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The portrayal of women in literature
The portrayal of women in literature
Gender in literature
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With both author’s realistic description and depiction of two dysfunctional families, Ibsen and Strindberg really both push the envelope on how realistic they may seem. They are not afraid to portray families how the truly are, many times ugly and unseemly. In Ghosts everyone’s roles as mom, dad, son, and daughter is abandoned and narrate to each other as normal human beings, but especially those of mothers. In Strindberg’s The father there is no denying that the conception of a feminist household exist. Laura is clearly in look for power, but her exclusion from the self-given power of the Captain drives her to use her daughter for maternal rule. In addition, Ghosts paints a brilliant picture in helping convey the state that this family is in. We should really begin in talking about the plague, the man compared to the devil, Engstrand. As we read the play we come to understand that Engstrand is not the legitimate father of Regina, and there seems to be evidence that she knows it, too. The notion of family is one of the social crutches that Engstrand tries to manipulate to his own ways (he does the same with religion). “What the devil do you mean? Do you set yourself up against your father, you hussy? (I.12) Engstrand clearly seems paranoid in his tone of voice and internally knows the truth about Regina’s situation. There is one idea that is part of the “ghosts” that Mrs. Alving speaks of: MRS.ALVING. Ah, but here he has his mother, you see. My own darling boy-he hasn’t forgotten his old mother! MANDERS. It would be grievous indeed, if absence and absorption in art that sort of things were to blunt his natural feelings (I.24) This theory of filial respect is one of the “ghosts” Helene clings to until the very last dramati... ... middle of paper ... ...art f all evil in society, a place where woman can be sensual man can to anchors and a prison for children (60). As we have exhausted, these families are unfamiliar but yet real. Their mothers play a vital role in the present and future of both plays. Both plays support this theme of families and their dysfunctional way of being and their unparallel patterns oppose to those of the normal, traditional standards. Works Cited Carlson, Harry G. Introduction. Strindberg: Five Plays. Trans. Carlson. Berkeley: U of Cal P, 1983. 1-13. Print. Ibsen, Henrik. Ghosts in Ibsen: Four Major Plays: Ghosts, An Enemy of the People, The Lady from the Sea, and John Gabriel Borkman, Vol. 2. Trans. Rolf Fjelde. New York: Penguin, 2001. 1-81. Print. Strindberg, August. The Father in Strindberg: Five Plays. Trans. Harry G. Carlson. Berkeley: U of Cal P, 1983. 19-62. Print.
The plays, The Glass Menagerie and A Raisin in the Sun, deal with the love, honor, and respect of family. In The Glass Menagerie, Amanda, the caring but overbearing and over protective mother, wants to be taken care of, but in A Raisin in the Sun, Mama, as she is known, is the overseer of the family. The prospective of the plays identify that we have family members, like Amanda, as overprotective, or like Mama, as overseers. I am going to give a contrast of the mothers in the plays.
Meyer, Michael. The Bedford Introduction to Literature. Ed. 8th ed. Boston: Bedford/St. Martin's, 2008. 2189.
Pellegrini, Ann. “The Plays of Paula Vogel.” A Companion to Twentieth-Century American Drama. Ed. David Krasner. Malden, MA: Blackwell, 2005. 473-84.
Wardle, Irving. "American Theater Since 1945." American Literature Since 1900: Penguin History of Literature, Vol 9. Ed. Marcus Cunliff. USA: Penguin, 1994. 205-236
Paley, Grace. "Samuel." Literature for Composition: Essay, Fiction, Poetry, and Drama. 5th ed. Ed. Sylvan Barnet. New York: Longman, 2001. 190-192
Levine, Robert S. The Norton Anthology of American Literature. 7th Edition. Volume B. New York: Norton, 2007. 1696. Print.
3. Shipley, Joseph T. The Crown Guide to the World's Great Plays. New York: Crown Publishers, Inc., 1984. 332 - 333.
Sexton, Anne. "Her Kind." Kennedy, X.J. and Dana Gioia, eds. Literature: An Introduction to Fiction, Poetry, and Drama. 8th ed. New York: Longman, 2002. 770.
Ibsen writes his play A Doll House to explain the life of a housewife and her struggles with her own actions. Ibsen examines the emptiness in the lives of Nora and Torvald as they lived a dream in a Doll House. Both awaken and realize this emptiness and so now Torvald struggles to make amends as he hopes to get Nora back possibly and then to restore a new happiness in their lives. Ibsen examines this conflict as a rock that breaks the image of this perfect life and reveals all the imperfections in the lives of those around.
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.
“A thousand words will not so deep an impression as one deed”, is said to put emphasis on that what you do, your actions, is more significant and shows your intentions more clearly than what you say; it can be related to another quote, “Actions speak louder than words”. In Henrik Ibsen’s play ‘Ghosts’ actions do speak more symbolically and more significantly in order to emphasis the themes of the play, especially the theme of memory and the past, which can be referred to the theme of ‘Ghosts’.
In order to explore the theme of feminism in Henrik Ibsen’s play, A Doll’s House, the following must be considered: the roles men and women are expected to have, what feminism is, the different ways that feminism can be shown in the play, and finally how feminism effects marriage. The roles that men and women are expected to have is a major contributor to the different ways that feminism is shown in the play, as well as how feminism effects marriage. Therefore, there must be a clear understanding as to what these expectations are so that the effects of following or rejecting these roles can be seen. In addition, there has to be knowledge of how following or rejecting these roles influences feminism in this play. Another thing that must be understood in order for there to be a clear viewpoint on what is being analyzed in Ibsen's work is what feminism is.
...or them. She then asks him “will you leave me alone now?” (Line 179), meaning that he now has found the other ghosts. And therefore doesn’t need the company of the living anymore. The protagonist doesn’t need to hold on to his memory, because she knows he is safe and in good hands with the rest of the family. First when she knows her father is safe, she can get closure, and not only let go of him, but the entire family. The story ends with her saying: “I’ll se you then” (line 185) and her father replying: “you know where we are” (line 186), as if he reassures her that she will rejoin them when she dies.
Ibsen, Henrik. A Doll's House. In Four Major Plays. Trans. James McFarlane and Jens Arup. Oxford: Oxford University Press, 1981.
Although Ibsen portrays A Doll House as a Realistic play due to the societal problems, which include women, illnesses, and laws; he attempts to address society and cause change within the Norwegian society without openly talking about these issues. The actions of characters, such as Nora, represent the fact that an individual can make progress in societal reform. Therefore, Ibsen’s identification and attempt to change society symbolizes a Realistic desire of finding solutions to problems. The ultimate goal of Realism is to better everyday life for the majority of people, while trying to deepen the understanding of society’s problems.