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Feminist literary analysis essay
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The Growth of Nora and Kristina Linde in A Doll's House
A Doll's House by Henrik Ibsen, is a play that was written ahead of its time. In this play Ibsen tackles prevailing social norms by presenting two strong-willed women. Both Kristina and Nora chose the men they married by an intellectual rather than an emotional process: Kristina gave up the man she loved (Nils Krogstad) to provide economic security for her mother and her two younger brothers; Nora married Torvald Helmer at a time when he could have prosecuted her father for financial activities which were wrong if not simply illegal.1 Whether she married him out of thankfulness or to influence him during the time of decision is not clear, but one doubts that this timing was mere coincidence; if Nora married Torvald Helmer to save her father, we have reason to doubt that she was ever as empty-headed a "doll" as she claimed to be.
Neither woman knew how to convey her thoughts and feelings to the man she loved: When Kristina broke off with Nils Krogstad, she believed she would spare him grief by ending the relationship ruthlessly and, necessarily, crushing the love he bore her. She was badly mistaken. In making him believe that she had thrown him over for a richer man, she drove him into crime. When she comes to visit Nora she has been on her own for three years and learned how to support herself. Moreover, she has become so aware of her own motivations and such an understanding of his that she comes to the town with the deliberate intent of speaking with her now-widowed lover, and she is so beyond society's concept of what a woman should do and say in a courtship that she can begin the discussion of love and marriage with him. The audience can see that ha...
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2. The best description of this subplot and love story is Davies (1982:33-34).
Works Cited and Consulted:
Brandes, Georg. 1964. Henrik Ibsen. A Critical Study. New York: Benjamin Blom. Reprint of 1899 edition.
Clurman, Harold. 1977. Ibsen. New York: Macmillan.
Davies, H. Neville. 1982. "Not just a bang and a whimper: the inconclusiveness of Ibsen's A Doll's House." Critical Quarterly 24:33-34.
Heiberg, Hans. 1967. Ibsen. A Portrait of the Artist. Coral Gables, Florida: University of Miami.
Henrik Ibsen, A Doll's House. Dover Thrift Edition, 1992
Koht, Halvdan. 1971. Life of Ibsen. New York: Benjamin Blom.
Meyer, Michael. 1971. Ibsen. A Biography. Garden City, N.Y.: Doubleday and Company.
Northam, John. 1965. "Ibsen's Search for the Hero." Ibsen. A Collection of Critical Essays. Englewood Cliffs, N.J.: Prentice-Hall.
Ibsen, Henrik. A Doll House (1879). Trans. Rolf Fjelde. Rpt. in Michael Meyer, ed. The Bedford Introduction to Literature. 5th edition. Boston & New York: Bedford/St. Martin's Press, 1999. 1564-1612.
Ibsen, Henrik. "A Doll House." The Bedford Introduction to Literature: Reading, Thinking, and Writing. By Michael Meyer. 9th ed. Boston: Bedford of St. Martin's, 2011. 1709-757. Print.
