English A-Level > Final stralfi > Flashcards

Final stralfi Flashcards

(71 cards)

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1
Q

Setting secrecy malfi

A
  • ‘dark lantern’- Bosola
  • ‘Sure I did hear a woman shriek’- B
  • ‘nor path nor friendly clue to be my guide’- D
  • ‘Cariola goes behind arras’
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2
Q

Setting secrecy streetcar

A

’ under cover of the trains noise Stanley enters’
‘undershirt and grease stained pants’
‘ she goes round the corner of the building- Stella [uncertainly]

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3
Q

not to duchess

Setting morality Malfi

A

‘a prince’s court is like a common fountain’
‘flow pure silver drops’- A
‘Ha?- Lights! Oh horrible!’- Duchess
stage direction- ‘the artificial figures of Antonio and his children’

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4
Q

Setting morality Streetcar

A

‘back wall transparent’
‘prostitute rolled a drunkard’ ‘struggle’

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5
Q

setting territory Malfi

A

‘lovely squire that carries coal up to her lodgings’
‘lay her general territory to waste’

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6
Q

Setting territory Streetcar

A

‘Get OUT of the bathroom!’
‘singing contrapuntally’

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7
Q

Violence constantly alluded to Malfi

A

‘I would have their bodies burnt in a coal pit’
‘Whose throat must I cut?’ B
‘Ha?- Lights! Oh horrible!’- Duchess
stage direction- ‘the artificial figures of Antonio and his children’

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8
Q

Violence constantly alluded to Streetcar

A

‘seizes the atomizer;
‘snatched the letters up’
‘rips off the ribbon’

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9
Q

Violence power and control Malfi

A

‘toss her palace bout her ears’
‘lay her general territory to waste’

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10
Q

Violence power and control Streetcar

A

‘hurls the phone to the floor, dissonant brass and piano as room fades to darkness’
‘tosses radio’

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11
Q

Violence sexuality Malfi

A

‘this was my fathers poinard. do you see?’
‘I loathe to see it grow rusty’
kiss it. now you shall never utter it. - cardinal to Julia

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12
Q

Violence sexuality Streetcar

A

‘maybe he’ll strike you or maybe he’ll grunt and kiss you’
‘we’ve had this date with each other since the beginning’

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13
Q

gender female secrecy as an attack Malfi

A

‘as those that trade in poison keep poison from their children’
‘lovely squire that carries coal up to her lodgings’

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14
Q

stan spying, investigating

gender female secrecy as an attack Streetcar

A

‘under cover of the trains noise Stanley enters’
‘snatched the letters up’
‘rips off the ribbon’

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15
Q

Gender male sexuality as violent Malfi

A

‘this was my fathers poinard. do you see?’
‘toss her palace bout her ears’
kiss it. now you shall never utter it. - cardinal to Julia

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16
Q

Gender male sexuality as violent Streetcar

A

‘we’ve had this date with each other since the beginning!’
‘maybe he’ll strike you, or maybe he’ll grunt and kiss you!’

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17
Q

Gender women as objects Malfi

A

‘this is flesh and blood, sir, not the alabaster kneels’
‘lay her general territory to waste’
like some reverend monument whose ruins are even pitied- Cariola

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18
Q

Gender women as objects Streetcar

A

‘soft people have got to be seductive, put on soft colours’
‘comes around corner in blowing shirt, stands in potieres in silk bra’

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19
Q

Malfi bird symbol

A

eagles commonly fly alone.- Ferdinand at the end

The robin-red-breast and the nightingale
Never live long in cages.- Duchess

Didst thou ever see a lark in a cage?
Such is the soul in the body:- Bosola

let my son fly the court of princes [dies]- Antonio

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20
Q

Stagecraft light Malfi

A

‘dark lantern’
‘stains the time past, lights the time to come’
‘this darkness suits you well’- Ferdinand
‘let it not haunt me- F, ‘impossible, if you move and the sun shine’- Malatste
‘the sun shines, it ever melts both form and matter’- Delio final scene

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21
Q

Stagecraft light Streetcar

A

‘seizes paper lantern, tearing it off’
‘lurid reflections’

