To Stay or Not to Stay: Stella, Alison and Their Subordination in Patriarchy in Tennessee Williams’ A Streetcar Named Desire and John Osborne’s Look Back in Anger
Bibliographic record
Abstract
A Streetcar Named Desire and Look Back in Anger are unquestioningly the most significant works of Tennessee Williams and John Osborne.Performance wise they are also accepted globally.The heroes, polish Stanley Dubois and the English Jimmy porter are also known characters in world drama despite their abusive languages towards their wives.Although the dramatists are from two different countries, both stories deal with the same issue: the helpless existence of women in patriarchy.This study shows two prominent literary wives, Stella and Alison of A Streetcar Named Desire and Look Back in Anger, whose family statuses are unequal to their husbands.The wives epitomize their helplessness in a patriarchal world.They live in two-room apartments.Stella socializes with her upstairs neighbors Eunice and his wife, and is close with the surrounding people.Alison escapes herself from her abusive husband into ironing.Both the wives tolerate the mood swings of their loud, mean husbands who are numeric, but Alison, in her pregnant state, cannot keep her cool after the arrival of her actress friend Helena Charles.Later on, after having a miscarriage and her loneliness in her parental house, she comes back to Jimmy.Stella has lost her parents and the only widow elder sister Blanche has been forced to come to her house as she is jobless and the family property Belle Reeve is no more for the sisters.The practical Stella never thinks of leaving her husband for survival issue.Alison does not seek independence and selfdefinition as these great plays do not advocate their rights, and the wives do not challenge the patriarchy.Instead, they suffer from the injustice of a violent and unequal world and do not struggle hard to achieve a better world for themselves.The aim of the article is to show Stella and Alison's subordination, helplessness in patriarchy through comparative and contrastive analysis and feminist theory.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.002 | 0.002 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.020 | 0.018 |
| Scholarly communication | 0.009 | 0.003 |
| Open science | 0.001 | 0.005 |
| Research integrity | 0.002 | 0.005 |
| Insufficient payload (model declined to judge) | 0.004 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".