Summer Of The Seventeenth Doll Dramatic Techniques

I have never thought so much about my future, until hitting eighteen in year twelve. The stress of attending uni, studying, securing a job and the big one- getting married! Marriage, I’m sure, has been something every teenage girl looks forward to. As for me, I have never been so skeptical of such an exciting life event.

A writer like Henrik Ibsen tended to stir up controversy on social issues such as marriage to demonstrate the real life experiences for two people to stay truly in love. In “A Doll’s Hose,” Ibsen creates an illusion of the definition of a true marriage through the eyes of Nora and Torvald Helmer, Kristine Linde and Nils Krogstad. Ultimately, the fate of these characters personalities will unveil the true definition of a real marriage through Nora’s forgery.

William Carlos Williams was from Rutherford, New Jersey, born in 1883. By trade, he was both a doctor and writer. Williams published poetry, novels, and essays in small magazines. Williams started as an imagist movement poet, “which emphasized simplicity, clarity of expression, and precision through the use of exacting visual images” (poets.org). He later began to write more about the life of everyday people. His poem, “The Widow’s Lament in Springtime” follows this writing style.

The short story, “Doe Season” written by David Michael Kaplan is about a young girl’s loss of innocence and hesitation towards womanhood. In this story, the protagonist, an eight year old girl joins in on a hunting trip with her father and some friends. During this trip, Andy learns that being one of the boys may not be what she aspires after all. A few literary elements Kaplan uses helps readers better understand the story while reading such as, the characters, setting, and symbolism.

The characters in these three literary text, The Getting of Wisdom, Coonardoo and Summer of the Seventeenth Doll, all demonstrate the traditions of gender roles in the early twentieth century. The first text by Henry Richardson, The Getting of Wisdom in 1910, a Bildungsroman story of a protagonist, Laura, as she develops to gain wisdom through her boarding school life. Richardson’s work undercovers what it is to be a “proper” woman in the early twentieth century through Laura. The traditions of women sexualities in the early 1900s were set quite strictly as genders were set to play a certain role in order to become a ‘fully-grown’ adult. The Getting of Wisdom describes the progression or the failure of Laura to become a “proper” woman throughout the narrative. The next literary text, Coonardoo, is a literary novel written by Katharine Susannah Prichard in the 1920s about the romantic life between an Aboriginal woman and a white man. Although her work struck many issues about interracial relationships as Corbould mentioned that Coonardoo uses ‘bold and unconventional elements’ in the narrative, (415) it reveals many sexual identity of the Aboriginals and the Australian whites, through the narrative voice of a minority. Summer of the Seventeenth Doll by Ray Lawler is an Australian play and was originally set in the mid twentieth century. This last literary text uses its characters to demonstrate their struggle with their identity and Olive’s failure to conform to the

Obedience and authority are seen as a priority in the plays” Antigone, A Doll’s House, and Trifles”. In the three plays women disobey men authority following their beliefs. In each play men enforce their authority over women; women are treated as if they were less than men. Antigone a woman with strong beliefs and morals revels against her uncle Creon. In A Doll’s House Nora was treated as pet by her husband Helmer until she opens her eyes. He always refers to her with nicknames as “little sky-lark, little squirrel, little singing bird, little sweet tooth” (148-149). He compares Nora with defenseless animals and tiny things. In

Within one’s lifetime, the mark to finding oneself is being able to overcome hardships and difficulties in order to unravel the full potential concealed within them. From being manipulated and deceived, this manages to bring about an ability hidden within oneself that can only be triggered by experiencing what it is like to be a victim of deception. In A Doll’s House by Henrik Ibsen and As You Like It by William Shakespeare, each author entraps their protagonists with the role of being manipulative or the victim of being manipulated to further enhance the author’s purpose of revealing or unlocking the hidden potential that arose within the characters.

