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In this paper, I intend to show that Temple Drake, a well-bred girl who is abducted and raped, does not participate in her own debasement - as many critics argue, since her metamorphosis from innocence to promiscuity is the outcome of patriarchal manipulation. Temple’s physical and psychological abuse and her transformation from “a blank-faced baby” to a “doll-faced slut” reverberate in feminist arguments about masculine “subjectivism” constructed upon female “objectification.” Either with her father and brothers or with Popeye, Temple Drake is depicted as a puppet controlled in a way that reflects her objectification by a masculine-biased culture. Nevertheless, the doll-faced Temple still shows signs of power in her weakest moments, turning into a stereotypical picture of the new woman who wordlessly claims agency and emasculates the patriarch despite repression and sexual exploitation.

In this paper, I intend to show that Temple Drake, a well-bred girl who is abducted and raped, does not participate in her own debasement - as many critics argue, since her metamorphosis from innocence to promiscuity is the outcome of patriarchal manipulation. Temple’s physical and psychological abuse and her transformation from “a blank-faced baby” to a “doll-faced slut” reverberate in feminist arguments about masculine “subjectivism” constructed upon female “objectification.” Either with her father and brothers or with Popeye, Temple Drake is depicted as a puppet controlled in a way that reflects her objectification by a masculine-biased culture. Nevertheless, the doll-faced Temple still shows signs of power in her weakest moments, turning into a stereotypical picture of the new woman who wordlessly claims agency and emasculates the patriarch despite repression and sexual exploitation.

In this paper, I intend to show that Temple Drake, a well-bred girl who is abducted and raped, does not participate in her own debasement - as many critics argue, since her metamorphosis from innocence to promiscuity is the outcome of patriarchal manipulation. Temple’s physical and psychological abuse and her transformation from “a blank-faced baby” to a “doll-faced slut” reverberate in feminist arguments about masculine “subjectivism” constructed upon female “objectification.” Either with her father and brothers or with Popeye, Temple Drake is depicted as a puppet controlled in a way that reflects her objectification by a masculine-biased culture. Nevertheless, the doll-faced Temple still shows signs of power in her weakest moments, turning into a stereotypical picture of the new woman who wordlessly claims agency and emasculates the patriarch despite repression and sexual exploitation.

In this paper, I intend to show that Temple Drake, a well-bred girl who is abducted and raped, does not participate in her own debasement - as many critics argue, since her metamorphosis from innocence to promiscuity is the outcome of patriarchal manipulation. Temple’s physical and psychological abuse and her transformation from “a blank-faced baby” to a “doll-faced slut” reverberate in feminist arguments about masculine “subjectivism” constructed upon female “objectification.” Either with her father and brothers or with Popeye, Temple Drake is depicted as a puppet controlled in a way that reflects her objectification by a masculine-biased culture. Nevertheless, the doll-faced Temple still shows signs of power in her weakest moments, turning into a stereotypical picture of the new woman who wordlessly claims agency and emasculates the patriarch despite repression and sexual exploitation.

The present paper shows how the use of language reflects female dilemmas and constructs the psychological profile of female heroines in Tennessee Williams’s A Streetcar Named Desire (1947). Halliday’s transitivity system will be employed to examine female mobility in Streetcar. The focus will be on the opposition between Blanche’s refusal to adjust herself to the values of the New South and Stella’s social compromise. Blanche’s split between the values of the utopian old South and the New one deepens her physical, emotional and psychological dislocation. The paper will also delve into the attitude of female characters concerning their repression.

The present paper shows how the use of language reflects female dilemmas and constructs the psychological profile of female heroines in Tennessee Williams’s A Streetcar Named Desire (1947). Halliday’s transitivity system will be employed to examine female mobility in Streetcar. The focus will be on the opposition between Blanche’s refusal to adjust herself to the values of the New South and Stella’s social compromise. Blanche’s split between the values of the utopian old South and the New one deepens her physical, emotional and psychological dislocation. The paper will also delve into the attitude of female characters concerning their repression.

The present paper shows how the use of language reflects female dilemmas and constructs the psychological profile of female heroines in Tennessee Williams’s A Streetcar Named Desire (1947). Halliday’s transitivity system will be employed to examine female mobility in Streetcar. The focus will be on the opposition between Blanche’s refusal to adjust herself to the values of the New South and Stella’s social compromise. Blanche’s split between the values of the utopian old South and the New one deepens her physical, emotional and psychological dislocation. The paper will also delve into the attitude of female characters concerning their repression.

The present paper shows how the use of language reflects female dilemmas and constructs the psychological profile of female heroines in Tennessee Williams’s A Streetcar Named Desire (1947). Halliday’s transitivity system will be employed to examine female mobility in Streetcar. The focus will be on the opposition between Blanche’s refusal to adjust herself to the values of the New South and Stella’s social compromise. Blanche’s split between the values of the utopian old South and the New one deepens her physical, emotional and psychological dislocation. The paper will also delve into the attitude of female characters concerning their repression.