一 : 写作不是欲望号街车----看诗人余秀华热有感
打开音乐台，《小苹果》正欢快的唱着，两个大男人，或者是两老男人在不停的边舞边唱，台下的观众在沸腾。其实，早在他们火之前，他们写了很多像《父亲》这样感人至深的歌曲，唱了很久也没多少人认识！现在这首歌词简单，小学生也能写出来的字句却像神曲一般在席卷神州大地，正如歌词里唱的那样“火火火”，甚至火到漂洋过海到了美国！余秀华的一首《穿过大半个中国去睡你》却突然火起来，收到很多人的追捧，作协副主席也当选了，出版社也追上了门要求出版，一时褒贬不一，崇拜的有之，嫉妒加攻击的有之，写了多年却火不起来却看不得别人火起来犯酸的有之，我看过余秀华的诗，有的写得好，有的写的不好，她也写了很多，很多年，为何按上一个粗俗的名字就能火起来了呢？突然想起作家麦家几年前说的话------
“这是一个娱乐至死的时代，庄重不如世俗有魅力，崇高成为可笑的把柄，我觉得这是这个时代很多毛病中的一个，很典型。时代的车轮是谁都没法阻挡的，我们身处于这样一个时代当中，大家都比较轻佻，大家的欲望都充分地打开。欲望打开之后，人在欲望面前，人的精神的力量、精神的强度往往会被无限地缩小。人的欲望膨胀之后，人的精神肯定就会被遮蔽了。这种情况下，反映到文学艺术创作当中，就表现出对人性的不关怀，对人类生存缺乏一种深层次的思考，说到底就是急功好利，写作成了欲望号街车”
著名的作家如莫言，韩寒，成名后很少有好的作品，众人过度的关注，是否为了迎合某些人的口味失去自己的风格？她能够火起来有她火起来的缘由，离开她熟悉的环境不一定能写出那些直抒胸臆的作品，正如当年的犀利哥，只能在原来的环境才能成为犀利哥。想要她出更多的作品，就不要过多打扰她，让她安静的写作，我们则安静的读她的诗！
二 : 欲望号街车简介
三 : 欲望号街车
A Street Car Named Desire
June 1, 2013
Williams (1911-1983)
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Williams won the Pulitzer Prize for Drama for A Streetcar Named Desire in 1948 and for Cat on a Hot Tin Roof in 1955. In addition, The Glass Menagerie (1945) and The Night of the Iguana (1961) received New York Drama Critics' Circle Awards.
The Glass Menagerie(1944)
? The
play tells the story of Tom, his disabled sister, Laura, and their controlling mother Amanda who tries to make a match between Laura and the gentleman caller. Many people believe that Tennessee used his own familial relationships as inspiration for the play.
? Characters:
Blanche Dubois, Stella Kowalski, Stanley Kowalski, Harold Mitchell ? Settings: Setting The French Quarter and Downtown New Orleans
Characterizations
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Blanche: A southern belle raised on a plantation. She is sensitive, graceful and fully aware of her age. In the decaying environment in which she finds herself, she is very aware of her more refined, aristocratic background. She objects to Stanley because he is common. In the stage directions, Tennessee Williams describes Blanche in a way that sums up her character's predicament as she looks at her lower class surroundings: “Her expression is one of shocked disbelief. Her appearance is incongruous to this setting. She is daintily dressed in a white suit with fluffy bodice, necklace and earrings of pearl, white gloves and hat… Her delicate beauty must avoid strong light. There is something about her uncertain manner, as well as her white clothes, that suggests a moth.”
Stanley Kowalski
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Sexuality：Everything about Stanley suggests that sexual fulfillment is the center of his life. The playwright emphasizes this in the stage direction that accompanies Stanley’s first appearance: “Animal joy in his being is implicit in all his movements and attitudes.” His sexuality is the “complete and satisfying center” of his life. it is sexual passion that makes Stella and Stanley (as well, in a lesser way, as Steve and Eunice) so fully alive in a way that Blanche is not. Stanley and Stella know how to keep the “colored lights” going, which is their term for rewarding sexual relations. After they fight, Stella fled to Unice’s room. Stanley was calling violently for her wife. Touched by his desperate, animalistic need for her, Stella walks down to him. According to the stage directions, "They come together with low, animal moans. He falls to his knees on the steps and presses his face to her belly."
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Tyrant in his kingdom: He thinks of his small apartment as his kingdom. During the day, he works in a factory. At night he enjoys bowling, playing poker with his buddies, or making love to Stella. He is also quick-tempered, and when he does not get his way he reacts violently. He believes that the man should be master in his own house. During one outburst, he strikes Stella but then is remorseful and wants her back. In other incidents, he throws a radio out of
the window, and sweeps cups and saucers to the floor. He does not like to be challenged. Whatever his faults, Stanley is full of uninhibited masculine energy that Stella finds alluring, and that is why she loves him. He sees Blanche as an intruder to his environment.
