Written Task Dolls House

Feminism, and Ibsen” has many opinions on whether or not the play contributes to feminism and

Nora expects when what she calls the terrible storm breaks over her, “Krogstads letter” that her husband would step forward and take all the guilt and responsibilities, but to her ammusement he never did. She needed validation that her husband loved her inspite of what she had done, He continued to argue that no man would sacrifice their honor not even for love. Showing his self-centredness and only concerned about himself. Nora argues that millions of women have.

While Mrs. Wright lashes out against her perceived cage, her gender role, by killing Mr. Wright, Nora’s character ultimately decides to trip the latch, to fly free from the bars. Nora’s complex personality proves to be difficult to predict to the very end, when she decides to shirk her duties to her husband and children to focus on herself, to serve her own needs for individuality, a decision that was not entirely popular with readers and audiences alike. Indeed, Nora quite easily refuses to be the “doll” in Torvald’s house, and abandons her loving, though misguided husband, and her children. She feels driven to do this once she realizes that she and Torvald had never exchanged a serious word in

In the modern world women work, vote, run for office and the list goes on. In most aspects, women are equal to men. However, this was not always the case. In centuries past, women were not viewed as being equal to men socially, intellectually, or politically and were thought incapable of accomplishing anything of value. Consequently, many cultures held the view that women were possessions whose only purpose was to be subservient to men. The view of women as mere objects is evident in various works of literature throughout the ages. Two classic works of literature that exemplify this are The Thousand and One Nights and Murasaki Shikibu’s The Tale of

Until a woman tries to be free for deciding her preferences and following her own conscience, until she dares to be frank about her feelings, until a wife questions her loving husband why he gives her no respect, until she finds out that his love is only a form of possessing and exploiting her, and until she is disillusioned about how the 'shelter' of her husband can deprive her of all opportunities of realizing her dreams for being someone in the society, until that moment, Nora, like many women of her time, lives in the cozy (comfortable) illusion of love from her husband. But this husband turns out to be a hypocrite and an egotist, a man who doesn't apologise even when he is made to realise how much injustice he has done to her. When a crisis comes, he is able to discard his wife as a nobody; he is able to scold her in an unimaginable manner and forget all her lifelong love and sacrifice. She is his doll, his

The reflection of women in literature during the late eighteen-hundreds often features a submissive and less complex character than the usual male counterpart, however Henrik Ibsen’s Hedda Gabler features a women who confines herself to the conformities that women were to endure during that time period but separates herself from other female characters by using her intelligence and overall deviousness to manipulate the men in her life and take a dominant presence throughout the play. Hedda challenges the normal female identity of the time period by leaving the stereotype of the “quiet, subservient housewife” through her snide and condescending remarks as well as her overall spoiled aristocratic demeanor.

Ibsen’s Hedda Gabler provides insight into issues inherent to 1890’s Norwegian society. Hedda Gabler, released at the culmination of the first wave of feminism in Norway, has been celebrated for facilitating the societal change achieved by the movement. Whilst the concept of femininity is explored extensively, other, more subtle, themes are often overlooked because of the historical importance of the text’s commentary on women’s rights. Namely, Ibsen criticises how Norwegian society promotes materialistic dependencies and overinflates the value of keeping up appearances.

Balaky and Suilaiman researched if Ibsen was indeed a feminist or not. He never officially admitted that he was a feminist. Balaky and Suilaiman believe that Ibsen’s thoughts were neither political or feminist, but he was being a normal human with normal concerns. He doesn’t have to be a feminist to defend woman according to Balaky and Suilaiman. A Doll House was one of Ibsen most feminist play. Balaky and Suilaiman thought that Ibsen, “may not even be concerned about the women’s cause but rather about humans and individualism in general”. Many of Ibsen speeches and letters hinted toward him feeling troubled for “weaker sex”. He was known to be the four central male voices of feminism in his time.

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.

Feminist Approach In the play Hedda Gabler by Henrik Ibsen, feminism is used by the author to show how Hedda Gabler and women of society were looked at. The ways that Hedda is viewed by the men in the play all have effects on the plot. There are many instances when Hedda is treated differently because of her gender, and is limited to what she can do and it continues throughout the entirety of the play. These things help to show the reader how women are treated in general society as well as the play.

Nora plays the part of a slave in her subservience to her husband, for she is supposed to

If you read Henrik Ibsen’s “A Doll House” from a literary perspective, you will see a story about this “perfect” family, but if you just dig a little deeper you will see there is a whole lot more to this play than the eye first sees. You soon find out that this perfect family is not so perfect after all. From a symbolic perspective “A Doll House” is about marriage, respect, feminism, and how Torvald’s family is like a doll house. Nora’s actions are very shocking to the general public that this book was first written for. This story was written in 1879, therefor women played the role as a house wife with no voice. The women were treated more as property, than significant others. Women had little to no rights which is a reason why many older

Her first instinct is to feel pity for Mrs. Linde’s lack of children or husband, classifying her “utterly alone” state as “terribly sad” and inferior to the life she has with Torvald (Ibsen 8). This all changes, however, once Nora agrees to help Mrs. Linde. By binding herself to a woman instead of a man for the first time, she reaches a further state of awareness. When Mrs. Linde mentions Nora’s “lack of trouble and hardship” and calls her a child, Nora becomes defensive, alluding to her displeasure with her position in society (Ibsen 12). “You’re just like the rest of them,” she claims, “you all think I’m useless when it comes to anything really serious...” (Ibsen 12). The “them” and “you all” in Nora’s pivotal statement refers to the men who have bound Nora to the state of a useless doll in a dollhouse: dependent, incapable, and unenlightened—merely nice to play with and pretty to look at.

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,

Mrs. Linde assumes that Dr. Rank is the person that Nora borrowed money from, but Nora denies it and doesn’t tell her who the real person is. Torvald shows up. Nora begs him to not fire Krogstad. Her begging only angers off Torvald, and he tells the maid to send Krogstad his notice. Torvald goes to his office. Nora then had a plan to ask Dr. Rank for the remainder of the money that she owes, but her plan fails when he tells her that he will be dying soon and that he is in love with her. She feels guilty and doesn’t ask. As Dr. Rank goes in to see Torvald, Krogstad comes storming in, upset that he was fired. He yelled at Nora and then put blackmail in Torvald’s mailbox on the way out. In a fret, Nora tells Mrs. Linde everything. Mrs. Linde explains that she used to have a relationship with Krogstad that maybe she could change his mind. Mrs. Linde leaves to give a note to Krogstad, while Nora has to keep Torvald from reading the letter. The next night, while the costume party was taking place, Krogstad met up with Mrs. Linde to talk. The conversation revealed that they were once both deeply in love with one another, but Mrs. Linde left him for another wealthier man. She then confesses that she wants to get back with him. He accepts. They agree that they would leave Krogstad’s letter for Torvald to read because it would be better if Krogstad knew what his wife did for him. They ran