Academic literature on the topic 'Who's Afraid of Virginia Woolf?'

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Journal articles on the topic "Who's Afraid of Virginia Woolf?"

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Kelly, Katherine E., and Edward Albee. "Who's Afraid of Virginia Woolf?" Theatre Journal 42, no. 3 (October 1990): 372. http://dx.doi.org/10.2307/3208087.

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Matravers, Derek. "WHO'S AFRAID OF VIRGINIA WOOLF?" Ratio 4, no. 1 (June 1991): 25–37. http://dx.doi.org/10.1111/j.1467-9329.1991.tb00027.x.

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Neill, Alex. "WHO'S AFRAID OF VIRGINIA WOOLF?" Ratio 5, no. 1 (June 1992): 94–97. http://dx.doi.org/10.1111/j.1467-9329.1992.tb00138.x.

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Terr, Lenore C. "Who's Afraid in Virginia Woolf?" Psychoanalytic Study of the Child 45, no. 1 (January 1990): 533–46. http://dx.doi.org/10.1080/00797308.1990.11823533.

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Carter, Steven. "Albee's Who's Afraid of Virginia Woolf?" Explicator 56, no. 4 (1998): 215–18. http://dx.doi.org/10.1080/00144949809595320.

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Weintraub, Stanley. "Who's Afraid of Virginia Woolf? Virginia Woolf and G. B. S." SHAW The Annual of Bernard Shaw Studies 21, no. 1 (2001): 41–62. http://dx.doi.org/10.1353/shaw.2001.0038.

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Fox, Ragan. "Who's Afraid of the Author ofWho's Afraid of Virginia Woolf?" Text and Performance Quarterly 34, no. 2 (January 24, 2014): 204–8. http://dx.doi.org/10.1080/10462937.2013.877152.

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McBride, Stephanie. "Film and Television: Who's Afraid of Virginia Woolf?" Circa, no. 103 (2003): 12. http://dx.doi.org/10.2307/25563902.

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MARTIN, JACQUES M.A. "“Who’s afraid of Virginia Woolf?”." Sinergie Italian Journal of Management, no. 103 (2018): 241–52. http://dx.doi.org/10.7433/s103.2017.12.

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Scott, Sandra Swart. "Who's Not Afraid of Virginia Woolf? Feminism and Firearms." Agenda, no. 45 (2000): 81. http://dx.doi.org/10.2307/4066321.

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Dissertations / Theses on the topic "Who's Afraid of Virginia Woolf?"

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Svensson, Dan. "Eskapism : En analys av Edward Albees Who's Afraid of Virginia Woolf?" Thesis, Växjö University, School of Humanities, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-1945.

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Vicente, Sara Marisa Marques. "Construção e desconstrução de identidades em a Caverna de José Saramago e Who's afraid of Virginia Woolf ? de Edward Albee." Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2008. http://hdl.handle.net/10362/5113.

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Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Línguas, Literaturas e Culturas, Estudos Ingleses e Norte-Americanos
Esta dissertação propõe uma abordagem comparatista do processo de construção e desconstrução de identidades em A Caverna de José Saramago (2000) e Who’s Afraid of Virginia Woolf? (1962) de Edward Albee. Os construtores Cipriano Algor, Martha e George produzem identidades baseadas em ilusões, de modo a evitar o confronto com a verdade acerca das suas próprias realidades. Cipriano é confrontado com a extinção do trabalho artesanal na sociedade cada vez mais industrializada. A substituição inevitável de tais tipos de trabalhos pelos novos aparelhos tecnológicos e o aparecimento de materiais diferentes e resistentes funcionam como causas da inadaptação de Cipriano na nova realidade simbolizado pelo centro comercial. Martha e George criam a ilusão de um filho que representa a perfeição na relação entre o casal. No ambiente académico, o sucesso intelectual deve ser acompanhado de um casamento irrepreensível. Os espaços onde estas personagens constroem identidades, ilustram a necessidade de encontrar novos códigos e linguagens para comunicar consigo mesmos e compreender a verdade. Tal como explica o filósofo alemão, Peter Sloterdijk, no segundo tomo da sua trilogia Esferas (2004), estes espaços são “invernadouros”, onde Cipriano, Martha e George encontram tudo aquilo que necessitam para criar ilusões e ocultar a verdade. No respeitante aos “invernadouros”, a Alegoria da Caverna serve como fonte fundamental para analisar o centro comercial e o enclausuramento dos que aí vivem. No final, o oleiro sente-se como um prisioneiro na caverna de Platão durante a estadia no novo apartamento,. Crátilo de Platão serve como suporte teórico relevante para explicar o papel da atribuição de nomes às identidades no processo de construção. Desse modo, os construtores associam as identidades com as realidades que estas representam. Em conclusão, estas identidades revelam a inevitabilidade do confronto com a verdade e o processo de desconstrução torna-se não só previsível, mas igualmente, necessário para o futuro das personagens nas suas novas realidades.
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Tranvik, Andreas. "De två kulturernas dialektik : Edward Albee, C. P. Snow och den dramatiserade epistemologin." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-403076.

