Compare the ways dehumanisation is presented in The Reluctant Fundamentalist and The Inheritance of Loss

In these texts, the treatment of both characters within the immigrant experience leads to questioning of identity and capability of assimilation into foreign cultures. The sense of dehumanisation and detachment with which both characters are regarded contrasts in relation to the context of their positions as migrants. The protagonist in ‘The Reluctant Fundamentalist’ is returning to a country which is personally regarded as his home- ‘’I live here’’. The detachment in which this character is treated despite his asserted position implies the author’s emphasis of America’s capability of suspicion following the events of nine-eleven. Whereas the character of Biju in ‘The Inheritance of Loss’ attempts to enter America despite having no academic prestige or notable income; thus resulting in a considerable disadvantage as to the treatment of his character with any note of favour or empathy.

In ‘The Reluctant Fundamentalist’, the character of Changez is regarded as a possible threat in a country which he had served for several years and asserted his right for respect within it. In his justification of his reaction to the events of nine-eleven, Changez’s repetition of ‘’America’’ and the formation of his identity from the American experience ‘’I was the product of an American university’’ is used by the author to imply the estrangement of not only the protagonists identity and self-perception, but also the view of his character as now separate from the American system, alone and viewed as a foreign threat by the society around him. Additionally, the use of the term ‘’product’’ to refer to himself reveals how the dehumanisation of the immigration system alters the protagonists perception of himself. ‘’Product’’ implies a machine-like and mass produced object, the fact that Changez perceives himself as such reflects how the author is emphasising the deep impression which profiling and dehumanisation can have on a character when enforced by authority. The fact Changez adamantly begins to view himself in such a light is particularly poignant due to the context of the novel, which follows his transition into a fundamentalist, as it reveals to the reader how separation of identity and self can cause a character to revert to extreme ideals in order to regain a sense of belonging or identity.  

The admittance of Changez feeling ‘’uncomfortable in my own face’’ implies the characters lack of identity, a sense of disconnection between his view of himself and the perception of his outward identity and appearance. The lack of confidence in a key part of Changez’s identity- the very feature which profiles him- suggests that the author is using his insecurity in order to depict how the cold detachment of the immigration process results in the subject feeling ashamed of their identity, resulting in a detachment from their sense of self and dehumanisation in regards to becoming adjacent to their identity. This self-dehumanisation as a result of the immigration process is additionally found in ‘The Inheritance of Loss’ as the group of migrants are described simply as ‘’shabby people’’, the only detail of character we receive from this viewpoint is ‘’some individuals with no shoes’’. The facial features of the others waiting for approval are never revealed. This sense of monotony in character is a key implication into the detachment of the protagonists- Biju’s- perception of other immigrants. Thus resulting in a mass dehumanisation due to the portrayal of migrants by the immigration process as lacking individuality or character.

The author of ‘The Reluctant Fundamentalist’ commented in how the immigration process became ‘’increasingly unpleasant’’ following nine eleven for his Muslim acquaintances. The treatment of immigrants as such is portrayed aptly in these two texts. However, ‘The Inheritance of Loss’ is set several decades before nine-eleven, whereas ‘The Reluctant Fundamentalist’ follows this key event. Therefore, despite the inherent similarities between the treatment of these two characters; the context of situation and time differ. The dehumanisation of Changez due to the immigrant experience is somewhat more poignant that that of Biju. As Changez’s character had already assimilated to a certain degree within the American system, whereas Biju aims to become a part of that system and lacks the academic prowess or economic stability which Changez possesses. Therefore, the immigrant experience is portrayed by the authors to always maintain a degree of detachment which reflects within the perspective of the protagonists, thus implying that despite our supposed advancements in acceptance and open-mindedness, our cultures still view immigrants as invaders rather than assets.

