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The theme of gender roles in a dolls house
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Scandinavian social expectations can be observed by looking at books or plays written in Scandinavia, and it can even be reduced down to a period of time. If one looks at the play Miss Julia, written by August Strindberg, the social expectations of men and women become apparent. One can see the main characters breaking society 's expectations, however, breaking these expectations does not lead them to a happy ending.
August Strindberg wrote the play, Miss Julia in 1888 and is considered a naturalistic play. Naturalistic plays take place in real time and exaggerate reality. Naturalism, in general, looks at, and examines the sexual roles of men and women. Naturalism shows that men cannot control their sexual urges and that, if unrestrained by
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Once her husband, Helmer, found out that Nora obtained a loan, he was furious with her and worried about his honor and his appearance to society. “In all these years. You who were my pride and joy, a hypocrite! A liar!... Now you’ve ruined my happiness. You’ve thrown away my whole future… I’m going under because of you, woman.” (Ibsen, 93). Helmer did not want to be seen as someone who needed help and was unable to support himself and his family. This behavior displays the fact that men were supposed to be powerful and independent.
In addition to the mentioned gender expectations in A Doll’s House, for every trait that a man has, a woman has an opposite trait. Helmer is portrayed as a more powerful and rational person, whereas Nora is portrayed as a submissive and emotional person who is dependent on her husband. Other traits that men are portrayed to have are being sexual, brave, and worldly. To counter those traits, women are portrayed as not sexual, timid and
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He is never actually seen, but he is at the epitome of manliness. The Count is an unseen character, yet the mention of him scares Jean and Miss Julia. The Count communicates with Jean, but it is unknown to the audience and Miss Julia what the Count said to Jean. Miss Julia is anxious with what was said to Jean, he tells her what the Count said and she becomes hysterical and wants Jean to tell her what to do. However, Jean cannot, he loses all his confidence as a man; it is clear that the alpha male has returned home and retain control over everything below him. “I don’t know - I can’t, now, either…. it’s just as if this coat stopped me. I can’t order you now - not since the count spoke to me…” (Strindberg,
A Midsummer Night’s Dream by William Shakespeare is one of the world’s most well known plays, yet it doesn’t pass a very simple test: the Bechdel Test. While the Bechdel Test isn’t always accurate in measuring female representation and the work’s success in films and literature, it can help to give the audience a pretty good understanding of how significant the female roles are. This test shows the reader that A Midsummer Night’s Dream doesn’t have many well represented women in it, but neither do many other great works.
Nora is a perfect example of a women from that time period, having to live under their husbands supervision and obey orders. Her husband called her names that undermined
In “Trifles” by Susan Glaspell and “A Dollhouse” by Henrik Ibsen, the authors use symbolism to shed light on the way woman were once looked down upon by men. In both plays the woman face similar derisive attitudes from the men in their lives. Women are treated as property, looked down upon and only useful in matters pertaining to cooking, taking care of children, housework and sexual objects. The women’s marriages, socioeconomic and social status are completely different, but both women reach their emotional breaking point, and grow so discontent with their situations they are willing to take drastic actions.
The women in Susan Glaspell's “Trifles” and Henrik Ibsen's “A Doll's House” creates a complex picture of male-female relationships and their effects on women's views about reality. Nora Helmer, the main character of Ibsen's play, seems totally happy with her family and social life: she is constantly pampered and patronized by her husband and plays the role of a trivial, small girl who cannot take pertinent choices. In a similar manner, Minnie Foster, the central character of Susan Glaspell's “Trifles”, spends her life in separation and rejection, banned by her husband from realizing her purpose and aspirations. Nora and Minnie are two strong females in a male-dominated world, who choose different ways to cope with gender inequalities and protest against gendered standards and expectations of female performance.
The Modern Breakthrough of Scandinavian literature, which occurred at the latter end of the 19th century, was a direct reaction to the Romantic ideas of idealism and emotion so heavily emphasized throughout the previous century. Characterized by presenting realism and naturalism, the movement brought social issues, like the drive for equality and personal liberty, to question. August Strindberg and Henrik Ibsen brought such ideas to the forefront of literature in “The Father” and “A Doll House.” Multiple characters in the plays are on journeys towards seeking their personal liberty, but the theme is arguably most exemplified in said journeys of the two stories’ main female character. Using the medium of their female leads (Laura and Nora, respectively), Strindberg and Ibsen diverge in their construction of the drive for personal liberty, where Laura represents a negative dismantling of the traditional family and Nora conversely represents the positive progressive catalyst in her drive for social equality and personal liberty.
