Though usually viewed as a violent play about turbulent marriages, Edward Albee’s Who’s Afraid of Virginia Woolf? should be regarded as an early feminist text. Bonnie Finkelstein writes that the 1962 play portrays and analyzes the damaging effects of traditional, stereotypical gender roles, particularly for women; the play serves to point out how unrealistic, useless and extraordinarily damning they ultimately are.
Finkelstein notes that the 1963 publication of Betty Friedan’s The Feminine Mystique unofficially began a re-evaluation of gender roles in the United States (Finkelstein 55). Friedan explores the idea that women need more fulfillment in their lives than can be provided by the drudgery of childrearing and housekeeping. The book also carefully lays out what society has determined to be the ideal gender role requirements for women:
“They could desire no greater destiny than to glory in their own femininity. Experts told them how to catch a man and keep him, how to breastfeed children and handle their toilet training…how to dress, look, and act more feminine and make marriage more exciting…They learned that truly feminine women do not want careers, higher education, political rights…All they had to do was devote their lives from earliest girlhood to finding a husband and bearing children.” (Friedan 15-16)
And, more specifically:
The suburban housewife…she was healthy, beautiful, educated, concerned only about her husband, her children, her home. She had found true feminine fulfillment.” (Friedan 18)
Albee echoes this, noting by contrast what the ideal men and women in 1962 should be. In other words, his characters have failed at living up to gender roles and the play shows us how this quest has destroyed th...
... middle of paper ...
...s flawed, proof that these gender roles are impossible to emulate. As Finkelstein notes, all four characters are afraid of Virginia Wolf, because she is, in 1962, the only icon of female equality society had. (Finkelstein 64)
Works Cited
Albee, Edward. Who’s Afraid of Virginia Woolf? New York: Atheneum House, 1962.
Finkelstein, Bonnie Blumenthal. “Albee’s Martha: Someone’s Daughter, Someone’s Wife, No One’s Mother.” American Drama (5) no. 1, Fall 1995. pg. 51-70.
Friedan, Betty. The Feminine Mystique. New York: WW. Norton & Company, 1963.
Julier, Laura. “Faces to the Dawn: Female Characters in Albee’s Plays.” Edward Albee: Planned Wilderness. Interviews, Essays and Bibliography. ed. Patricia De La Fuente. Edinburg, Texas: Pan American University Print Shop, 1980.
Vogel, Paula. How I Learned to Drive. New York: Dramatists Play Service, 1998.
Baym, Nina, and Robert S. Levine. The Norton Anthology of American Literature. 7th ed. New York: W. W. Norton & Company, 2007. 348-350. Print.
To summarize then Albee's work captures dissipation of the American Dream on one hand and an acute existential angst manifest in the Theater of Absurd. He however does proffer a solution wherein characters must strip themselves of all illusions a first step of dealing with the truth.
Baym, Nina, and Robert S. Levine. The Norton Anthology of American Literature. New York London: W. W. Norton & Company, 2012. Print.
Each play represents the issues faced by each gender during the time period in which it was written. However, many of the issues are similar in each time period, as well as throughout most of history. These issues will likely continue to affect both women and men for a long time in the future.
Betty Friedan is the author of the famous book, which credited the beginning of a second –wave feminism in the United States. Friedan’s book begins with describing “the problem that has no name” to women who had everything, but were unhappy, depress and felt like they had nothing. Women are expected to be happy by buying things, a new refrigerator, house, best-selling coffee, having the right make-up, clothes and shoes, this is what the Feminine Mystique symbolized. Something that women wanted but can never have. Furthermore, society in present day is full of advertisements everywhere we go in TV, books and on the radio. The young generation as well as adults get trap in a fantasy world full of perfection. Women always want to have a thin waist, the most expensive make-up and purses, it’s all based on stereotypes. In her book, Friedan mentions that the average age of marriage was decreasing compared to increasing birthrate of women. Moreover, Friedan has been nit-pick at for focusing on the middle-class women and for prejudice against
...ve been suffering mental abuse by their husband. This play presents the voice of feminism and tries to illustrate that the power of women is slightly different, but can be strong enough to influence the male dominated society. Although all women are being oppressed in the patriarchal society at that time, Glaspell uses this play as a feminist glory in a witty way to win over men. Mrs. Hale and Mrs. Peters solve the crime by reflecting on Minnie Wright’s unhappy marriage that leads her to murdering. Using the relationship between female and male characters throughout the play, Glaspell speaks up to emphasize how the patriarchal society underestimated women’s rights and restricted women’s desires.
