A Doll’s House and Top Girls

A Doll House gives us a true insight into the roles for men and women during the late 1800’s. This is why the play has been said to be able to take place in any and all suburbs. At this point in history, the roles of gender were mainly consistent across the world. Men vs. women in economics, social status, gender rights, marriage and divorce, and occupation can best describe this.

The first essay, “The Roles of Women in British Drama,” represents my first exposure to a new genre of literature. The essay was also one of my first formal and interpretative essays at the college level. As a woman and a student of literature, I feel a special connection to this essay’s topic of women’s roles in literature. In addition, this essay shows my “knowledge of the social, political, philosophical, and religious forces that influence authors and the people they write about” (Oral/Portfolio). After reading some of the most prominent British plays of the twentieth century, I observed a discontinuity in the roles of women in this genre. Sadly, women’s roles in literature were very similar to their role in society. During the twentieth century, women were still trying and failing to emerge out of the roles they had been cast in by a male dominated society. Even though women were almost always portrayed as inferior to men, I found a strong exception to this stereotype through the role of Thomasina. I admire Thomasina’s intelligence and wit, but I truly admire Tom Stoppard for creating this character.

The theme for honour and fidelity apply for both men and women in Shakespeare’s play ‘much ado about nothing’. Honour and fidelity is represented very differently for men and women as it would have been for the people in Elizabethan times. In this first section of the essay, I will be exploring double standards and Shakespeare’s awareness of the double standards between sexes and his feminist approach, the differences of honour and fidelity for men and women and upper class and lower class comparisons.

Both the 1892 short story, ‘The Yellow Wallpaper’ by Charlotte Perkins Stetson and the 1879 Norwegian play ‘A Dolls House’ by Henrik Ibsen, explore how the female protagonists are products of and are influenced by the harsh social conventions and expectations of their time. Both protagonists are constrained by the patriarchal society and the expectations of the wife of the late 1800s. Stenson challenges the audience’s response through the use of literary techniques including symbolism, to enhance the submission of the unnamed female narrator dealing with nervous depression. Conversely, Ibsen, through the use of theatrical techniques predominately stage directions and dramatic irony, to provoke audiences discuss the women’s abandonment of her marriage and motherly duties, something that still shocks contemporary viewers today.

It is normal for people to quit their job for rational reasons, but rarely will people quit their job for a girls attention. Three females enter A&P dressed in swimsuits. Sammy has a hard time focusing on what's critical. From enjoying girls shopping, to quitting your job, Sammy makes a decision that he’d never thought he would make. In John Updike’s “A&P”, appearance plays a big role with Queenie, power is constantly being used and principle is be being shown.

Nice Girls Still Don’t Get the Corner Offices was created by Executive coach Lois Frankel, who has spent many years empowering women to reach their fullest potential. It is a revised version of her first book: Nice Girls Don’t Get the Corner Offices and mentions right off that she wishes she didn’t have to write an updated version. Frankel states that women have not yet broken the glass ceiling completely, just put a few cracks in it (Frankel, Lois P.). So to once again help women overcome the deeply embedded character traits they learned as girls and take control of their careers with a revised version of her book, Frankel describes more than 100 common mistakes that women make during their careers and shares a number of ways to overcome

Though numerous strides have been made to eliminate the equality gap between men and women, there are fundamental ideals in our culture that are detrimental to women. In 1916 Susan Glaspell attempted to expose, and shatter the male dominating norms in her one-act play Trifles. By juxtaposing the misogynistic, dismissive behavior of the men in the story with the reserved and intelligent demeanor of the women, Glaspell successfully portrays women as the strong and empowered people they truly are.

Commonly, we see female characters in literature completely at the discipline of their male counterparts. However, some females challenge the notion that subservience to the patriarchy is absolutely ‘necessary’. A Doll’s House by Henrik Ibsen and Thomas Hardy’s Far from the Madding Crowd both create interesting female characters in Nora Helmer and Bathsheba Everdene respectively. Whether these women are truly either independent or dependent, is ambiguous in their pieces of literature.

The roles of men and women evolve over time. In 1879 the roles, obligations, and expectations of a man and woman were very different from those today. In A Doll’s House, Henrik Ibsen illustrates the reproachful role of women in society and how appearances can be deceiving.

In fact, in a crucial commentary Margaret Wilkerson notes that “the timelessness of the play has not diminished” (Wilkerson 442) due to the way in which it addresses certain key issues of humanity. In this play, the young woman, Beneatha, is relentless in her efforts to attend medical school and become a successful doctor. Not only is she crossing preconceived gender boundaries by desiring a respectable occupation, but Beneatha is also rising above expectations of her race by her insistence on acquiring a higher education even during a time of unequal rights. With special regards to the expected compliance and obedience from the women in these plays, gender roles are less predictable since the plays involve characters that rise above social gender boundaries. This is achieved by acting out of the ordinary and ultimately revealing the truth that there are always those who are ahead of their time and that exceptions exist even within the frame of gender roles.

The elegant image of a bourgeois society with its emphasis on wealth and property, is only a mirage. Underneath it all is a different world of oppression—specifically, for women in the bourgeois class. In Henrik Ibsen’s play Hedda Gabler and Leo Tolstoy’s novella The Death of Ivan Ilyich, both works depict female characters in the bourgeois class who face the societal oppression and cope with it in their own way. These oppressions are often set off by the male characters, constructed by the bourgeois society.

In Henrik Ibsen’s Hedda Gabler, the author reveals the oppressive qualities of minority groups who seek to express individuality rather than conformity. The most critical population that Ibsen chooses to address in the play are women living in Western Europe during the Victorian era. When considering Norwegian culture during the 1800s, Ibsen refers to his surrounding society as an environment where women are unable to look forward to anything other than marriage and motherhood (Lyons 164). Ibsen’s country is inclusive of issues relating to alcoholism, prostitution, exploitation, and poverty (Lyons 128). As a result, the only respectable lifestyle for many women is domestication. To confront these issues,

Henrik Ibsen’s play “A Doll House” addresses the importance of the roles women play throughout this time period. Women are thought to be like “dolls” to their husbands, by obeying their commands and keeping a good image. We see the main character, Nora Helmer struggle to keep her perfect image of a great wife as troubles start to arise. Throughout the play we begin to see Nora push through her troubles and find her true identity, Nora shifts from being the loving, perfect wife, to being a strong and independent woman.

Henrik Ibsen’s A Doll’s House was a controversial play for its time because it questioned society's basic rules and norms. Multiple interpretations can be applied to the drama, which allows the reader to appreciate many different aspects of the play. This paper examines how both Feminist and Marxist analyses can be applied as literary theories in discussing Ibsen's play because both center on two important subject matters in the literary work: the roles of women in a male-dominated society, and, the power that money has over people.

Within Top Girls, Caryl Churchill explores a range of ideas that can be analysed through lenses to reveal different critical interpretations. Beauvoirian ideas from The Second Sex and Marxist ideas from The Communist Manifesto are used to compare and contrast these ideas, further supporting this an assortment of literary techniques.