This paper examines how mother influence and social context interact to shape children's character development in Arthur Miller's Death of a Salesman and J.B. Priestley's An Inspector Calls. Both plays depict complex familial relationships in which mothers significantly shape the moral and psychological development of their children, while societal structures, particularly class, social expectations, and economic pressures, also play a critical role in defining the characters’ identities and choices. In An Inspector Calls, Sybil Birling’s rigid classist values influence her daughter Sheila’s initial worldview, fostering a superficial sense of social responsibility that is later challenged through a moral awakening. In contrast, in Death of a Salesman, Linda Loman’s passive support of her husband Willy’s unrealistic dreams contributes to Biff Loman’s identity crisis and his ongoing struggle to reconcile his self-worth with his father’s expectations. The paper argues that while maternal influence is pivotal in shaping the children’s moral and psychological growth, it is equally important to consider the broader societal forces such as the class system, societal pressures, and economic conditions that shape these dynamics. The paper ultimately underscores the need for a more nuanced understanding of character development, where both familial and social influences are integral to the formation of individual identity, and sheds a light on the ways in which individuals are shaped by the world around them.

This paper explores the symbolic role of nature and the storm in King Lear, as both a reflection of political chaos and an embodiment of Lear's psychological turmoil. Shakespeare's use of the tempest transcends mere stage spectacle, serving as a powerful metaphor for the disintegration of order—both within the kingdom and within Lear's mind. The storm externalises the consequences of Lear's folly, mirroring the collapse of hierarchical structures following his abdication of power. Simultaneously, it dramatises Lear’s descent into madness, exposing the fragility of human identity and authority. Drawing on critical perspectives from scholars such as A. C. Bradley, Harold Bloom, and Northrop Frye, this study examines how Shakespeare aligns meteorological upheaval with moral disorder and existential vulnerability. Furthermore, the storm underscores the limits of human control, revealing an indifferent natural world that resists human attempts at mastery. Yet amid this turmoil, the play also hints at the possibility of ethical awakening and compassion. By interrogating the storm’s role as both political symbol and a psychological mirror, this paper argues that King Lear presents a profound meditation on power, suffering, and the inexorable forces—both natural and human—that shape the tragic condition.

This study examines the philosophical implications of animality in two plays by Edward Albee: <Seascape> (1975) and <The Goat, or Who Is Sylvia?> (2002). As one of the most experimental playwrights of late twentieth-century American theater, Albee has consistently challenged social norms, explored existential contradictions in the human condition, and interrogated the breakdown of communication between people. Despite being written thirty years apart, these two plays share the theme of boundaries between humans and animals, raising ontological questions about both beings. In the two works, animals do not function as metaphorical devices, but rather as mediators that show the psychological complexities of human characters and lead to the broader point of discussion. In <Seascape>, the encounter between humans and lizard creatures breaks down the boundaries and creates a transformative realm of perception. However, in <The Goat, or Who Is Sylvia?>, a human’s love for a goat symbolizes the social taboos and radical challenge to anthropocentric values, which ultimately leads to the disintegration of a family. This thesis employs two theoretical frameworks: René Descartes’ animal-machine theory and Jacques Derrida’s animal alterity theory, together with the deconstruction of anthropocentrism. Through close textual analysis informed by these theories, the study reveals that Albee’s plays transcend social criticism to question the hierarchy and boundaries between human and non-human beings. In so doing, it emphasizes that these issues have philosophical significance and critical relevance in the contemporary world.