{"id":{"repo_id":"vt","oai_identifier":"oai:vtechworks.lib.vt.edu:10919/112918"},"canonical_url":"https://search.dev.ndltd.org/etd/vt/oai:vtechworks.lib.vt.edu:10919/112918","repository":{"repo_id":"vt","name":"Virginia Tech","base_url":"https://vtechworks.lib.vt.edu/oai/request"},"display":{"title":"Rethinking Tennessee Williams' \"Desperate\" Women","abstract":"Although Amanda Wingfield, Blanche DuBois, and Maggie Pollitt are examined frequently in scholarship on Tennessee Williams's plays, many critics assume that the three women's Southern femininity translates to fragility and that their nostalgia for the Confederate past constitutes delusion. Distancing our perceptions of the three women from the common connotations of Southern femininity--frailty, selflessness, and domesticity—and leaning into the more disagreeable facets of Lost Cause nostalgia reveals the classist and racist ideologies that motivate their quests for upstanding Southern aristocratic lives. Critics have been slow to read Amanda, Blanche, and Maggie as rational socioeconomic actors, but this reading emphasizes the three women's socioeconomic desires, thus de-romanticizing Southern femininity and expounding on its problematic ideological positionalities. Blanche DuBois, Amanda Wingfield, and Maggie Pollitt have been evaluated in terms of their \"monstrous\" femininity. However, they become less monstrous and more familiar when we recognize the clear race- and class-based motivations for clinging so fiercely to their Southern identities. When we assume that their Southernness is defined by their literal proximity from and ideological relationships to ethnic and racial Others and people from lower socioeconomic classes, their motivations lose some of their critical abstraction and gain a new level of complexity.","abstract_html":"Although Amanda Wingfield, Blanche DuBois, and Maggie Pollitt are examined frequently in scholarship on Tennessee Williams's plays, many critics assume that the three women's Southern femininity translates to fragility and that their nostalgia for the Confederate past constitutes delusion. Distancing our perceptions of the three women from the common connotations of Southern femininity--frailty, selflessness, and domesticity—and leaning into the more disagreeable facets of Lost Cause nostalgia reveals the classist and racist ideologies that motivate their quests for upstanding Southern aristocratic lives. Critics have been slow to read Amanda, Blanche, and Maggie as rational socioeconomic actors, but this reading emphasizes the three women's socioeconomic desires, thus de-romanticizing Southern femininity and expounding on its problematic ideological positionalities. Blanche DuBois, Amanda Wingfield, and Maggie Pollitt have been evaluated in terms of their "monstrous" femininity. However, they become less monstrous and more familiar when we recognize the clear race- and class-based motivations for clinging so fiercely to their Southern identities. When we assume that their Southernness is defined by their literal proximity from and ideological relationships to ethnic and racial Others and people from lower socioeconomic classes, their motivations lose some of their critical abstraction and gain a new level of complexity.","abstract_has_math":false,"creators":["Payne, Savannah Carol"],"institution":"Virginia Tech","degree_name":"Master of Arts","degree_level":"masters","degree_discipline":"English","degree_department":"English","school":null,"contributors":[],"advisors":[],"committee_chairs":["Reed, Ashley"],"committee_members":["Fowler, Virginia C.","Ng, Su Fang"],"year":2021,"date_issued":"2021-06-23","date_published":"2021-06-23","updated_at":"2026-07-22T22:20:11Z","subjects":["Tennessee Williams","American drama","gender","race","class","space","domesticity","culture of the American South"],"languages":[],"rights":["In Copyright"],"rights_urls":["http://rightsstatements.org/vocab/InC/1.0/"],"identifier_entries":[{"key":"dc:identifier.other","label":"Dc Identifier Other","values":["vt_gsexam:30861"],"render_values":[{"text":"vt_gsexam:30861","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/10919/112918","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.committeechair","label":"Committee Chair","values":["Reed, Ashley"]},{"key":"dc:contributor.committeemember","label":"Committee Member","values":["Fowler, Virginia C.","Ng, Su Fang"]},{"key":"dc:contributor.department","label":"Department","values":["English"]},{"key":"dc:creator","label":"Author","values":["Payne, Savannah