How does Williams create a sense of tension and drama in the scene 4 monologue? - analyse language closely and the way it is crafted to create effects

There are various ways in which Williams skilfully uses his medium of drama and plays in order to create tension throughout this monologue, including the use of setting and language. The most prominent feature in the setting of this scene is the sounds of the trains passing over the sisters before and after Blanche’s monologue.

The train is used almost as a surreal narrator over Blanche’s speech- it almost detaches the sisters’ conflict from the world around them due to the sense of being blocked out by the sound, as the overwhelming noise of the train is described as a ‘’cover’’. Although this ‘’cover’’ is used mainly for the allowance of Stanley to enter the scene unnoticed, it additionally infers a sense of isolationism. In this sense, the scene contains additional tension due to its relations to the themes of isolationism running throughout the play. The detachment of conflict from the rest of the world portrays to the audience how the overwhelming tension between the characters creates a sense of suffocation. As if they are swathed by the fog of their tensions and desires, which deafens them from the world around them- prohibiting any attempt of escape.

The sound of the trains is additionally used to create tension for the sake of dramatic pragmatisms. The train allows Stanley to eavesdrop upon the scene and Blanche’s onslaught of cutting insults, ‘’He acts like an animal’’. In this context, Stanley’s presence throughout the monologue whilst the sisters are unaware of it creates a sense of dramatic irony for the audience. This creates further tension and emphasises the sudden shift in the drama, this is the pivotal moment where Stanley is motivated to utterly destroy Blanche; and the audience are the only ones to be aware of this.

Furthermore, Stanley ‘’licking his lips’’ further foreshadows this animalistic desire for domination of Blanche and to attain control over her. This gesture contains heavy connotations of a primal hunger- desire. The attitude of which Blanche aptly pointed out to Stella as being heavily present in him, ‘’something-ape like about him’’. Showing how despite her irrationality and deteriorating mentality, Blanche nonetheless identifies a definite primal danger residing within Stanley, one which she is both afraid of and attracted to. This creates drama for the audience, as again, only they see Stanley's reaction to the speech, only they can sense the foreshadowing of Blanche’s imminent doom.

Also, Stanley’s carrying of ‘’packages’’ as he enters refers to his introduction into the play; carrying packages of meat for Stella to cook for him. Emphasising his animalistic and primal nature- one which remains unchanging and constant throughout the play. Creating further tension for the audience, as the reuse of this technique to portray Stanley as animalistic only further creates an emphasis upon his potential for violence. In hindsight, this creates an overwhelming concern for Blanche’s safety, and whether or not she will survive to the end of the play.

In addition to this, drama is created intensely due to the hypocrisy of Blanche’s language in regards to her oration and her supressed desires. Blanche refers to Stanley as a ‘’survivor if the Stone Age!’’. Although she  uses it derogatively, nevertheless the fact that Stanley is a survivor in hindsight- as well as Stella’s comment that he is the only one likely to get anywhere- neutralises any attempt to degrade him in regards to this. Blanche further uses the Pre-historic man analogy in order to portray Stella’s and Stanley’s relationship as primitive, one driven only by ‘’brutal desire’’.  She describes their relationship as Stanley ‘’Bearing the raw meat home’’ with Stella playing the submissive wife ‘’waiting for him’’. Although this is a direct challenge towards Stella’s and Stanley’s relationship, nevertheless it is undeniable that Blanche is likely driven primarily by jealousy. Her shamelessly open attraction towards him is driven by her subconscious desire to be in such a relationship.

Blanche lacks the security of a husband and a socially acceptable relationship, it is in this way that she is most vulnerable, as her deterioration both in her beauty and her mind leaves her without the tools she would traditionally use as a Southern Belle to survive. Although she is driven by genuine concern for her sister, and her abhorrent relationship with Stanley, it is undeniable she is also driven by a need to invalidate Stella’s security in said relationship in order to assert her own romance-less position.

