'A Room of One’s Own: the Context of Women’s Existence in Society Essay\r'

'Even though the texts were composed in different sequences and different literary forms, twain composers sought-after(a) to criticise the mien that their context operated. In Virginia Woolf’s ‘A Room of One’s have’ (1928) and Edward Albee’s ‘Who’s Afraid of Virginia Woolf’(1962), near(prenominal) composer’s purpose is to bring both hands and wo hands into a clearer understanding of the ship canal in which women have been held back in western society and the role that illusions well-nigh gender roles have reanimateed in social interactions. We learn through study both texts that in order to incur truth, both genders’ perspectives must be interpreted into account Woolf, a constitutional suff cacoethestte, empowers women save uprs by first exploring the nature of women in fiction, and thus by incorporating desires of the androgynous mind and individualisation as it exists in a women’s experience as a writer. ”they had been pen in the red go down of feeling and not in the white light of truth” Woolf writes in a direction which we call stream of consciousness path to write this inclusive and conciliatory lecture.\r\nHer talking to and style is witty, and non-confrontational and makes her points in a locomote way. She does this to charm her audience into agreeing with her through her lithesome style as a writer. Albee, contrastingly, uses a confrontational and visceral stage play to make his point ab disclose the cataclysmicness that results from move to conform to expected gender roles. His language, pillow slipisation, bike and tension are aggressive and shocking. He makes use of elements of Absurdism in order to notice upon the illogical and often bewildering nature of screening to negotiate gender relationships within his time. The American Dream was the illusion in his play, where the characters try to hide behind the illusions and felt that this would assist them feel joy in breaking this AD. Albee’s purpose was to look behind the ‘Perfections’ of the AD â€Å"All imbalances pass on be sifted out… Everyone will tend to be sort of the same” and show the way it was destructive as a object lesson for relationships because it denies comparability for men and women, which is what Virginia Woolf is searching for. In both texts there is a struggle for women to admit their identity in a antique society.\r\nWoolf presents the challenging idea that women could be as effective as men as writers of fiction if they were given the same agent and tools to be able to compose, â€Å"A adult fe priapic must have money and a means of her own if she is to write fiction.” This idea challenges the gender relationships established in her square-toed and early modernist context. In ‘Room’, Woolf blames the patriarchal society for oppressing women and subjugating individual’s identities, â€Å"and that, as you will see, leaves the great problem of the dead on tar call for nature of women. . .and fiction unresolved”. She feels that the license of women to write is restrained by the expectations men have of what a woman should be.\r\nIn other words, being a married woman and the daily, culturally defined expectations of a female made it difficult for creativity and in particular the writing of fiction to be expressed in the Victorian era. Further much, Woolf states that stock-still if a woman in such(prenominal) circumstances manages to write, using Charlotte Bronte as the example, â€Å"she will write in a rage where she should write calmly â€Å". Woolf shows here, using apposition that a women writing out of foiling with the repression of her everyday life, will be an inefficient writer as she will write without an androgynous perspective. Woolf’s message, it seems, is that women must attain against the resistance of the patriar chal culture and attain some degree of emancipation and freedom from the restraints placed upon them by gender stereotypes.\r\nSimilarly, Albee’s context, during the Cold war, has affected the way he has written ‘Who’s Afraid’ with the adaptation in tempo and style. This play shows the way that relationships, such as wedlocks, have vex a battlefield in his stain ww2 context, because of the tensions in gender relationships in the unprogressive era of America in the 1950s, where the AD outlined perceived ways that women and men should relate to one another. Martha is the older and the more dominant character between the deuce women in the text and is a model of women who have the money and ‘a room of their own.’ She has gained a measure of the independence that Woolf sought for women in her lecture. She is not ruled by her husband, George, their marriage is in fact sort of the opposite. Martha does not live up to the social expectations for a woman in her time as she is a bold and mutinous figure, using crass and unfeminine language, and say anecdotes from hers and George’s personal life.\r\nThis includes the story of her schoolgirl marriage to a man who ‘mowed the lawn…sitting up there, all naked,..theorietically you can’t get an annulment if there’s entrance.’ Contrastingly, erotic love represents the vulnerable and withheld typical 1950s housewife, individual who does not have the voice and independence that Woolf hoped for. Her name symbolises to the responder that she isn’t an commutative woman, she is reliant on the way that she is viewed by men, as sweet and gentle. This vulnerability and corporate trust shown in the anaphora, â€Å"I’ve never been so frightened in my life! neer!”. This play is a battlefield because women in both relationships are thwarted and oppressed, thence Virigina Woolf’s hopes for independent, self-motivated wo men are not achieved in the female characters represented by Albee.\r\nThe male characters in Albee’s play in like manner show the illusory nature of the American Dream and the way that gender roles in the Cold War period were more and more complex for members of both sexes. George’s character swings through moments of rage, frustration and cynicism as he watches his wife behave in a way that reflects badly upon him as a husband within his context. He alternately belittles lectures and reacts sarcastically to the woman that, at some points, the responder can see he still cares for. ding, on the other hand, represents the ‘ prox’ †a biologist who lacks the empathy and emotion that George displays. Nick’s patronising treatment of erotic love shows that he does not feel any(prenominal) respect or equality with her, and that he is consciously afraid that she has tricked him into a unloving and uneven marriage.\r\n'