Narratives and myths in The Caretaker and Who’s Afraid of Virginia Woolf?

Narratives and myths are rampant in both Who’s Afraid of Virginia Woolf? as well as The Caretaker, revealing their characters’ states of mind to the audience and allowing characters to create illusions for themselves. Characters in both plays construct their ideal sense of self, using myths and narratives as coping mechanisms, which are ultimately destroyed by the end of the plays.

Capacity of the Mind to Survive and Develop

In Who’s Afraid of Virginia Woolf? and The Caretaker, the characters survive the vagaries of their worlds by escaping into fiction, often to deleterious effects. Yet, while some grow out of their harmful delusions, others remain shackled to their illusions. Both George/Martha and Davies/Aston are shown to overcome and survive their bleak realities through the employment of illusions and narratives.


மலையிலும், நதியிலும் கரைபுரண்டது வெள்ளம் அந்நாளில். ஓடையிலும், ஏரியிலும் நிறைந்தது தண்ணீர் பொன்னாளில். நிலத்தடி இருந்த நீரை இறைத்தோம் குடிப்பதற்காக பின்னாளில், குடிக்க நீருக்கு நடையாய் நடக்கிறோம் இந்நாளில். பரவையில் வாரி இறைத்த காலம், வாளியில் அள்ளிக் கொட்டிய காலம், குவளையில் கொப்பளித்த காலம் தாண்டி, அகப்பையில் அளந்து குடிக்கும் நேரமிது. நிதானிப்போம், எதிர்கால சந்ததியைக் காப்போம், நீர்வளம் பேணுவோம், நீரை சேமிப்போம். சொட்டுவது வெறும் தண்ணீரல்ல, அது எதிர்காலத்தின் உயிர். Vaidyanathan Deshika (19-E2)

How and to what extent have the Korean Narratives of Beauty diffused in Singapore?

HUMANITIES PROGRAMME2020 CAPSTONE PAPER Introduction This study encompasses the analysis of cultural diffusion of South Korean beauty to Singapore as influenced by the forces of globalisation, focusing on cultural adoption and adaptation by Singapore’s youth. However, diffusion does not necessitate homogeneity and commodification, and may instead result in heterogeneity and cultural hybridity. Hence, this research…


ARTIST’S STATEMENT As technology becomes increasingly pervasive in today’s culture, aesthetics have evolved too. Applications developed for us to edit and filter our images, enhance and distort our identities to stand out. However, when relying on these, can we truly offer fresh portrayals of ourselves, or will we all stay the same? TEACHER’S STATEMENT Four…


A recipient of the Curator’s Commendation for 2020 SYF Art Exhibition ARTIST’S STATEMENT She’s the best actress I know. Head bent over a multitude of personas. These facades are those she’ll show to the world, never allowing anyone to see her behind the screen. She is the puppeteer, and the puppets are finding each other…

The Battle of Minds and Selves in The Caretaker

Throughout the play, Davies is pitted multiple times against Mick and Aston as he constantly struggles to establish his dominance in a place where he clearly does not belong. It is largely borne of a survival instinct that Davies first engages in a very one-sided battle with Aston, before Mick enters and aggressively challenges Davies. The survival instinct that initially puts Davies on his guard and sets him into battle is also what leads him to surrender the battle in the closing scene.

Family Relationships in Who’s Afraid of Virginia Woolf?

In Who’s Afraid of Virginia Woolf?, familial relationships, or lack thereof, between characters are presented as being highly illusory and idealised as well as far from the unhappy reality, in order to cope with the latter. Hence, Albee asserts that these falsely intimate familial relationships do ultimately harm to the characters’ mind and selves, despite distracting from the true state of relationship, and must be overcome to confront and mend reality.


‘Prodigal’ by Boey Kim Cheng explores the less-known side of death, in the situation of a son who has lost a father, yet feels no loss. He spotlights the son’s unfeelingness and the reversal of a norm.

Bleakness and Hope in Ariel

While Ariel explores a desolate and oppressive world of black and white where its personae undergo suffering, the collection is ultimately a hopeful and uplifting one of rebirth, represented by the infusion of red that symbolises life, passion and energy. Plath explores how the creative mind imagines the possibility of recovery despite emotional despair, allowing for a redefinition and assertion of the self, reborn through suffering and death. Through the bleakness of a hostile patriarchal society, Plath suggests the hopeful possibility of an empowered female self. As a collection originally beginning with ‘love’ and ending with ‘spring’, Ariel is ultimately hopeful of recovery and renewal, having survived a bleak emotional winter.