Her delicate beauty must avoid a strong light.suggests a moth

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22
Q

Stagecraft props Malfi

A

‘vowed never to part with it’- ring D
‘Ha?- Lights! Oh horrible!’- Duchess
stage direction- ‘the artificial figures of Antonio and his children’

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23
Q

Stagecraft props streetcar

A

‘hangs open with flowery dresses’
‘dragged to the centre of the room’

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24
Q

Stagecraft soundscape malfi

A

‘Sure I did hear a woman shriek’- B
‘whos there? what art thou?’
Oh fly your fate- echo

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25
Outsiders psychological isolation Malfi
'we bear a rotten and dead body' 'rails at those things which he wants' 'her silence [...] expresseth more than if she spake.' nothing but noise and folly can keep me in my right wits, [...] reason and silence MAKE me stark mad
26
Outsiders psychological isolation Streetcar
'I dont listen when you're morbid!' 'soft people have got to be seductive, put on soft colours'
27
Outsiders loss of identity Malfi
'inward rust to the soul' 'I am your creature' I am a tombmaker
28
Outsiders loss of identity Streetcar
'crumpled white satin gown, scuffed silver heels' 'whoever you are- I have always depended on the kindness of strangers'-mystery, homosexuality
29
Outsiders disruptors to social class Malfi
'O, good Antonio, I fear I am undone' 'only court gall'- Ant | gall- defect, black bile humours, malcontent
30
Outsiders disruptors to social class Streetcar
'incongruous to the setting, daintily white suit' 'what do you think you are? a pair of queens?'
31
Class as a source of power malfi
'I am your creature; 'this was my fathers poinard. do you see?'
32
Class as a source of power Streetcar
'Meat! (heaves package at her)' 'I am the king round here so don't you forget it!'
33
Class mixing as bad Malfi
'purge infected blood, such blood as hers!'- F 'toss her palace bout her ears'
34
Class mixing as bad Streetcar
'what do you think you are? a pair of queens?' 'appearance incongruous, daintily' mardi gras outfit, crazy crown on!
35
Class female class as delicate Malfi
'Sure I did hear a woman shriek'- B 'O, good Antonio, I fear I am undone'
36
Class female class as delicate Streetcar
'I pulled you down off them columns!' 'crumpled white satin gown, scuffed silver heels'
37
Blanche as dangerous criticism
'Blanche is dangerous. She is destructive. Stanley's got things the way he wants them.' Elia Kazan, director
38
Masculinity criticism Streetcar
'weak and unadjusted masculinity' - Costa
39
tragedy Streetcar crit.
'There are no 'good' or 'bad' people... It is a tragedy- Williams
40
tender Streetcar crit.
'the ravishment of the tender... brutal forces of modern society'- Williams
41
women Malfi crit
'ordinary women, that is precisely her problem.'- Bill Alexander
42
Jacobean secrecy crit Malfi
'privacy seemed a menace to the public well-being'- Orlin
43
malcontents criticism Malfi
nashe 'fake and pretentious identity parasitic on society'
44
Webster criticism Malfi
'tussade laureate'- shaw
45
malfi setting structure criticism
'shadowy morality'- emma smith
46
stanley streetcar race criticism
ROBERT REA- racial other
47
Race and music in New Orleans context
- post-war - new immigrants, 'not quite white' - mixing of styles of music- downfall - racial mix of african american piano music is upsetting to regressive, xenophobic blanche
48
women in streetcar context
- post-war- position as homemakers changing - Southern Belle debutante, plantations
49
Streetcar slavery and monarchy context
- one of the first cities to allow interracial marriage - extensive colonialism- lack of power for colonialists- Stan represents the modern pusher of boundaries
50
Malfi James I context
- seen as effeminate and homosexual - missing a strong female leader
51
Huey long streetcar context
- populist politician from Louisiana - “Share Our Wealth” program, distrust of elitism, working class,
52
animals decay and invasion Streetcar
'Get OUT of the bathroom' 'canary bird' 'richly feathered bird among hens' 'Tiger- Tiger! Drop the bottle top!'
53
animals decay and invasion Malfi
'abortive hedgehog'- Bosola 'fat of serpents' 'foul, black web is to a spider' 'entangle those who feed him'- his dwelling and a prison- Delio 'ulcerous wolf' 'rich tissue'
