Ibsen's Drama "A Doll House"

She controls the men around her with her sweetie and charms of personality. She has Helmer wrapped around her little finger, although when he discovers her financial peccadilloes he pompously huffs and puffs that he will educate her ab turn out the moral philosophy that he has presumed without having earned. He is basically the classic bourgeois, more touch about appearances than substance, and fearing a loss of reputation more than his privation of character. Helmer's first reaction to the legal fallout of her $1200 loan from Krogstad to give in for his illness is to condemn her, and place himself in a self-complacent and unearned position of moral superiority. He refers to her as a criminal unfit to raise their children.

Her reaction of renouncing home and family comes out of the blue and seems extreme, as if she is a different character than the Nora of new(prenominal) first part of the play. Where did she get the strength and grit to declare the weight of society when she was playing the subservient docile effeminate according to the conventional script?

Ibsen's insight is that the most pregnant foundation of a woman's life is jockey, and when she sees a lack of love on the part of her husband - that his terror at discovering her counterfeit was "not for what threatened me, but for yourself" - he becomes a " fantastic man" to her, and to make it more bitter, one with whom she spent eight years with and bore three children. Such maternal hand on her part is not unknown in the explanation of drama; aft

Pinteaux, Agnes and David J. Nightingale. The Doll's House: minute men, feminism and academia. 1 May to 30 September 2002 (http://criticalmethods.org/p99.mv).

Riley, S. (2001) Maintaining king: Male Construction of 'women's liberationists' and 'Feminist Values'.

Feminism & Psychology, 11, 1, 55-78.

Stanley, L. and Wise, S. (1998) Method, methodology and epistemology in libber research processes. In L. Stanley and S., Wise (Eds.) (1993) Breaking Out Again. Feminist Ontology and Epistemology. London: Routledge.

Imagine she had stayed with Helmer. It would have met with the approval of her friends, but not her conscience. It is a lesson of human growth that seeking your highest expression as an individual has a heavy cost in consequences. Nora is and then a tragic heroine because she is willing to pay the price. I dunk into the last few pages of "A Doll's House" before rendition the whole thing, and even out of context and with no acquaintance of what led up to the scene I was deeply locomote by the power of her words, and the uncompromisingly unsentimental expression of her truth. Of course of study it was hard on poor Helmer, but he kindle always follow his own version of the path to integrity, if the pangs of losing his " hoot" rankle deeply enough.

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