Ibsen, Henrik. A Doll's House. Literature and Ourselves. 2nd Ed. Ed. by Gloria Henderson, Bill Day, and Sandra Waller. New York: Longman, 1997
While serving as an incredibly impactful piece of indirect characterization for Denver, there are many dynamics of this paragraph that I found intriguing. There are so countless powerful phrases within the short excerpt making it almost too difficult to decide where to begin. Nevertheless, I think beginning with my relation to the words is an acceptable starting spot. This girl is clearly hiding from the world that she fears, whether it be from personal experience or what her mother has taught her, she is afraid to face the world and attempts to take refuge in a secret room. This is so similar to all human being as running away from our problems or fears is a common instinct that, in fact, propels the dilemma to greater proportions. I know
Body A: Blood to blood relations often hold a considerable amount of care and love for each other. First of all, the development of the relationship between Sethe and Denver shows how blood to blood relations carry the care and love that no other person would carry. In the novel Beloved, Denver was the daughter and one and only person in Sethe’s family. The house 124 in Bluestone Road had only two residents, Sethe and Denver. Both Sethe and Denver created an amazingly strong bond between each other. In Sethe’s whole life, she only saw people getting away from her, her husband Halle, her mother-in-law Baby Suggs, and her two sons Howard and Buglar. However, Denver was the only person who was staying with her all the time. The care shown by Denver for her mother is incredible. She is one of those daughters who would sacrifice anything for her mother. Denver gets emotional when she remembers that she has no friends and she does not know any another residents around their house. However, she buries all her emotions and sorrows when she reminisces that she has her mother with her who brought her to this world. Her mother fills her heart with everything. She knows that her mother Sethe sacrificed a lot when she was an infant. Sethe also informed Denver how she fought against many obstructions when Denver was in her mother’s womb. All these situations made them valuable to each other. As a mother, Sethe has done astonishing activities which made Sethe a star in Denver’s eyes. The love and sacrifices from Sethe for her daughter Denver is illustrated in the following quote,
Davies, H. Neville. 1982. "Not just a bang and a whimper: the inconclusiveness of Ibsen's A Doll's House." Critical Quarterly 24:33-34.
Ibsen, Henrik. A Doll House. The Bedford Introduction to Literature: Reading, Thinking, Writing. 5th ed. Ed. Michael Meyer. Boston: Bedford/St. Martin's, 1999. 1564-1612.
Although Krostad’s blackmail does not change Nora’s whimsical nature, it opens her eyes to her underappreciated potential. “I have been performing tricks for you, Torvald,” (Find a different quote perhaps?) she exclaims in her confrontation with Torvald. She realizes that she has been putting on a facade for him throughout their marriage. Acting like someone she is not in order to fill the role that her father, Torvald, and society expected her to have.
In my opinion I don't think body image will ever stop being an issue, not everyone will be able to accept what they look, they may accept that they can’t change the way they look but it doesn't mean they won't stop trying, I believe men and women try to achieve this ideal body because they see so many models with this perfect figure when in reality the model doesn't even look like what the image is portraying them to look like, It is as if it is brainwashing us to think we should look like that when the only person we should look like is our self.
Ibsen, Henrik. “A Doll’s House.” Literature for Composition. Ed. Sylvan Barnet, William Burto, and William E. Cain. 9th Ed. New York: Longman, 2010. 792-841. Print.
Ultimately Denver and Sethe are bound to Beloved. The three are fixed on story-telling, although it hurts Sethe, she keeps telling nearly everything about her past to Beloved. One day, they go to the Clearing, a space in the wood that was "wide-open" and blessed, where it was “possible to love”. Sethe comes to this place to figure out what to do with her past.
Two things I would change are to make this due earlier so it doesn’t coincide with every other paper due close to finals. First, it would get us going into other papers/projects and second, it would give us a better chance to research without the million other people doing the same thing. The second reason is to have a period or two to get to understand what ASA format is like and having time to explore that as a class. I hope this is in ASA format but I wouldn’t be surprised if I did something wrong.
Ibsen, Henrik. A Doll's House. In Four Major Plays. Trans. James McFarlane and Jens Arup. Oxford: Oxford University Press, 1981.
“A Doll’s House” is a play written by a Norwegian playwright, Henrik Ibsen. The play was published in 1879, and is a literary piece that triggered almost vigorous reactions from the audience. Moreover, the play was considered Ibsen’s masterpiece and he was determined to provoke a reaction from the public. His intention was to bring awareness to the problem of gender roles in the 19th century society: the role of women who were used as decorations of the household. The title this play, “A Doll’s House”, foreshadows the play’s protagonist, Nora Helmer, and her role in the household. The title of the play suggests that Nora is a doll in her own home.
Ibsen, Henrik. "A Doll House." Ibsen : Four Major Plays - Volume 1. Trans. Rolf Fjelde. New York: Signet Classics, 1992. 43-114. Print.