? Agression
and violence:Stanley behaves cruelly toward whoever threatens his postion, especially after the arrival of Blanche, who has intruded into his kingdom. He tries all the means to detroy her and to shackle her illusions, finding out about her past and telling Mitch about it. Stanley believes that Blanche is responsible for disturbing his happiness with Stella. On her birthday, he causes her anguish by presenting her with a bus ticket home. When Stella is in the hospital giving birth to their child, Stanley rapes Blanche. But he gets away with it because Stella refuses to believe Blanche’s story.
Illusion vs.reality:
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Conflicts between the decayed agrarian South and a thriving, industrialized new America. Blanche is penniless and homeless; Stanley, the descendant of Polish immigrants and proud to be working class, is powerful and confident. Blanche is sufficiently self-aware to know that she cannot survive in the world as it is. Reality is too harsh, so she must somehow create illusions that will allow her to maintain her delicate, fragile hold on life. Metaphorically, she prefers to live in the shadow instead of light. She puts a paper latern on the light. She acknowledges to Stanley“A woman’s charm is fifty percent illusion” (scene 2). "I don't want realism, I want magic." Blanche creates her own fantasy world through the characters she plays, such as the damsel, southern belle or school teacher. This means that she seeks to manipulate reality until it appears to be what Blanche thinks it ought to be. She wants life to be lived in a permanent romantic glow, like the light that lit up the entire world when she first fell in love.
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But in this play, reality dominates. The realism of the setting, with its down-to-earth characters and the sounds of the busy life of this corner of New Orleans, suggests that Blanche’s illusions are not going to be sufficient. The fact that Blanche is probably aware of this too is what wins her the sympathy of the audience. Eventually, her thin hold on reality disappears altogether and she takes refuge in an illusory world in which she is about to go on a trip with her imaginary rich beau. In the last scene, Blanche says the play's famous line, "Whoever you are - I have always depended on the kindness of strangers." The doctor and nurse lead her from the apartment. Stella, still wracked with mixed emotions, calls to her sister, but Blanche ignores her, perhaps now forever lost in her illusions.
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Loneliness Blanche and her sister are the only survivors of the big family. With the sister deserting home, Blanche is alone in the world. Since the death of her husband, she has no one in the world who really cares a
bout her. She longs for a deep connection with another human being. But her pathetic attempt to find love through sexual affairs with casual acquaintances has only made her situation worse. The attraction she feels toward very young men (the young man who come to the apartment for newspaper money, for example) is an attempt to reproduce the one magical love as she dreams, just like her love for her young husband. The lonelier she becomes, the more deeply she is obssessed with it.
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Desire and death:The audience is given an early clue to the theme of sex and death when Blanche in scene 1 describes the directions she was given to reach her sister’s house. She was told to take a streetcar named Desire, and then take another called Cemeteries. The theme is stated again in scene 9, when Blanche says that the opposite of death is desire. She is associated with death—the death of her relatives at Belle Reve, and the death by suicide of her husband, which still haunts her. Reminders of death keep popping up to torment Blanche—the inscription on Mitch’s cigarette case, the Mexican woman who sells flowers for funerals. It was to stave off this death-impulse that Blanche indulged in promiscuous sex after her husband’s death. This was simply an attempt to keep life going, to stop her from withering inside, and to try to rekindle the transforming love and desire she had felt for her husband.
Symbols
? Paper
latern:The paper lantern is a device she has used to shield her looks and her life from the harsh light of reality. One last time, Stanley shows his addict disdain for her by tearing the lantern off of the light bulb and casting it down.
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Light: Light is also used as a metaphor for truth, as opposed to illusion. Covering the light, making it less harsh, is literally a way for Blanche to conceal the signs of her age; symbolically it expresses her desire for illusion over reality. Blanche uses light as a metaphor in a different context when she describes her feelings when she first fell in love with the man who was to become her husband. It made her see everything in life in a new context, as if a blinding light had been turned on what before had been in shadow. After her husband’s death, the light went out, so the world Blanche lives in is deprived, as if existing only in shadow. She uses the same metaphor of light and darkness when she refers to art and music bringing light into the darkness of a world that is characterized by people like Stanley.
White dress of Blanche: Symbol of innocence and purity. “Blanche DuBois” is French name Her first name means “white” or “fair”. Her last name DuBois is of French origin as well and translates as made of wood, which is solid and hard. ? Stella is a Latin term which simply means star. Stars in general are considered to be the light which breaks through the darkness. Considering that light is the opposite of darkness, and darkness itself stands for not-knowing and int
ellectual dullness, the stars can be regarded as reality and knowledge shining through ignorance. Stella represents serves as connection between Blanche and Stanley.
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