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Women's identity in a doll's house time
Society in the doll house opportunities and limitations for women
Women's identity in a doll's house time
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The Dollmaker by Harriette Arnow
The Dollmaker by Harriette Arnow is the story of one woman whose genius is undermined by those surrounding her. Gertie Nevels, a tall, big-boned woman raised in the Appalacian region of Kentucky is creative, self-sufficient, strong, and resourceful. In her native home, Gertie creates for herself an atmosphere where she is able to survive any situation and has everything under control. As Wilton Eckley states in “From Kentucky to Detroit“, a chapter in his novel, Harriette Arnow, “Certainly while the family is living in Kentucky, she [Gertie] is self-sufficient and has no fear that she will be unable to get along if Clovis is called to join all the other younger men of the community in the service” (87). In fact, she is able to make her dream of moving into a larger farm and expand her comforts and resources, along with providing better for her family without the help of her husband; however, when she is forced to move to Detroit, she is out of her element. Throughout her life, she has molded herself to be able to do any task that is stereotypical of males or females. Even though initially she finds it hard to live the “city life” that is typical of Detroit, she is able to adapt her mind to be able to tolerate- and eventually accept- her new surroundings. Although Gertie Nevels shows obvious genius, because of her geographic disposition and gender, she is unable to use her abilities to the fullest extent.
Harriette Arnow uses the first scene in her novel to exemplify Gertie’s strength, intellectual capacity, practical usage of skills and courage; furthermore, she portrays (within the reaction of the soldiers) the reaction that outsiders usually have to her. Because of her dialect a...
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...er needs the block of wood to feel as if she can connect to God. Harriette Arnow, in her “Letter from a Writer“, states that “Gertie split her wood because she didn’t need it anymore; it was not an act of despair.” Moreover, “It hurt and was a sacrifice in a sense made for all the things she hated” (25). Furthermore, she comments that Gertie “split the block of wood, knowing the things she had wanted in the face were about her in the world.”
Works Cited
Arnow, Harriette. The Dollmaker. New York: Avon, 1972.
... “Letter from a Writer.” Now and Then 5 (Fall 1988): 24-25.
Eckley, Wilton. “From Kentucky to Detroit City” (Chapter 5). Harriette Arnow. New York: Twayne, 1974. 85-100.
Walsh, Kathleen. “Free Will and Determinism in Harriette Arnow’s The Dollmaker.” South Atlantic Review 49.4 (1984): 91-106.
“A Doll House.” Literature: A Portable Anthology. Ed. Janet E. Gardner, Beverly Lawn, Jack Ridl, and Peter Schakel. Third edition. New York: Bedford/St. Martin’s, 2013. 850-908. Print.
Exposition: Annabelle Doll is no ordinary doll, when she was being manufactured; she and a few other dolls took the doll oath which said that dolls were allowed to be alive. If a doll who had taken the oath accidentally been seen by humans, the first time they would be in TDS or Temporary Doll State; the second time they would be put in PDS or Permanent Doll State. If a doll were to be seen moving by a human and they purposely were seen they would be put into PDS. Annabelle Doll was an old style, Victorian doll made of china, she was passed down three generations, but when the third generations family needed another dollhouse play set for their youngest daughter they bought a plastic one. Since the new dolls, the Funcrafts were made of plastic they were a little more adventurous.
Detroit: Gale Books, 2007. Literature Resource Center -. Web. The Web. The Web.
Burg, David F. Chicago’s White City of 1893. Kentucky: The University Press of Kentucky, 1976.
Henrik Ibsen’s A Doll House, which was written during the Victorian era, introduced a woman as having her own purposes and goals, making the play unique and contemporary. Nora, the main character, is first depicted as a doll or a puppet because she relies on her husband, Torvald Helmer, for everything, from movements to thoughts, much like a puppet who is dependent on its puppet master for all of its actions. Nora’s duties, in general, are restricted to playing with the children, doing housework, and working on her needlepoint. A problem with her responsibilities is that her most important obligation is to please Helmer. Helmer thinks of Nora as being as small, fragile, helpless animal and as childlike, unable to make rational decisions by herself. This is a problem because she has to hide the fact that she has made a decision by herself, and it was an illegal one.
Upon reading “A Doll’s House” by Henrik Ibsen, many readers may find the character Nora to be a rather frivolous spending mother of three who is more concerned about putting up a front to make others think her life is perfect, rather than finding herself. At the beginning of the play, this may be true, but as the play unfolds, you see that Nora is not only trying to pay off a secret debt, but also a woman who is merely acting as her husbands “doll” fulfilling whatever he so asks of her. Nora is not only an independent woman who took a risk, but also a woman whose marriage was more along the lines of a father-child relationship.