Our society’s gender roles are constantly evolving and changing, all in the name of “progressive thinking”, though not all for the good. With a new “social norm” appearing every few years or so, it comes as a surprise that it

Henrik Ibsen’s “A Doll’s House” a nineteenth century play successfully uses symbolism to express many characteristics of Helmer’s life, together with the way that the main character Nora feels towards her marriage at the end of the play. Ibsen’s use of symbolism to convey about the social setting, including the harsh male-controlled Danish society, seen mostly in Torvald in the play and the role of women, signified mostly in Nora. These symbols act as foretelling before the tragic events at the end of the play, as they show the problems which lead to the demise of the Helmer’s ‘perfect’ family life.

   In his play, A Doll's House, Henrik Ibsen depicts a female protagonist, Nora Helmer, who dares to defy her husband and forsake her "duty" as a wife and mother to seek out her individuality. A Doll's House challenges the patriarchal view held by most people at the time that a woman's place was in the home. Many women could relate to Nora's situation. Like Nora, they felt trapped by their husbands and their fathers; however, they believed that the rules of society prevented them from stepping out of the shadows of men. Through this play, Ibsen stresses the importance of women's individuality. A Doll's House combines realistic characters, fascinating imagery, explicit stage directions, and

In the play “A Doll’s House” Henrik Ibsen introduces us to Nora Helmer and shows us how spontanesly her design of the ideal life can change when a secret of her is revealed. Nora’s husbands promotion to Manager of the town Bank, leaves her convince she will be living a wonderful life; stress and worry free. However, Nora’s idea of a wonderful life is completely changed when her long-kept secret is revealed.

Women roles have drastically changed since the late 18th and early 19th century. During this time, women did not have the freedom to voice their opinions and be themselves. Today women don’t even have to worry about the rules and limitations like the women had to in this era. Edna in “The Awakening” by Kate Chopin and Nora in “A Doll House” by Henrik Ibsen were analogous protagonists. The trials they faced were also very similar. Edna and Nora were both faced with the fact that they face a repressive husband whom they both find and exit strategy for. For Nora this involved abandoning her family and running away, while Edna takes the option that Nora could not do-committing suicide. These distinct texts both show how women were forced to

In A Doll House, Ibsen presents us with Torvald and Nora Helmer, a husband and wife who have lived together for eight years and still don't know each other. This rift in their relationship, caused in part by Torvald's and Nora's societally-induced gender roles and also by the naivete of both parties to the fact that they don't truly love one another, expands to a chasm by the end of the play, ultimately causing Nora to leave Helmer. Throughout most of the play, Ibsen continually has his characters prepare for a masquerade ball that takes place at their friends' house.

In The Girls in Their Summer Dresses, it is necessary to explore the personal differences that cause problems in the relationship of the couple. The details of the story will lead to a conclusion that for Michael the relationship could just be a mere convenience or an affection solely generated by his physical wanting of Frances, so with the way she looks and appreciates the girls of New York.

Retributive justice is a very common element found not only in literature but in almost all text that tries to evoke moral values. A nemetic ending is often used to provide the reader or spectator the satisfaction of seeing the hero be rewarded for his or her virtuous actions. Alternatively, the evil or malicious characters are usually punished thanks to the hero 's actions and thus brings a somewhat “happy ending” to the conflict. Many authors and playwrights would mostly hesitate to bring an unpleasant end to their stories so that the audience may leave their seats with a more positive outlook on the play. Nevertheless, it might be debatable if a standardized nemetic ending would transmit a more poignant message to the spectators, numerous plays that do not follow this norm are well known to have a very similar, if not equal, impact. To illustrate this tactic, we will mostly focus on the ending of “Snow in Midsummer” by Guan Hanqing that may end in a slightly ambiguous note rather than directly rewarding our hero Dou Er. Henceforth, we will also look over the case of Oedipus the King by Sophocles, that challenges the ideal retributive justice at the end of the play. We, as spectators, have a desire to connect with the characters and the issues they try to get through, as long as the heroes remain praiseworthy and villains fall and get defeated.