstances and eventually become destructive to themselves and those around them. Both Williams and Carr demonstrate common interest in treating issues such as the dysfunctional family, marriage and illusion. The treatment of the past is stressed in the two plays since both are memory plays. 122 ‫الغريبي‬ ‫صالح‬ ‫فتحيه‬ (. 2020 .) ‫ذامي‬ ‫كار‬ ‫مارينا‬ ‫و‬ ‫الزجاجية‬ ‫الكائنات‬ ‫معرض‬ ‫وليمز‬ ‫ي‬ ‫تنس‬ ‫مسرحيتي‬ ‫في‬ ‫هشات‬ ‫نساء‬. ‫فرع‬ ‫فيصل،‬ ‫امللك‬ ‫لجامعة‬ ‫العلمية‬ ‫املجلة‬ ‫واإلدارية،‬ ‫اإلنسانية‬ ‫العلوم‬ (‫املجلد‬ 21 (‫العدد‬ ،) 2) Fathia Saleh Al-Ghoreibi. (2020). Fragile Women in Tennessee Williams' The Glass Menagerie and Marina Carr's The Mai.

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Section: The Glass Menagerie and The Maimentioning

confidence: 99%

Section: The Glass Menagerie and The Maimentioning

confidence: 99%

Section: The Glass Menagerie and The Maimentioning

confidence: 99%

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Fragile Women in Tennessee Williams’ The Glass Menagerie and Marina Carr’s The Mai

Al-Ghoreibi¹

2020

SJKFU

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Does Copyright Support Musical Creativity in a Remix Era?

Vrakas

2021

EU Internet Law in the Digital Single Market

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Re viewing listening: ‘Clip culture’ and cross-modal learning in the music classroom

Webb

2010

International Journal of Music Education

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This article envisions a new, cross-modal approach to classroom music listening, one that takes advantage of students’ rising screen literacy and the ever-expanding archive of music-related visual material available on DVD and on video sharing sites such as YouTube. It is grounded in current literature on music performance studies, embodied music cognition studies, and screen multimedia studies. Seeking ways to bridge corporeal and cognitive approaches to music analysis, the article links this literature with the recent phenomenon of ‘clip culture’ and provides a sequence of exemplar introductory clip analyses organized according to a framework being developed to inform teacher preparation and classroom work schemes. Cross-modal listening in the context of the emerging clip culture, the article proposes, has the potential to contribute to the ways musical life and education is undergoing reorganization according to plural co-existing contexts and perspectives, including in the areas of pedagogy, technology and media, and repertoire and analysis.

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Introduction

Cited by 3 publications

References 0 publications

Fragile Women in Tennessee Williams’ The Glass Menagerie and Marina Carr’s The Mai

Fragile Women in Tennessee Williams’ The Glass Menagerie and Marina Carr’s The Mai

Does Copyright Support Musical Creativity in a Remix Era?

Re viewing listening: ‘Clip culture’ and cross-modal learning in the music classroom

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