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Dissect how Who’s Afraid of Virginia Woolf? what's more, A Room of One’s Own creatively depict people who challenge the set up estimations of their time. Writing is an assessment of the built up estimations of their time, a sign of the composer’s points of view with respect to key issues that portrayed their zeitgeist. This is obvious in Virginia Woolf’s polemical paper, A Room of One’s Own (1929), in which she depicts male tension towards ladies during the post-WWI period.Similarly, Edward Albee’s 1962 ironical show, Who’s Afraid of Virginia Woolf (Afraid) ventures a practically equivalent to dread of female predominance, in spite of the fact that in post-WWII American culture. In a further correlation, the two arrangers center around the significance of riches in the public arena, where Woolf considers the centrality of material security with respect to fiction writing in English society during the 1920s, while Albee condemns materia listic qualities according to social congruity in American culture in the 1960s.Since the late nineteenth century female testimonial development that enabled ladies, men dreaded being uprooted from their conventional places of power. Woolf passes on these set up male centric qualities through A Room of One’s Own, in her assessment of the phallocentric scholarly circle of the 1920s, where anyone could compose writing, â€Å"save they [were] not women†. The emblematic title features women’s requirement for material security as a pre-condition â€Å"to writ[ing] fiction†, contending that generally, men have denied ladies open doors for accomplishing financial equality.Woolf’s amusing utilization of metaphor strengthens her theory that â€Å"if just Mrs Seton †¦ had taken in the extraordinary specialty of bringing in cash and had left their cash, similar to their dads †¦ to establish fellowships†. This features the chronicled absence o f instructive and money related open doors for ladies. Moreover, Woolf reprimands male centric qualities for regulating prejudicial practices in English society. At the anecdotal â€Å"Oxbridge†, a Beadle shows that â€Å"this was the turf; there was the path†, representing the set up sexual orientation rejection in the scholarly world. Her musings intruded on, she communicates frustration â€Å"as they had sent my little fish into hiding†.Through this analogy, Woolf suggests that men’s â€Å"protection of their turf† denied ladies open doors for innovativeness, depicting an imbued logical dread of female knowledge that was seen as infringing upon male strength in each circle of attempt. Albee’s contemporary political parody, Afraid, likewise depicts male and female contention, joining literary highlights, for example, exceptional dramatization and obtuse stage headings to pass on the wild sexual orientation strife of his time. While the two writings were formed in post-war periods, Albee’s show brutally investigates the built up cultural estimations of unassuming community American culture in the 1960s.This is obvious when Martha condemns George as â€Å"a great†¦big†¦fat†¦FLOP! † incapable to ascend the departmental positions. The utilization of rough conversational language and forceful stage headings highlights her dissatisfaction as she â€Å"spits the word at George’s back†, reflecting Martha’s authority over him, which represents women’s developing impact in standard American culture during the 1960s. Moreover, Martha reviews the â€Å"boxing match we had† trying to embarrass him, a moral story for the gendered power struggle.George responds adversely, and to recapture prevalence, he â€Å"takes †¦ a short-barrelled shotgun †¦ points it at †¦ Martha †¦ [and] pulls the trigger†. Combined with this stage course, Albeeâ€℠¢s utilization of exclamatory accentuation in George’s whimsical point-scoring of â€Å"Pow! You’re dead! † implies his franticness to recuperate his manliness. Along these lines, Albee depicts the consistent quarreling among George and Martha as an image of nervousness and dysfunctionality in America during the 1960s, portraying the national neurosis related with the Cold War and atomic warfare.Just as Woolf and Albee speak to the sexual orientation struggle in post-war social orders, they likewise reprimand the riches imbalance and the eagerness of their time. While Woolf reasons that oppression ladies regularly kept them from composing fiction, she additionally thinks about that poor material conditions in like manner restricted their commitment to writing. Using the modular action word to accentuate the significance of budgetary security, she communicates her conflict in regards to material needs that â€Å"a lady must have cash and her very own room on the off chance that she is to compose fiction†.The story of the tailless feline is emblematic of the interruptions that interfered with ladies in their composition, therefore Woolf features the requirement for the protection of a room of one’s own so as to â€Å"think of things in themselves†. Moreover, she concludes that â€Å"500 pounds a year for ever †¦ appeared to be endlessly more important† than the testimonial development as it was progressively helpful for her composing fiction. Done working â€Å"like a slave†, Woolf’s comparison features that â€Å"food, house, and apparel are perpetually mine†, mirroring the estimation of monetary security in English society in the 1920s.Thus, Woolf continues her postulation and features the significance of cash and protection, passing on the set up disposition that a safe salary guaranteed innovative and scholarly opportunity in English society. On the other hand, Albee’s politica l purposeful anecdote mirrors his analysis of the materialistic mores of American culture during the 1960s, depicting human shallowness in an emotional examination of the American Dream, a thought which has reverberated inside society since the establishing of America.It embodies a traditionalist national ethos that involved the chance of widespread success and the quest for satisfaction for all, subsequently numerous people looked to expand their riches and economic wellbeing. This materialistic thought is passed on through Nick, who roughly brags, â€Å"my wife’s got some money†. In describing Nick as the run of the mill shallow ‘jock’, Albee sabotages this idea of the ‘self-made man’, performing a heartless part of the American Dream. Also, Martha scrutinizes George’s compensation, reflecting the logical mentalities of white collar class America, when status was related with high pay levels.She jeers at George, exhorting him not â₠¬Å"to squander great liquor†¦not on your salary†. Here, Martha’s taunting tone catches her failure as she â€Å"hope[s] that was a void bottle†. Be that as it may, the â€Å"empty bottle† likewise represents her hopelessness as George is just â€Å"on an Associate Professor’s salary†. This infers the social significance of pay yet dissimilar to in Woolf’s society, where women’s financial security may free innovativeness, here monetary achievement fills in as a superficial point of interest inside the American Dream.Thus, writing, with its unmistakable structures and highlights, is impacted by changing settings, depicting comparable worries that upgrade our comprehension of the built up estimations of the time. Woolf’s questioning, A Room of One’s Own (1929), may vary literarily and logically from Albee's Who’s Afraid of Virginia Woolf (1962), which depicts a savage assault on American qualities, yet the two writings reflect male dread of ladies because of their developing impact in post war social orders. Besides, they center around the significance of riches as to abstract inventiveness in English society during the 1920s and the acknowledgment of the American Dream during the 1960s.