Outcry Against Conformity in Who's afraid of Virginia Woolf?
Who's afraid of Virginia Woolf? may be viewed as a criticism of American society in the 1960s. Edward Albee saw 'the responsibility of the writer...to be a sort of demonic social critic': thus the play became a reaction against the illusionary plays of its time. Two lines from the play are directly lifted from the works which Albee is mocking: 'Flores para los muertos' is from A Streetcar named Desire and Martha's speech - 'Awww, tis the refuge we take...' - is from a play by Eugene O'Neill. Both of these playwrights sanction illusion in the face of reality; Virginia Woolf is said to be an elaborate metaphor for the 'willing substitution of fantasy for reality, the destructive and dangerous infantilising of the imagination and the moral being by fear.' Albee saw society as too willing to conform and adjust itself morally in order to benefit and succeed. George's attempts to escape from such a society result in his hiding in history and thus him and Nick are no better than each other. George has to resist the totalitarian - 'defend Berlin' - in Nick but his attempts to defend Western civilisation 'against its sex- and success-orientated assailants...are too closely centred on his scrotum.'
The setting - New Carthage - of the alcohol-sodden gathering is significant in itself. The original Carthage was founded in the ninth century BC and it was razed to the ground in 146AD, when it collapsed under the weight of its own power. It is thus being likened to the America of the 1960s where, again, money and power provided the principal axels for behaviour and superseded the values of culture. As Ni...
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...tack on society. By referring to well known contemporary texts, Albee mocks the attitudes that their works sanction. The characters are created as before and after pictures of the results of relationships based in delusion, with clear links to moments in history acting as sounding boards for each others thoughts. Their intoxicated states allow, for the first time in a long while, for their true feelings and motives to be revealed, and for all the secrets and lies that have formed the keystones to their marriages to be removed finally allowing a true test of their strength. Unsurprisingly, what is left very quickly collapses: a warning to others and a wake-up-call to society. Who's Afraid of Virginia Woolf? is an outcry against the thoughtlessness and conforming nature of Western culture and an attack on those who not only live, but sanction, such a lifestyle.
The 1950’s have received a reputation as an age of political, social and cultural conformity. This reputation is rightfully given, as with almost every aspect of life people were encouraged to conform to society. Conforming is not necessarily a negative thing for society, and the aspects of which people were encouraged to conform in the 1950’s have both negative and positive connotations.
When people think of the ancient Roman civilization, notions of trained legions bent on conquering territory and evocative oratory from celebrated politicians often come to mind. And while early Romans will always be credited for both their insatiable military expansion and their enlightened ideas of government, the rapid growth of Rome was not built on these two pillars alone. Indeed, what led to the rise of such a dominating power in a matter of centuries was not simply from the end of a sword, but from that which grew from the earth -- what the people cultivated, traded and consumed. One very significant agricultural need of a growing population that transformed the bounty of the harvest into a cultural ritual and tradition of Roman life was wine. This presentation will demonstrate how the beverage became a locally grown and manufactured staple that played a powerful role in the social, institutional and economic life of the civilization.
In human society, there are only a select few that choose to avoid conformity which makes them an individual in being that they can control their minds and make decisions up for themselves. A famous sociologist, Solomon Asch, conducted the Asch experiment which was a line experiment to see if people would change their answers just to fit in with the group of people around them. Astonishingly, the results proved that over 75 percent of people conform to society to fit in. Conformity in society takes away individuality in turn making humanity fade away. “Beautiful Monsters”, written by Eric Puchner, talks about a dystopian world where kids rule the world who don’t age but still look like children. The Perennials (children) are genetically born
'The novel has long ignited disapproval, and it was the most frequently banned book in schools between 1966 and 1975. Even before that time,
In order to empathize with the struggles of a Dupuytren’s patient, people need to be informed about the disease. It is important to understand the diagnosis, treatment, outcomes, and history of the condition that leaves people with malformed hands.
As young children grow up, their attitudes dramatically transform. They translate from loving their parents to disliking them. When their lifestyle is adversely affected, this universal process accelerates. Ray Bradbury, an acclaimed writer and a known opponent of Silicone Valley, comments on this recurring motif, technology. According to Ray Bradbury’s official website, he has won the 2000 National Book Foundation Medal for Distinguished Contribution to American Letters and the 2007 Pulitzer Prize Special Citation (HarperCollinsPublishers). He is the author of the critically acclaimed books Fahrenheit 451, Martian Chronicles, and Something Wicked This Way Comes (HarperCollinsPublishers). In Ray Bradbury’s “The Veldt, ” George and Lydia Hadley purchase a state-of-the-art house for their children, Peter and Wendy Hadley. The house performs all the duties for the children and parents. The children revolt and murder their parents using the multi-dimensional nursery which allows them to enact anything they imagine. Ray Bradbury develops his theme that technology affects quality of familial relationships in his short story “The Veldt” through the use of foreshadowing, conflict, and imagery.
Emily Dickinson once wrote “Much madness is divinest/Sense-To a discerning Eye.” Often in literature, a character’s madness or foolish action plays an important role. Such is the case with the play Who’s Afraid of Virginia Woolf? written in 1962, by Edward Albee. The author develops and revisits the inner conflict of Martha, the protagonist, which results from the struggle between her and society throughout the plot to highlight the theme of struggle between reality and illusion. Martha’s madness is used by Albee to reveal characteristics of American society in the 50s and 60s that reveal the seemingly mad behavior as reasonable.
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