Carol"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2022-12-16T07:00:19Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2022-12-16T07:00:19Z"]},{"key":"dc:date.issued","label":"Date","values":["2021-06-23"]},{"key":"dc:publisher","label":"Institution","values":["Virginia Tech"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["English"]},{"key":"thesis:degree_level","label":"Degree Level","values":["masters"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Arts"]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["Virginia Polytechnic Institute and State University"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Tennessee Williams","American drama","gender","race","class","space","domesticity","culture of the American South"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:rights","label":"Dc Rights","values":["In Copyright"]},{"key":"dc:rights.uri","label":"Rights URI","values":["http://rightsstatements.org/vocab/InC/1.0/"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.other","label":"Dc Identifier Other","values":["vt_gsexam:30861"]},{"key":"dc:identifier.uri","label":"Identifier URI","values":["http://hdl.handle.net/10919/112918"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["Although Amanda Wingfield, Blanche DuBois, and Maggie Pollitt are examined frequently in scholarship on Tennessee Williams's plays, many critics assume that the three women's Southern femininity translates to fragility and that their nostalgia for the Confederate past constitutes delusion. Distancing our perceptions of the three women from the common connotations of Southern femininity--frailty, selflessness, and domesticity—and leaning into the more disagreeable facets of Lost Cause nostalgia reveals the classist and racist ideologies that motivate their quests for upstanding Southern aristocratic lives. Critics have been slow to read Amanda, Blanche, and Maggie as rational socioeconomic actors, but this reading emphasizes the three women's socioeconomic desires, thus de-romanticizing Southern femininity and expounding on its problematic ideological positionalities. Blanche DuBois, Amanda Wingfield, and Maggie Pollitt have been evaluated in terms of their \"monstrous\" femininity. However, they become less monstrous and more familiar when we recognize the clear race- and class-based motivations for clinging so fiercely to their Southern identities. When we assume that their Southernness is defined by their literal proximity from and ideological relationships to ethnic and racial Others and people from lower socioeconomic classes, their motivations lose some of their critical abstraction and gain a new level of complexity."]},{"key":"dc:description.abstractgeneral","label":"General Abstract","values":["Tennessee Williams is known for crafting complex female protagonists in his dramas. Although Amanda Wingfield of The Glass Menagerie, Blanche DuBois of A Streetcar Named Desire, and Maggie Pollitt of Cat on a Hot Tin Roof are examined frequently in scholarship on Tennessee Williams's plays, many critics assume that the three women's Southern femininity stems from inherent fragility and that their nostalgia for the Confederate past constitutes mental instability. Reorienting our perceptions of these women away from the common connotations of Southern femininity--frailty, selflessness, and domesticity—and leaning into the more disagreeable facets of Lost Cause nostalgia reveals the classist and racist ideologies that motivate the three women's quests for upstanding Southern aristocratic lives. Critics have been slow to read Amanda, Blanche, and Maggie as rational socioeconomic actors, but this reading emphasizes the three women's socioeconomic desires, thus de-romanticizing Southern femininity and expounding on its problematic ideological positionalities—namely, extreme racism and classism. Although Blanche DuBois, Amanda Wingfield, and Maggie Pollitt have been evaluated previously in terms of their \"monstrous\" femininity, they become less monstrous and more familiar when we recognize the clear race- and class-based motivations for clinging so fiercely to their Southern identities. When we assume that their Southernness is defined by their literal proximity from and ideological relationships to ethnic and racial Others and people from lower socioeconomic classes, their motivations become more tangible, more complex—and more menacing."]},{"key":"dc:description.degree","label":"Dc Description Degree","values":["Master of Arts"]},{"key":"dc:format.medium","label":"Dc Format Medium","values":["ETD"]},{"key":"dc:title","label":"Title","values":["Rethinking Tennessee Williams' \"Desperate\" Women"]}]}],"canonical_facts":{"dc:contributor.committeechair":["Reed, Ashley"],"dc:contributor.committeemember":["Fowler, Virginia C.","Ng, Su Fang"],"dc:contributor.department":["English"],"dc:creator":["Payne, Savannah Carol"],"dc:date.accessioned":["2022-12-16T07:00:19Z"],"dc:date.available":["2022-12-16T07:00:19Z"],"dc:date.issued":["2021-06-23"],"dc:description.abstract":["Although Amanda Wingfield, Blanche DuBois, and Maggie Pollitt are examined frequently in scholarship on Tennessee Williams's plays, many critics assume that the three women's Southern femininity translates to fragility and that their nostalgia for the Confederate past constitutes delusion. Distancing our perceptions of the three women from the common connotations of Southern femininity--frailty, selflessness, and domesticity—and leaning into the more disagreeable facets of Lost Cause nostalgia reveals the classist and racist ideologies that motivate their quests for upstanding Southern aristocratic lives. Critics have been slow to read Amanda, Blanche, and Maggie as rational socioeconomic actors, but this reading emphasizes the three women's socioeconomic desires, thus de-romanticizing Southern femininity and expounding on its problematic ideological positionalities. Blanche DuBois, Amanda Wingfield, and Maggie Pollitt have been evaluated in terms of their \"monstrous\" femininity. However, they become less monstrous and more familiar when we recognize the clear race- and class-based motivations for clinging so fiercely to their Southern identities. When we assume that their Southernness is defined by their literal proximity from and ideological relationships to ethnic and racial Others and people from lower socioeconomic classes, their motivations lose some of their critical abstraction and gain a new level of complexity."],"dc:description.abstractgeneral":["Tennessee Williams is known for crafting complex female protagonists in his dramas. Although Amanda Wingfield of The Glass Menagerie, Blanche DuBois of A Streetcar Named Desire, and Maggie Pollitt of Cat on a Hot Tin Roof are examined frequently in scholarship on Tennessee Williams's plays, many critics assume that the three women's Southern femininity stems from inherent fragility and that their nostalgia for the Confederate past constitutes mental instability. Reorienting our perceptions of these women away from the common connotations of Southern femininity--frailty, selflessness, and domesticity—and leaning into the more disagreeable facets of Lost Cause nostalgia reveals the classist and racist ideologies that motivate the three women's quests for upstanding Southern aristocratic lives. Critics have been slow to read Amanda, Blanche, and Maggie as rational socioeconomic actors, but this reading emphasizes the three women's socioeconomic desires, thus de-romanticizing Southern femininity and expounding on its problematic ideological positionalities—namely, extreme racism and classism. Although Blanche DuBois, Amanda Wingfield, and Maggie Pollitt have been evaluated previously in terms of their \"monstrous\" femininity, they become less monstrous and more familiar when we recognize the clear race- and class-based motivations for clinging so fiercely to their Southern identities. When we assume that their Southernness is defined by their literal proximity from and ideological relationships to ethnic and racial Others and people from lower socioeconomic classes, their motivations become more tangible, more complex—and more menacing."],"dc:description.degree":["Master of Arts"],"dc:format.medium":["ETD"],"dc:identifier.other":["vt_gsexam:30861"],"dc:identifier.uri":["http://hdl.handle.net/10919/112918"],"dc:publisher":["Virginia Tech"],"dc:rights":["In Copyright"],"dc:rights.uri":["http://rightsstatements.org/vocab/InC/1.0/"],"dc:subject":["Tennessee Williams","American drama","gender","race","class","space","domesticity","culture of the American South"],"dc:title":["Rethinking Tennessee Williams' \"Desperate\" Women"],"dc:type":["Thesis"],"thesis:degree_discipline":["English"],"thesis:degree_level":["masters"],"thesis:degree_name":["Master of Arts"],"thesis:institution_name":["Virginia Polytechnic Institute and State University"]},"updated_at":"2026-07-22T22:20:11Z"}