Blanche’s contradiction in her dictations and her desires throughout the monologue create further tension and drama for the audience. They are aware of her suggested checked past- the nature of which at this time is still unclear- however, her desperation appeals to the sympathetic nature of the audience towards her. The monologue is broken up frequently by caesuras, emphasising the hysteria which is beginning not only to take hold of Blanche’s mind, but also to weaken her most powerful weapon- her language. In a tone of hysteria, Stella is far less likely to take Blanche seriously and to take heed her warning about Stanley’s true nature, as Blanche’s communicational power begins to lose its influence over her sister.

Her accusations against Stanley are certainly not invalid; however they become somewhat hypocritical when she discusses how Stella’s and Stanley’s relationship is somehow inferior, as his affections towards Stella are described with ‘’grunt and kiss’’.  Due to her Blanche’s desire for the security of marriage, her distain of Stanley and Stella’s relationship is somewhat undermined and hypocritical. But, the definite attachment to Blanche and her anxiety towards this destructive kind of desire emphasises to the audience how damaging the relationship between Stanley and Stella is likely to be. Not only presenting tension due to the concern for the safety of Stella and her baby, but also for Blanche. Whom Stanley has now identified as a threat to his power, the audience knows that Stanley is never deterred by violence in order to achieve his goals.

To conclude, Blanche’s monologue and the setting of the speech in scene 4 uses a variety of techniques and subtle details in order to emphasise the growing sense of imminent doom. Heightening the audiences concerns for Blanche’s safety and preparing them for the onslaught of despair which is to ensue.

STREETCAR NAMED DESIRE- OLD SOUTH VS NEW AMERICA CRITICS ESSAY SUMMARY

A STREECAR NAMED DESIRE- critical essays ‘’Old South vs New America’’

GABI REIGH September 2015

Conflict throughout Streetcar portrays the advancement of the ‘New America’ and the dissipation of the ‘Old South’. A conflict of cultures which began post-Civil War (1861-65) rooted in the gothic history of the South’s loss.

The South is depicted as defeated in view of its own corruption as well as the advancement of a culture which bases its principles upon efficiency and resourcefulness, rather than the Southern value of gentility and reputation.

CONTRAST OF COSTUME & CHARACTER PRESENTATION

Blanche is depicted to originate from a background of privilege and wealth ‘’daintily dressed in a white suit’’ shows her life is centred around pleasure rather than work.

Her presence in Elysian Fields is ‘’incongruous’’- Thomas Porter described Streetcar as an ‘Inverted version of the Civil War romance’ ie it is a satire of traditional American romanticism of class conflict. Blanche is the ‘invader’ of this New America, which resents her and will destroy her. 

Inversion of the Civil War- Southern Belle invading Industrialised North

Stanley’s ‘’Blue work-clothes’’ shows his working class, progressive and industrial attitude- focus upon money & ambition to succeed. ‘’Blue’’ work clothes is again another reference to the Civil War- the North Soldiers uniform was blue. Further infers the deep roots of the Civil War culture within Streetcar. Stanley’s ‘’bowling jacket’’ shows prioritisation of sport & pop culture rather than intellectual pursuits.

The final presentation of the characters costume in the rape scene portrays the final power struggle of the North & South- and the South’s inevitable defeat. Blanche ‘’soiled and crumpled’’ reflects the ultimate shame the South endured & still suffers from today. Stanley triumphant in ‘’brilliant pyjama coat’’ shows the indulgence the North is now able to access from their crushing of the Southern opposition.

Streetcar critics the indulgent & corrupt society of the South, whilst mourning the chivalry & literary romanticism it brought. Which the New America views as inefficient and useless.

Blanche & Mitch dancing to the waltz on the radio reflects the reminiscence of a time of chivalry & Blanches constant attempts to cling onto it- defence of art, poetry & music ‘’Hawthorne, Whitman and Poe’’. Contrasts to Stanley’s New American view towards this as ‘hoity-toity’ snobbery- throws radio out of the window.

Blanches decline mirrors the decline of the South & its traditions, disappearing amongst the dark philistine modern America, portrayed in ‘’Belle Reve’’ ‘beautiful dream’.