54
animals phallic, male power Streetcar
'rat-race' Mitch- 'You... you... you... Brag... brag... bull... bull.' 'kill in the jungle!' 'low-tone clarinet moans [...] low, animal moans' ape like! anthropological studies! - Blanche
55
animals phallic, male power Malfi
Greenwood 'horse play'- raises importance of horses in society 'ripened in horsedung' 'Alarum! Give me a fresh horse!'- Bubage, Richard III 'you're a good horseman, Antonio' 'who took the ring oftenest?- Ferdinand 'Antonio Bologna, my lord'- Silvio
56
wolf motif Malfi
'St marks Church, leg of a man upon his shoulder, howling fearfully'- Doctor 'ulcerous wolf'- Bosola ' The howling of a wolf Is music to thee'- Ferdinand
57
circles in Malfi
three fair medals [...] of so different temper. ring most oftenest 'saucy and ambitious devil Is dancing in this circle.'- Antonio delivering up his cross, hat, robes, and ring, at the shrine, and investing him with sword, helmet, shield, and spurs 'the ring upon 't You gave.'- Ferdinand, fake hand use my ring to 't. They say 'tis very sovereign. 'Twas my wedding-ring, And I did vow never to part with it- Duchess
58
Whigham on incest, Owens on portraiture
endogamy vs exogamy Whigham- "like only himself, [...], transcendent, utterly other." Owens- "efface as it constructs, the fantasy of the individual"
59
Maragaret E Owens
"semiotic economy of doubling [...] the decentering and dispersal of the subject," "countered by monumentalising" Duchess
60
Duchess' identity
'Malfi is a place in which all women have become "signifiers" which must be "interpetted"'- Finke, painting women 'alabaster' To Ant, a saint- 'more in heaven than other ladies' shrifts' to Ferd whore who 'likes that part which, like the lamprey Hath ne'er a bone" To Bos- 'box of worm seed' 'little crudded milk'
61
Blanche's identity
'soft people' 'comes around corner in blowing shirt, stands in potieres in silk bra' 'crumpled white satin gown, scuffed silver heels' 'hangs open with flowery dresses' 'dragged to the centre of the room' 'what do you think you are? a pair of queens?' incongruous
62
Allan and paperboy quotes streetcar
"yellowing with antiquity, all from one boy." 'blinding light [...] this--kitchen-- candle…' "I saw! You disgust me!" paper boy 'goes to the trunk' 'She takes a large, gossamer scarf from the trunk and drapes it about her shoulders.] [In the ensuing pause, the "blue piano" is heard'
63
mortality women as symbol Malfi
this is flesh and blood, sir reverend monument trade in poison 'Malfi is a place in which all women have become "signifiers" which must be "interpetted"'- Finke, painting women
64
mortality women as symbol streetcar
clarinet moans low animal moans curving slightly in maternity must avoid a strong light seize paper lantern and rip
65
mortality weilded as power Malfi
kiss it. now you shall never utter it artificial Antonio ha lights? oh horrible! father's poniard st marks mans leg upon his shoulder
66
mortality weilded as power streetcar
haunt me stians time past lights time to come
67
mortality pursues- Gothic Malfi
echo 'oh, fly your fate' dead and rotting body let it not haunt me
68
mortality pursues- Gothic streetcar
- Tarantula - In the ensuing pause, the "blue piano" is heard' - "yellowing with antiquity, all from one boy." seizes the letters - rolled prostitute 'i dont know how much longer I can turn the trick' Flores? Flores para los muertos? BLANCHE [frightened]: No, no! Not now! Not now! [She darts back into the apartment, slamming the door.]
69
Vlasopolos
“the narrative authority of history makers" “turned over to the supreme authority in charge of language, [...] predicting the future: psychiatry” of various “acts of reading”
70
scene 11 Streetcar quotes
his fingers find the opening of her blouse luxurious in her complete surrender to crying now that her sister is gone. The matron is a peculiarly sinister figure in her severe dress. fire-bell The gravity of their profession is exaggerated -[...] state institution with its cynical detachment".
71
Bosola's quotes on entrapment in the court in 1.1
- 'like beds in the hospital where this mans head lies at this mans foot and so lower and so lower' - ' i do haunt you still'
English A-Level
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