According to Microsoft Research, “By 2018, there will be 1.4 million open technology jobs in the U.S. and, at the current rate of students graduating with degrees in computer science, only 29% of applicants will be women.” The fight for women has been going on for more than 100 years and women today continue to face discrimination in daily lives. An important person in fighting for women’s rights was Betty Friedan, who was born on February 4, 1921 in Peoria, Illinois. A writer, feminist, and women’s rights activist published her book The Feminine Mystique in 1963 that began her journey of fighting for women’s rights. The idea behind the book Race presents important pillars that apply
Belasco, Susan, and Linck Johnson, eds. The Bedford Anthology of American Literature. Vol. 1, 2nd Ed., Boston: Bedford/St. Martin's, 2014. 1190-1203. Print.
Betty Friedan wrote many books, however, “It Changed My Life”, “The Second Stage”, and “Beyond Gender” will be mentioned in my paper. Friedan fought for many things such as the perspective of the change in school, home, and workplace, women’s rights, and women’s right to choose whether it is how they want to live their life or how they take care of their bodies such as abortion. The mindsets of women from her novels between the1960s to the 1980s changed drastically, from the time of women having plenty of free time, to women not having enough free time. Many women during this era, did not want to be like their mothers, and Betty Friedan was one of them. Women play such an important role in our society that they should be given everything a
Throughout the play I felt that the male characters had more of the negative qualities and the female characters had more of the positive qualities. One major reason for this is because men during the 1950s were viewed as stern and the man of the house. This preconceived gender role associated with men automatically required them to come off as negative at times, where the women were more positive. The reason Hansberry had the women represent more positive qualities was due to what responsibilities women had during this era. Women were seen mostly as caretakers, which caused them to be nurturing and encouraging to their children. The roles of men and women during the ‘50s were very different and called for very different views on how to
Many or all the male characters in the play hold strong anti-feminist views. Women are largely seen by them as “ma...
The play, A Raisin in the Sun, has a very strong view of feminism in the 1960’s. The way that the females are portrayed and talked to in this play is not only an example of how the relationship between a man and a woman in society is unequal, but reflects a particular patriarchal ideology. Throughout this play, as the characters strive to achieve their dreams, the relationships that we see can be seen as feminist and as sexual stereotypes.
In the final act of Who's Afraid of Virginia Woolf, Honey apologetically and drunkenly explains that she has peeled the label off her brandy bottle. To this, George replies, "We all peel labels, sweetie: and when you get through the skin, all three layers, through the muscle, slosh aside the organs, and get down to bone, you still haven't got all the way, yet. There's something inside the bone… the marrow… and that's what you gotta get at." In a play blending realism and absurdism, Edward Albee peels off the institutions and values that Americans held and hold dear, such as family, beauty, marriage, success, religion, and education. With blackly humorous ridicule and through critical analysis, Albee suggests that these institutions, traditionally comprising the "American dream," have been desperately created to escape reality. Ultimately, however, he shows us that reality continues to pervasively lurk not far beneath the surface that we have slapped over it, almost as if threatening to eat up the very thing with which we suppress it.
in this play, women are used as a symbol of male power, or lack of it.
Baym, Nina et al. Ed. The Norton Anthology of American Literature. Shorter 8th ed. New York: