Research Guides: Doll's House, A: Articles

Articles

"A new world for women? Stephanie Forward considers Nora's dramatic exit from Ibsen's A Doll's House"
Stephanie Forward deconstructs the multifaceted role Nora played in Ibsen's drama.
'First and Foremost a Human Being': Idealism, Theatre, and Gender in A Doll's House
The author discusses Henrik Ibsen's "A Doll's House," in terms of its modernism and theatricalism, focusing on themes of idealist aesthetics, theater, and gender. She discusses the character of Nora, the symbol of the doll, and the tarantella scene. She also places the play in the context of the cultural battle between idealists and emerging modernists in Europe at the time.
A Comparative Study of Euripides' Medea and Ibsen's A Doll's House
Euripides and Henrik Ibsen are noted for their delineation of strong women characters. Despite being Grecian and Norwegian, the female protagonists of these two writers are strikingly similar in many ways and yet so distinctly dissimilar in other ways.
Interrogating the Hegemonic Male-Chauvinistic Socio-Cultural Backgrounds and Emancipation of Women: A Study of Henrik Ibsen's A Doll's House
Norwegian playwright, Henrik Ibsen (1828-1906) is considered one the most significant dramatists in the world. He ponders over and reflects the socio-cultural webs influencing the lives of the individuals in his writings. This paper aims at the analysis of the depiction of women in a male chauvinistic society in late nineteenth Century Norway in A Doll's House. This paper also analyzes the hegemonic relationship of a woman being a wife with her spouse, with other men-women in society, her husband's perceptions about her, her selfless attitude, her psychological agony and sacrificial nature
Nora’s Ironic Longing for Christlike Love: Self-Sacrifice, Self-Love, and the “Religion of Torvald” in Ibsen’s A Doll House
This essay argues that in Ibsen’s A Doll House, both Nora and her husband, Torvald Helmer, exhibit a “religion of Torvald” characterized by their respective devotion to Torvald himself. However, while Torvald’s devotion to himself is characterized by self-love and self-centeredness, Nora’s “religion of Torvald” is based on her expectation that Torvald will exhibit the Christlike office of bearing Nora’s sins by proclaiming himself guilty of her crime of forgery, thus rendering her blameless. After Torvald shatters Nora’s expectations by reacting with abuse and cowardice to the news of Nora’s forgery and Krogstad’s consequent blackmail, Nora loses her previous faith in Torvald and instead exhibits a preoccupation with her own self that, ironically enough, imitates the self-love of the “religion of Torvald” that Torvald has practiced all along.
Shattered Back Wall: Performative Utterance of "A Doll's House"
J.L. Austin's theory on the performative speech act excludes a performative utterance in a play. This theory is challenged by a proposed performance of Henrik Ibsen's "A Doll's House" in which the use of performative utterances is examined.

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