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Since its publication and first performance, Edward Albee’s Who’s Afraid of Virginia Woolf?, has often been interpreted with regard to the theme of truth and illusion. A less studied, but nonetheless important, aspect of the drama concerns its relation to C. P. Snow’s concept of the two cultures. In this essay, I argue for the convergence of these two discussions, resulting in an epistemological understanding of Albee. From this mode of interpretation, not only is a rejection of the two cultures noticed, but also a dramatic movement towards a third culture. Thus, Who’s Afraid of Virginia Woolf? is treated as an epistemological drama of ideas.
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Coulson, Marcella Meghan. ""Can you leave the light on? I'm afraid of the dark." : feminist criticism and the life writing of Virginia Woolf and Gloria Anzaldúa." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44835.

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This project works with Virginia Woolf’s Moments of Being and Gloria Anzaldúa’s Borderlands: La Frontera to suggest that the problem of representing material feminisms in relational women’s life writing is located in white feminists’ desire to remain at home in their criticism. Bringing feminist theories on materiality, politics of belonging and affect together, I reflect on the ways my white privilege permits my criticism to haunt the very subjects whom it suggests I am writing for. In doing so, I demonstrate the ways feminism can be used by white feminists to protect the authority of white feminist criticism, and thus reinforce the white feminist’s privileged position as the subject of feminism. In this way, marking whiteness works to maintain white women’s privilege in feminism, rather than disturb their constructions of identity as feminists. I work with Gloria Anzaldúa’s borderland theory to work through this problem by reflecting on my experiences of being in other women’s criticism. This enables me to work through affective, yet material boundaries between the white feminist self and other feminists. I argue that silence about the affective experiences of the contradictions that characterize white privilege for feminists permits white feminists to lean on the comforts of their knowledge of feminism, and to refuse to acknowledge other women’s writings as criticism.
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Wu, Mei Hsiang, and 吳梅祥. "An inconvenient truth: the ethical relationship in albee's 《Who's Afraid of Virginia Woolf ?》." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/43138610696373394172.