Genders have always played a major role in society and the household throughout history. These conventions are the rules that society functions from and more importantly the ideals crucial to ones overall social status. Husbands are to support the family with financial success, which involves freedom from debt and moral guilt; meanwhile, wives have a submissive role and are to be economically and socially dependent on their husbands. Some form of gender stereotype has been a foundation to social structures throughout time. Henrik Ibsen challenges the ideals of the bourgeoisie lifestyle and gives the reader a different perspective through the play A Doll’s House. Ibsen breaks down the stereotypical role through the main female character, Nora Helmer, who fulfills a doll like stereotype very well but as the story evolves, the play shows it is only a performance in order to save her husband’s pride.
Tornqvist, Egil and Jacobs, Barry. Strindberg's Miss Julie: A Play and Its Transpositions. Norwich: Norvik, 1988.
In A Doll’s House, which ‘opened the door to a whole new world for women2’, Nora Helmer, wife to Torvald Helmer, is treated insignificantly by her husband. This is in relation to the title of the play. A doll is not a human being; it becomes what its owner makes of it. It does not have a role to play in public life. In the final act of the play, Nora certainly disputes this, by saying in the final act that ‘before everything else I’m a human being.’
Ibsen and Strindberg were influential playwrights of the late 19th century. Contrasting the earlier romanticized dramas, Ibsen and Strindberg’s respective plays, A Doll’s House and The Father, depicted traditional middle-class life. The plays explored the relationship between gender and unequal power in marriages of their time period. While both plays were written in the late 19th century, the playwrights had different approaches in presenting characters’ situations and attitudes in challenging the patriarchal dominated culture. An examination of the ways that Nora, the protagonist of A Doll’s House, and Laura, the protagonist of The Father, struggle for personal liberty show the progressive viewpoints of each author on gender roles in a marriage.
A Doll’s House illustrates two types of women. Christine is without a husband and independent at the start of the play whereas Nora is married to Torvald and dependent on him and his position at the bank. Both begin at different ends of the spectrum. In the course of the play their paths cross and by the end of the play each woman is where the other started. It appears that a woman has two choices in society; to be married and dependent on a man or unmarried and struggle in the world because she does not have a man.
Role play is a big part of “A Doll House” by Henrik Ibsen because all the characters pretend to be someone there not instead of being their selves. The one who stands out the most though is Nora. It’s almost like she lives two different lives because of how differently she acts. Nora is claimed to be Torvald’s childish, loving wife and is unknowingly a strong, independent woman. She was known as the playful, trophy wife by everyone at the beginning of the play, but as the play goes on she is shown as a self-empowering, eager woman.
Henrik Ibsen catches the world off guard with his play A Doll House. The world is in what is known as the Victorian era and women and men have specific roles. The way the story unravels takes the reader by surprise. Ibsen wanted to write a play that would challenge the social norms and that would show the world that no matter how hard they press, they would not always win. Ibsen uses society’s customs, deception, and symbolism to keep the reader on their feet and bring them a play that they would never forget.
Nora is the beloved, adored wife of Torvald Helmer. He is well respected, and has just received a promotion to the bank manager. Torvald also obtains high moral standards but he is very controlling and materialistic. During the first scene the couple is discussing the issue of borrowing money. Torvald says to Nora "…you know what I think about that. No debts! Never borrow! Something of freedom’s lost-and something of beauty, too- from a home that’s founded on borrowings and debt. We’ve made a brave stand up to now, the two of us, and we’ll go right on like that the little way we have to."
...e dialogue has entirely ceased to meander realistically, and it is hard to recognise the play itself as a cornerstone of the naturalistic movement." However, Strindberg's preface to 'Miss Julie' has been heralded as the best manifesto of naturalism written, and the techniques that he advocated such as the removal of intervals and orchestras, the use of real props, and a reduction in theatre size, have come to have strong repercussions in modern theatre.
During the time in which Henrik Isben's play, A Doll?s House, took place society frowned upon women asserting themselves. Women were supposed to play a role in which they supported their husbands, took care of their children, and made sure everything was perfect around the house. Nora is portrayed as a doll throughout the play until she realizes the truth about the world she lives in, and cuts herself free.