Interestingly enoughThe Glass Menagerie 39) the flag of pirates, also referred to as " the banner of King Death Bandits at Sea 140) It appears twice during the play: it is first projected on the wall when Tom explains to his mother why he goes to the movies every night. The second time, he is outside on the fire escape with Jim his friend from the warehouse, explaining his plans to join the Merchant Seamen. Two pirate-figures are presented in the play: Tom Wingfield and Jim, the Gentlemancaller , who, during his senior year, had assumed the lead role of the high school production, the operetta " The Pirates of Penzance Through the importance given to the pirate (but also to Malvolio, the magician and trickster figure in the play), Williams seems to have found an insurgent space through which the American theater challenges the models and meanings of an American society marked by the Depression of the 1930s; a world in which the Old South and its Southern comforts (including its Gentleman callers) is anachronistic in this new 20 th Century capitalistic society. 43 In exploring these two figures of piracy and the references to the pirate-ship disseminated throughout the play, I would like to explore this " pirate " drama as the articulation of a counterculture (piracy itself was considered as an egalitarian, antiauthoritarian counterculture to the nation). 44 At the same time, however, the play offers a containment of this oceanic model of community and belonging. At the end of the play, Tom indeed becomes a mock-pirate whose Jolly Roger turns into a merchant ship on which Tom merely " will be furnishing food, clothing, and arms to other men and ships, not stealing such resources from them, as murderous pirates would do Tom's failure, that sense, will leave the world with other mock-pirates, the Jim Connors of the Gilbert and Sullivan comic operetta, whose adventures are limited to " accumulating?or dreaming of accumulating?knowledge, money, and power in that order " (Cardullo 91). I will thus explore how the " pirate " drama offered T. Williams and its readers an imaginative space through which the playwright not only contested but also disciplined radical forms of community that challenged and violated the insurgent discourses against the American nation-state, p.45 ,
, He was dark of face, swarthy as a pirate, and his eyes were as bold and black as any pirate's appraising a galleon to be scuttled or a maiden to be ravished " . Rhett's grandfather on the Butler side " was a pirate [. . .] made people walk the plank if there was any money to be made that way. At any rate, he made enough money to leave my father quite wealthy. But the family always referred to him carefully as a " sea captain The mention of the pirate in his family?said to be a sea captain?suggests that the " proper " title of sea captain may be a mask, like the title of gentleman, worn by an intricately subversive character, 43 Pirates and rogues seem to be emblematic of this anachronistic South Gone with the Wind 44 See Williams 75. 45 The ambivalence reflected in the treatment of piracy illustrates well the ambivalence traced by David Savran in Communists, Cowboys, and Queers; the Politics of Masculinity in the Work of Arthur Miller and Tennessee Williams, 1992.
, Gros, vol.17
Emmeline Gros (also called Lili) is interested in Southern American Literature and in literary representations of masculinity Having spent her postgraduate years in the American South, in Atlanta, she considers herself an adopted daughter of the USA. As a fellow of a Rotary International Scholarship, she graduated in 2010 with a joint international Ph, She has written her Ph.D. (and published a great number of articles) on the figure of the Southern Gentleman and the reconstruction of masculinity in Post-Civil War years. She is now an Associate professor of English at the University of Toulon on the French Riviera ,
, she is also working for the Office of International Affairs as an officer in charge of developing partnerships and study abroad programs with English- Speaking universities worldwide. If you are interested in developing student or professor exchanges on the French riviera
, , 2010.
, Highest Honors. Best Ph.D. Dissertation award, 2011.
, , 2010.
, , 2008.
, , 1999.
The Southern Gentleman and the Idea of Masculinity: Figures and Aspects of the Southern Beau in the Literary Tradition of the American South Research and Teaching Areas: The American South, American Literature, Gender Theories, Masculinity Studies PROFESSIONAL CREDENTIALS Since 2016: Global Education Initiatives Coordinator -Partnerships and Programs with English-Speaking Countries ,
, Since 2014: Second Year Academic Coordinator -Languages Department, College of Arts and Sciences
, Since 2013: Global Internships Advisor and Coordinator -English-Speaking Countries, College of Arts and Sciences
, Associate Professor of English, College of Arts and Sciences, Since, vol.2012
, Graduate Instructor and Visiting Lecturer positions