A reader reading Albee will not fail to notice tricks of language in operation; a more interesting analysis is to consider how the characters themselves are aware of language, of reading and being read, as a text, by other characters. AlbeeÃÂÂs...

Truth or illusion? When the fantasy world people create in order to cope with the absurdity of life is brought too far into reality, it becomes hard to distinguish between authenticity and fiction. This ambiguity is apparent in both Edward Albee's...

Many of Edward Albee's plays are "overrun with devouring mothers, castrating wives, and remote husbands. . ." (Hirsch 18). As a result, a typical Albee marriage is one of domestic warfare. The women endlessly battle with their men in order to...

Appearance versus reality is a major theme of contemporary American fiction. The characters of American Pastoral, We Were the Mulvaneys, and Who’s Afraid of Virginia Woolf may appear to be living one way, or portray a strong public face, but the...

Our founding fathers were committed to creating a perfect society, free from the “corruption and oppression of the west they left behind” (Holtan). As America aged, this idea of American perfection developed into an image, The American Dream. By...

In the drama Who's Afraid of Virginia Woolf?, Edward Albee meticulously constructs Daddy as a character who is both ever present and tied to the representation of major themes in the play. Albee uses the looming yet absent presence of Daddy to...

As an Absurdist, Albee believed that a life of illusion was wrong as in consideration it created a false content for life, it is therefore not surprising that the theme of ‘truth and illusion’ throughout Who’s Afraid of Virginia Woolf plays a...

“Of the four characters in the play, George is the character most adept at ‘doing things with words’” How far do you agree with this statement?

The phrase, ‘doing things with words,’ can be interpreted in different ways; one effective way to...

Marriage will always have its share of imperfections, subtle and explicit, but the espoused in Edward Albee’s Who’s Afraid of Virginia Woolf?, F. Scott Fitzgerald’s The Great Gatsby, and Gillian Flynn’s Gone Girl suffer from a bundle of...

David Kotkin, more commonly known as David Copperfield, was the world’s highest-paid magician in 2017; his net worth is over $850 million (Cuccinello). It is impossible to become as successful as him without providing a good or service that is in...

In many dramatic works, the use of barriers is crucial - they determine the play’s developments and how much it will affect the audience. This is certainly the case of “A Streetcar Named Desire” and “Who’s Afraid of Virginia Woolf?”. The former,...

A reader reading Albee will not fail to notice tricks of language in operation; a more interesting analysis is to consider how the characters themselves are aware of language, of reading and being read, as a text, by other characters. AlbeeÃÂÂs...

In the realistically dismal novella Of Mice and Men, John Steinbeck sympathizes with poverty-stricken characters that are stuck working towards the hopeless American Dream. He portrays the men and women as human beasts, stranded in a world of...

Our founding fathers were committed to creating a perfect society, free from the “corruption and oppression of the west they left behind” (Holtan). As America aged, this idea of American perfection developed into an image, The American Dream. By...

Flower arranging, a lost razor, bestiality–all topics which are discussed in Edward Albee’s The Goat or Who is Sylvia. Despite its seeming inconsequentiality, the discussion of flower arranging in Act I when paired with the destruction of items in...

Edward Albee’s The Goat and Sam Shephard’s Buried Child are both twentieth-century Pulitzer prize winners, two compositions which reveal challenges to conventional norms of family, love, and relationships. Both of these plays display numerous...

Flower arranging, a lost razor, bestiality–all topics which are discussed in Edward Albee’s The Goat or Who is Sylvia. Despite its seeming inconsequentiality, the discussion of flower arranging in Act I when paired with the destruction of items in...