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碩士
國立政治大學
英國語文學研究所
97
This thesis examines the totalizing violence overrunning in Albee's Who's Afraid of Virginia Woolf? and a call for responsibility to and for the Other in Emmanuel Levinas's propositions of ethical relationship. In this play, the illusion of life can also be counted as an inconvenient truth, yet the playwright urges people to acknowledge the difference between illusion and reality. George and Martha build their marriage on a life game, their imagined son. When Nick and Honey arrive, an interrelation between private and public and illusion and reality disturbs all four characters. Martha's totalizing indulgence goes into extremes when she is lost in her fantasy world gradually and commits adultery deliberately. Sensing the seriousness of Martha's situation, George finally wakes up from his own illusion and decides to kill the imagined son for Martha's sake. It is an act of profound love and care that George dispels the illusion in his and Martha's marriage life. Chapter Two examines different forms of ontology, which is embodied by the three major philosophical systems: I and not-I in the Hegelian dialectic, ego and alter ego, and the Heideggerian primacy of Being and then demonstrates various examples of the totalizing violence through the reduction of Martha's father, the symbolic assimilation of Nick, and, particularly, the destructive negation of Martha. Committing adultery is an extreme manner to claim one’s power. George's reaction to Martha's ethical transgression is crucial. Chapter Three explores one's responsibility to and for the Other in the ethical relationship between self and other and argues that George’s decision of killing the imagined son reflects Levinas's ethical concern. Recognizing his own alienation from society and deciding to take the responsibility to help Martha eliminate her internalized ontological violence, George fully represents Levinas's concept of responsibility to and for the Other. A dialogue of Albee's dramatic text and Levinas's propositions highlight the importance of ethical relationship between self and other on a genuine basis. Through their works about violence and compassion, both Albee and Levinas have high concern for the Other.
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CHEN, EVA, and 陳君儀. "Breaking the boundary of language:Chinese translation of Who's Afraid of Virginia Woolf? with commentary." Thesis, 1992. http://ndltd.ncl.edu.tw/handle/29902710718374351097.

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Lee, Chia-chun, and 李佳錞. "Ritual Performance in Harold Pinter's The Homecoming and Edward Albee's Who's Afraid of Virginia Woolf?" Thesis, 2004. http://ndltd.ncl.edu.tw/handle/29934623909188542344.

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碩士
國立中興大學
外國語文學系
92
The themes of Harold Pinter’s The Homecoming and Edward Albee’s Who’s Afraid of Virginia Woolf? imply the quest of the self and the orientation of redemption by the way of ritual performances. With the forms of metaphors and symbols, they simulate the process of ritual to achieve integrity. In the liminal stage of ritual and verisimilitude, the characters perform their desire and eliminate their fears. Even though Nietzsche contends that God is dead, implying the negation of mysterious power, I presume that both Pinter and Albee try to offer the hope within the aura of pessimism and Ruth in The Homecoming as well as George in Who’s Afraid of Virginia Woolf? play the roles of executor to exorcise the conflicts. In Chapter One, I will discuss the function of “ritual” and elaborate the way of ritual employed in these two plays. The function of ritual reifies the characters’ inner fear and consists in the dramatic transformation in order to bring them the balance in face of conflicts and realities. In Chapter Two, I will reinforce Ruth’s image as a Goddess and her double roles as well as through the character Ruth Pinter’s tendency toward an “androgynous writer.” In Chapter Three, Martha, in Who’s Afraid of Virginia Woolf? plays the mirror image of George and personifies his fears by the way of ritual performance.
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Lin, Shih-Ya, and 林詩雅. "Virginia Woolf as a Fetish or Phobic Object: Who''s Afraid of Virginia Woolf? and The Hours as Cases in Point." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/44333668854657211014.

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碩士
國立臺灣大學
外國語文學研究所
97
This thesis examines the polar representations of Virginia Woolf in Edward Albee’s Who’s Afraid of Virginia Woolf? and Michael Cunningham’s The Hours with textual allusion to Woolf’s Mrs. Dalloway. By drawing theoretical support from psychoanalytical notions on fetishism and phobia as well as the studies of fan cultures, I argue that Woolf is viewed as a phobic object by Albee in the former text whereas she is elevated to a cultural and literary idol by her idolater Cunningham in the latter. Nevertheless, just as the boundary between fetishism and phobia is never clear-cut and in some cases even with striking resemblance, the apparently opposite interpretations between Albee and Cunningham cannot be taken on face value. Chapter One summarizes theories regarding the intricate relation between fetishism and phobia and the psyche and diverse patterns of fan activities for further textual analysis. Chapter Two discusses the seemingly stigmatized reading of Woolf in Albee’s text by dapping deeper into the social milieu of the early 1960s American society and the constant linkage of Woolf with fear. Chapter Three is a close textual analysis between The Hours and its literary predecessor Mrs. Dalloway on the contested issues within fandom and the intricate star-fan relationship. Not only can Woolf be regarded as a cultural idol, her books may also be utilized as a fetish for fans/readers to cope with the struggles in life. I conclude that instead of focusing on the battle over whose representation of Woolf is more authentic, it is better to regard Woolf as a site where all variable meanings could converge and creativity be inspired. Be it a favoring or a denigrating appropriation of Woolf, one thing is for sure: Woolf’s image keeps proliferating.
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Books on the topic "Who's Afraid of Virginia Woolf?"

