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Post by rubyking on Jan 14, 2014 19:21:20 GMT
I didn't read this so much as a feminist piece rather than a realist piece (And god knows I probably read a little too much of that). I don't see why we automatically have to label it as "feminism" just because it involves a woman at the center of conflict. I don't know as much about feminism as others, but these issues of morals, honesty, etc. are relevant to anyone and everyone. I didn't see Nora's decision to leave her husband so much as bravely breaking out of her mold, but just following the general human codes of what it means to respect yourself, of which disregard gender all together. In terms of regarding "A Doll's House" a tragedy, the aspect that hit me the hardest was Torvald's assumption that he could revoke all of his insults and abuse and that Nora would immediately forgive him. That's some pretty sick behaviour, and being emotionally taken advantage of is one of the worst feelings one can experience. It's tragic that after eight years this man still doesn't know his own wife.
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Post by shannonfender on Jan 20, 2014 6:48:04 GMT
I read A Doll's House as a feminist work. For me, a pivotal point in the play is when Torvald says, "But no man would sacrifice his honour for the one he loves", to which Nora replies, "It is a thing hundreds of thousands of women have done". With this simple statement, Nora speaks out against the repression of women in her era. Nora expresses not only her own hardship with Torvald, but the hardship of many other wives who live under a domineering husband. Given the time setting of this play, I would argue that this feminist message has the most weight in the story. Likewise, the message at the end of the novel is one in which Nora is encouraged to make something out of herself rather than be dependent and incapable. With Torvald as the household authority/provider and with maids to care for the household duties, Nora was, yes, extremely spoiled, but also tragically devalued as Torvald's "play-thing". At the end of the play, Nora realizes that she is incompetent and unknowing of the world, so she leaves in search of her own independence. In the end, whether Henrik Ibsen likes it or not, A Doll's House can be easily interpreted as a feminist work.
Also as a quick response to your final question... I would not define this play as a tragedy. Although abandoning your kids is a dire situation, I found myself rooting for Nora by the end of the play. Since the ending offers potential for a positive change in Nora's life, I would not call A Doll's House a tragedy.
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Post by danyhong55 on Jan 21, 2014 3:19:59 GMT
Though some feminist ideas manifest themselves in the play, "A Doll's House" is not a markedly feminist piece of work. One problem many people have with feminist criticism is that they claim feminists focus solely between the power balance of men and women. Considering "A Doll's House" as only a feminist piece of literature runs into this problem. The term "Doll" is considered sexist in that it is firstly a toy designed for children of the female persuasion and that it used to be a common moniker for women. A large and valid criticism of the term doll that is brought up towards the end of play is that Nora remarks that she used to be her fathers doll and then a doll of her husband. It seems denigrating and dehumanizing to treat someone, not as an equal or even human, as if they were an inanimate play-toy. What a tragedy! Moreover, Torvald refers to Nora as "his little squirrel." At best Torvald is a crappy person with a superiority complex; at second best Torvald is a sexist product of his times. To deny that this work is not at all feminist is to read with the eyes closed.
That isn't to say, however, "A Doll's House" is solely about feminism. We often create false dichotomies saying "this thing is either A or B!" In the real world, feminism and autonomy are not mutually exclusive. After stating that Nora was the doll of her father and husband, she goes on to say that her children, both male and female, are in turn her dolls to play with. The heart of "A Doll's House"'s message lies here when she finally defies the perpetuation of creating dolls of people. In the end, gender is not the main point in this play. Instead, it's about the concept of people being good to each other. While gender equality is a large part of "A Doll's House," when the theme is equality for all, how can it not be?
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Post by haleyjensen on Jan 21, 2014 22:31:14 GMT
First things first: I have a love-hate relationship with this play. I love the plot twists and turns (cliché or not, I'm still a fan), really enjoy the diction that Isben uses with his characters, and as an archetypal critic, think that this work lends itself very easily to archetypal criticism and thus is a beautiful piece of art. I hate the ending of this play and I also find Nora very irritating at times. Even in Torvald's ignorance, I was still much more annoyed with Nora than I was with Torvald. I think this is because I feel as though Nora has a better grip on her actions than Torvald does in his response to her actions. I'd be interested to hear the psychological critics on this, but, it seems that because Nora is able to so carefully twist the world around her that she must have some understanding of what she is doing.
Secondly: I'm pretty sure that for the rest of my life I will compare every manipulating female character to Cathy from East of Eden, but Nora did remind me a bit of Cathy. Although Nora acted dependent on Torvald, she really wasn't. Nora was manipulative and cunning, and I don't see her departure at the end of the story as genuine, but rather selfish. I definitely see some of the reasons that this would be considered a feminist story, but I see it more as a story about the selfish side of autonomy. For me, this hits home with more of a reader response feel that is does with feminist criticism. I am so blessed and grateful that my parents are married, but I've seen divorce do serious damage in the lives of some of my friends. Ultimately, the ending of this story (whether implied from the text or not) is that Nora and Torvald split up. I can't imagine how hard it would be to have to adjust to a lifestyle without one of the significant members of your family being around all the time. Even though Nora was never really a great mom to her kids, she was still their mom. It's similar to the dynamic between Hamlet and his mom. Sure she and Nora may not be the best parents in the world, but their children still love them regardless.
If Nora hadn't walked out on Torvald, I would've definitely considered this a feminist story. But as soon as Nora leaves, the bigger problem is not how her husband treats her, but the injustice she does to her children and husband by leaving them. I do appreciate that Nora finally seems genuine in her feelings and actions in the last scene, and I understand that she is unhappy, but I don't see her concerns significant enough to end a marriage.
As my definition of tragedy evolves, I am beginning to put more weight in the idea that tragedy is emotionally strenuous. I think things that are emotionally strenuous over a long period of time slowly become tragic. I do think this story is a tragedy because children not having one of their parental units around will definitely cause them a tragic amount of anxiety and confusion, and leave them with feelings of abandonment, even if Nora wasn't the greatest mother. |
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