Decline of the DuBois family is inspired by ‘The Fall of the House of Usher’ 1839 by Poe- earlier Southern Gothic poet in the decline of romantic literature. Blanches obsession with escaping the death of Belle Reve is reflected in her various ‘intimacies’ and eventually leads to her downfall, from ‘Desire’ to ‘Cemeteries’

Blanche’s death of her husband vs Stella & Stanley’s new marriage full of life & vivacity

Constantly haunted by polka tune vs ‘’gaudy seed-bearer’’

New society allows ‘every man is king’ concept, whereas Blanche’s world of gentility views Stanley’s behaviour as brutal & immoral 

SETTING IN STREETCAR- PRESENTATION

SETTING STREETCAR- PRESENTATION

BROADER CONTEXT- NEW ORLEANS & ‘DEATH ALLEY’

·         New Orleans described to be Williams ‘Spiritual home’- reflects how although the play is riddled with nostalgia for the Old South and its large, pillared plantations, the bustling New America is where Williams finds he is truly comfortable; possibly due to its more progressive nature both economically and socially (his homosexuality is more likely to be accepted

·         The ‘Death Alley’ from his childhood was where dogs would chase unsuspecting cats, in order to devour them- similar to Darwinism- the somewhat brutal and primal experiences within the setting of his development most likely inspired his relationship between Stanley and Blanche

·         New Orleans was filled with cultural diversity- shown in the ‘Negro’ woman, Stanley’s Polish ancestry and Pablo- which starkly contrasted with the white-washed community of the Old South- as Blanches illusions rely upon the colour ‘’white’’ and a false sense of purity. Criticism of the dated cultural divide found in the South- that progress lies in a multi-ethnic community ‘’easy intermingling of races’’

·         ‘’Blue’s’’ was prominent throughout the industrialisation of New America- the constant background ‘’Blues piano’’ creates a much more atmospheric setting, adding to the dragging sense of melancholy and stagnancy of the characters situation, as well as a sense of impending misery and strife

ELYSIAN FIELDS

·         Theoretically- houses typically represent the personalities and mentality of the people living in them and around them. ‘’White frame’’ ‘’weathered’’ ‘’rickety’’- the colour of the houses represents Blanches desperate attempt to hold onto a sense of purity, by surrounding herself in the symbolism of it, as well as foreshadowing her fate to be taken to an asylum, as the white walls of a state mental hospital are likely to have embedded themselves in William’s mind (Roses lobotomy). 

Additionally the ‘’rickety’’ and ‘’weathered’’ structure of the houses reflect not only Blanche’s fading beauty and reputation, but also her unstable and unpredictable state of mind, which balances precariously on the edge of the abyss, aptly reflecting her fragility ‘’I’ve got to get a hold of myself’’

·         Supposed to represent Elysium- Greek heaven, place of rest and blessing upon brave and heroic souls who had died in battle and were seeking peace. Portrays how this place is Blanche’s last hope/place of refuge from those who wish to ruin her. Ironically she is completely denied any sense of peace or safety when she comes here- inversion is a cynical outlook upon religion and its tendency to be exclusive to the ‘righteous’ and ‘pure’. Blanche’s character may additionally be inspired by Mary Magdalene- former prostitute who followed Jesus

APARTMENT

·         Cramped/small ‘’Two rooms can be seen’’ creates a sense of entrapment. Reflects how Blanche and Stella are trapped- Blanche is trapped by her ruined reputation, only escapes Stanley when she is taken to an asylum. Stella is trapped and bound to the apartment by her responsibilities as a wife and a mother- lured by the intriguingly different atmosphere of New America and Stanley’s primal, brutal character; contrast to traditional Southern gentility

·         The small size of the apartment creates a sense of anxiety and building tension between the characters which cannot escape the scene. Blanche creates a sense of escapism by claiming the bathroom- angering Stanley as she manages to find a refuge from him. The building tension in the apartment means the emotions and frustrations of the characters cannot escape, in a sense suffocating and suppressing their character- which responds by being driven via impulse and desire (ie Stanley)

·         Apartment is dark: Blanche wishes to avoid light to conceal her truth and withhold a fragment of her illusion, ‘’I won’t be looked at in this merciless glare’’- Stella and Stanley seek darkness as its cover allows them to take advantage of their invisibility and engage in their primal relationship, ‘’He smashed all the light bulbs with the heel of my slipper!’’