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Albee, Edward. Who's afraid of Virginia Woolf? New York: Scribner Classics, 2003.

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Albee: Who's afraid of Virginia Woolf? Cambridge: Cambridge University Press, 2000.

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Albee, Edward. Who's afraid of Virginia Woolf?: A play. New York: New American Library, 2006.

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Albee, Edward. Edward Albee's Who's afraid of Virginia Woolf? New York: Dramatists Play Service, 2004.

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Albee, Edward. Who's afraid of Virginia Woolf?: A play. New York: Signet, 2006.

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Albee, Edward. Edward Albee's Who's afraid of Virginia Woolf. [New York]: Dramatist's Play Service, 1990.

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Edward Albee's Who's afraid of Virginia Woolf? Woodbury, N.Y: Barron's Educational Series, Inc., 1985.

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Albee, Edward. Who's afraid of Virginia Woolf: A play. New York: Signet, 2006.

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Hudson, Christopher. Edward Albee Who's afraid of Virginia Woolf?: Notes. Harlow: London (etc), 1985.

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Roudané, Matthew Charles. Who's afraid of Virginia Woolf?: Necessary fictions, terrifying realities. Boston: Twayne Publishers, 1990.

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Book chapters on the topic "Who's Afraid of Virginia Woolf?"

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Müller, Kurt. "Albee, Edward: Who's Afraid of Virginia Woolf?" In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_4794-1.

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McCarthy, Gerry. "‘Who’s Afraid of Virginia Woolf?’." In Edward Albee, 59–78. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-18660-0_4.

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Flasch, Joy. "Games People Play in Who's Afraid of Virginia Woolf?" In Essays on Modern American Drama, edited by Dorothy Parker, 121–29. Toronto: University of Toronto Press, 1987. http://dx.doi.org/10.3138/9781487577803-011.

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Bennett, Michael Y. "Cold War Tactics: Fear in Who’s Afraid of Virginia Woolf?" In Words, Space, and the Audience, 103–23. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137052599_5.

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Mackinlay, Elizabeth. "Writing with Virginia Woolf, not Afraid." In Critical Writing for Embodied Approaches, 61–78. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-04669-9_4.

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Lee, Hermione. "Am I Afraid of Virginia Woolf?" In Writing the Lives of Writers, 224–38. London: Palgrave Macmillan UK, 1998. http://dx.doi.org/10.1007/978-1-349-26548-0_16.

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"WHO'S AFRAID OF VIRGINIA WOOLF?" In Broadway Theatre, 102–18. Routledge, 2013. http://dx.doi.org/10.4324/9780203060032-12.

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Roudané, Matthew. "Who’s Afraid of Virginia Woolf?" In The Cambridge Companion to Edward Albee, 39–58. Cambridge University Press, 2005. http://dx.doi.org/10.1017/ccol0521834554.003.

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Barth, Theodor, and Ane Thon Knutsen. "‘Who’s Afraid of Virginia Woolf?’." In Artistic Practices and Archaeological Research, 98–124. Archaeopress Publishing Ltd, 2019. http://dx.doi.org/10.2307/j.ctvndv7pg.12.

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Weintraub, Stanley. "Who's Afraid of Bernard Shaw?Virginia Woolf and GBS." In Who's Afraid of Bernard Shaw?Some Personalities in Shaw's Plays, 194–218. University Press of Florida, 2011. http://dx.doi.org/10.5744/florida/9780813037264.003.0013.

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