Detroit: Gale Books, 2007. 649-687. Gale Virtual Reference Library -. Web. The Web.
The play A Doll’s House, written by Henrik Ibsen in 1879, recounts a story of a woman who is struggling to exist within the life she has accustomed herself to. The main character Nora is depicted as a woman that has accepted the way things were being held in her household without questioning the fairness or morals of the situation. Ibsen addresses the roles of woman in society and shines a new light on the concept of feminism in the time period. Nora represents the new light on feminism that was not quite popular during the time period in which Ibsen wrote the play. Nora’s character illustrates a concept that was foreign to most women during the time, and allowed for women to realize that they should be living to their full potential. Ibsen portrays Nora as childlike, tolerant, and loyal throughout the play, defining her true essence and eventually leading her to make a decision that would change the course of her life.
Jacobs, Jane. "12-13." The Death and Life of Great American Cities. New York: Random House, 1961. N. pag. Print.
A Doll?s House presents a revolutionary change for Norway in the 1880?s. During this time period women were seen as second or even third class citizens, and though numerically this is not true, a minority . Ibsen presents his character Nora as a plaything, sorely manipulated by the men in her life. As the play pro...
Krogstad is one of the most complex characters from Ibsen’s A Doll’s House. Initially, Krogstad appears to be the villain of the play. Nora owes Krogstad a great deal of money. Krogstad uses the existence of her debt to blackmail Nora, threatening to inform her husband of her debt and her forgery if she does not use her influence to secure his position at the bank. Krogstad serves at a catalyst which brings about the central conflict of the play. However, Krogstad has other roles as well. Krogstad is a foil to Nora. He had been the exact same situation that Nora is in now. He had forged a signature to save the life of someone dear to him. Krogstad is also a foil to Torvald. Whereas Torvald continues to advance in society, Krogstad is at risk at losing his livelihood and reputation. In an unexpected twist, Krogstad becomes the hero of the play by the end. When love and hope is restored to him, he withdraws his threats against Nora and forgives her debt, saving Nora from suicide or from a life of ignominy.
In Henrik Ibsen’s A Doll House the main character, Nora Helmer, shows us the story of a woman who has borrow money without her husband’s consent in order to save his life. Although this noble act would be admired by most, Nora has to keep it a secret from Torvald Helmer, her husband, as he would see it as a betrayal. The measures that Nora takes in order to keep the loan a secret, create circumstances that bring Nora—whose only duty is to serve her husband— to discover that her life can be more than just being an accessory to her husband. She becomes her own self. In her struggle to keep the borrowed money from her husband’s knowledge Nora begins a transformation from dependence of Torvald, to being self-efficient, self-worthy, and self-independent—qualities women of her time lacked of—because all, such as Nora never displayed a mind of their own. At the end, when Nora’s secret is revealed to Torvald and his reaction is to condemn her for borrowing the money, Nora realizes that she no longer fears her husband’s reaction; she is no longer worried of keeping appearances of what society says she should be as a wife, and mother. The secret that Nora tries very hard to keep hidden, gives her the opportunity to discover herself as an individual, and what she is capable of doing regardless the constraints of society.
“A Doll’s House” gives the reader a firsthand view at how gender roles affected the characters actions and interactions throughout the play. The play helps to portray the different struggles women faced during the 19th century with gender roles, and how the roles affected their relationships with men as well as society. It also helps to show the luxury of being a male during this time and how their higher status socially over women affected their relationships with woman and others during this time period.
A Doll’s House and The Importance of Being Earnest were both written in the late nineteenth century at a period in time when gender roles in society were not only significant to the structure of society but were restrictive and oppressive to individuals. This was particularly true in the case of women who were seen as the upholders of morals in polite society and were expected to behave accordingly. A Doll’s House and The Importance of Being Earnest challenge society and its inclination to categorise and expect certain behaviour of individuals based on their gender.
Those of you who have just read A Doll's House for the first time will, I suspect, have little trouble forming an initial sense of what it is about, and, if past experience is any guide, many of you will quickly reach a consensus that the major thrust of this play has something to do with gender relations in modern society and offers us, in the actions of the heroine, a vision of the need for a new-found freedom for women (or a woman) amid a suffocating society governed wholly by unsympathetic and insensitive men.