GOOD FRIDAY- NOTES

TITLE

• Jesus' crucifixion- Christian importance; Rossetti's religious devotion- Betrayal & Pain

''Am I a stone, and not a sheep''

• Interrogative- insecurity showed through focus on state of being} analytical
• ''Stone''- Insentient, lacks empathy
• ''not a sheep''- Does not relate to the followers of Christ} self doubt

''That I can stand, O Christ, beneath Thy cross''

• Places herself beneath Christ- 'Fallen women'} Mary Magdalene

''To number, drop by drop, Thy blood's slow loss''

• Counting; detached, analytical
• Recognises the drag of his death- painstaking

''And yet not weep?''

• Emotionless
• Detached

''Not so those women loved''

• Unspecified, detached from the accepted disposition of women
• ''loved'' defined

''Who with exceeding grief lamented Thee''

• Over dramatic- reflects detachment of speaker from emotion} Extreme
• View emotion as excessive/ a triviality
• Critical

''Not so the thief was moved''

• ''Not so'' repeated, emphasises significance of a void/ lack of something

''Not so the Sun and Moon''

• ''Not so'' Alone in a new stanza, emphasises a greater scale/epic scale- the universe

''Which hid their faces in a starless sky''

• Shying away/turning away gaze- implies crying/ fear]
• Starless sky- without light or guidance, lack of beauty} void of meaning

''A horror of great darkness at broad noon''

• Emphasis of anxiety and loss
• Overwhelming/ Melodramatic

''I, only I''

• Lonely/Abandoned- Abandoned by God} Anxious, self absorbed, introspective
• Self detachment, nothingness
• Ugly line} Disrupts rhythm, irregular

''Yet give not o'er''

• Balances negative tone of poem
• Resolution & atonement
• Non- existentialist, not completely lost

''But seek Thy sheep, true Shepherd of the flock''

• Internal rhyme- Sonal harmony} Resolution and clarity

''Greater than Moses, turn and look once more

And smite a rock''

• Biblical connotations
• Moses in the desert- water pours out of rock:
• Life vs Stagnancy
• Rossetti see's herself as the rock requiring smiting- needs a miracle

FIRST 3 STANZAS

• Doubt, fear} Negativity
• Outcast, fear,loneliness, focus on death

http://padlet.com/colup1/rossetti

ECHO QUESTIONS

1) The tone of ''come to me'' is commanding, creating a sense of power and assertion in the speaker in the midst of their struggling character.
2) They feel this entrapment and nostalgia due to the separation from their love- the memory of their experience binds them to feelings of negativity and loss.

3) They feel this entrapment and nostalgia due to the separation from their love- the memory of their experience binds them to feelings of negativity and loss.

4) In this speakers version of Paradise- despite the idea that Paradise is the most beautiful place in existance- the souls within Paradise appear to feel a sense of entrapment and controversially, unsatisfaction. In the souls ''thirsting, longing eyes'' it is revealed that despite their position in Paradise, the souls are somewhat unfufilled, as if something missing from their considered highly fortunate situation.

The speaker uses a tone of anxiety in order to emphasise the sense of entrapment and unsatisfaction, as they meticulously watch the door to Paradise open, close but ''let out no more''. This technique of anxiety emphasises the incessant longing and loss these souls feel, even if only for the sake of nostalgia.

WILLIAMS CHRONOLOGY