Feminism and "A Doll's House"
In the globe, feminism is a common practice in the social customs of both developed and developing nations. This is because, in both cases, there has been an apparent similar portrayal of women, who have gone through various phases of social levels compared to the consistent social dominance, which is evident in almost every society in the globe. Feminism seeks to know why women continue to play a subordinate role in most human social settings. In addition, the idea of feminism shows concern in respect to how the women's lives have changed in history. It also asks why women's experiences differ from those of men, whether the variations may have arisen due to historical or social construction.

In addition, feminism involves the belief in the social, economic, and political equivalence of the genders. Although research suggests that the practice originated in the est, currently, it is a…...

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Works cited

Casad, Bettina J., and Alian S. Kasabian. "Feminism." Encyclopedia of Group Processes & Intergroup Relations. Ed. John M. Levine, and Michael A. Hogg. Thousand Oaks, CA:

SAGE Publications, Inc., 2010. 282-285. SAGE knowledge. Web. 26 Nov. 2013.

David M. Galens and Lynn M. Spampinato. "Overview: A Doll's House." Drama for Students.

Ed. Vol. 1. Detroit: Gale, 1998. Literature Resource Center. Web. 26 Nov. 2013.

" Ibsen demanded justice and freedom for every human being and wrote a Doll House to inspire society to individualism and free them from suppression." (http://www.helium.com/items/1121047-henrik-ibsen-dolls-house).
In the play, the family exists in the way society defines it -- a husband, a wife, children and a home; but in reality it is just a collection of strangers living in the same house. For Nora the crisis of blackmail and her husband finding out about the loan and forgery becomes a moment of enlightenment. When Torvald yells at her and does not takeover to save he, she learns that he is not a real husband and she is not valued as herself but for the role she plays in Torvald's efforts to meet society's expectations. Nora turn her crisis into a moment of self-actualization.

For Torvald, the crisis he thought he faced was the consequences of Nora's actions, however, the real crisis Torvald…...

Ibsen's "A Doll's House"
In A Doll's House by Henrik Ibsen, the play's protagonist Nora Helmer has her character defined, in part, by the use of a dramatic foil for her -- her former schoolmate Christina, always addressed as "Mrs. Linde" because she is a widow. Ibsen uses Mrs. Linde's secondary subplot as a way of commenting or drawing attention to the primary storyline about Nora and her husband Torvald. But in each of the three acts of Ibsen's drama, the dramatist uses Mrs. Linde effectively as a foil, by advancing each element in her lesser storyline as a means of providing a constrast to (or perhaps at times a reflection of) Nora, the protagonist and the "little doll" of the play's title (Ibsen 84). I hope to demonstrate this by showing how Mrs. Linde is used as a foil in each of the three acts, and concluding by noting how…...

Ibsen's a Doll's House as Modern Tragedy
The most powerful and lasting contributions to the literature of a given era are invariably penned by bold thinkers struggling to comprehend the ever changing world in which they live. Spanning the 18th and 19th centuries, the European Modernist movement, which was propelled by the authorial brilliance of authors and playwrights such as like the Norwegian Henrik Ibsen, was shaped and inspired by the momentous political and social upheaval roiling all the Old Continent following decades of societal transformation. The toppling of previously infallible monarchies and the sudden distribution of democratic ideals across boundaries of gender and class forced the literary-minded creative class to recalibrate their worldview instantly, and the result is a wealth of material -- including novels, plays and critical pieces of nonfiction -- all of which focuses intently on the crumbling conventions of marriage and faith. ith the external foundations of…...

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Works Cited

Gassner, John. "The Possibilities and Perils of Modern Tragedy." The Tulane Drama Review 1.3

(1957): 3-14.

Goldman, Emma. The Social Significance of Modern Drama. Boston: The Gorham Press, 1914.

Ibsen, Henrik. A Doll's House [Illustrated with photographs]. William C. Archer translator.

He feels that Nora's freedom is not a reality since she couldn't possibly just leave her house and establish her own identity without money. "Nora needs money -- to put it more elegantly, it is economics which matters in the end. Freedom is certainly not something that can be bought for money. But it can be lost through lack of money." (Found in Schwarez)
In short, whatever were the reasons behind subjugation, the fact remains that women in the 19th century and to a large extent, even today are considered the second grade citizens of the world. Though men around the world would reluctantly accept that their lives are meaningless without women, the world in general wouldn't allow women to occupy an equal place right beside men. If the situation is still such today, we can only imagine how restrictive they must have been in the 19th century when the…...

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References

Vera Schwarez. (1975) Ibsen's Nora: the Promise and the Trap. Bulletin of Concerned Asian Scholars Volume: 7. Issue: 1.

Harold Bloom (ed) (1999) Henrik Ibsen; Chelsea House Publishers; Philadelphia;

Brian W. Downs. (1950) a Study of Six Plays by Ibsen. Cambridge University Press. Cambridge, England.

Cynthia Griffin Wolff (1994) Lily Bart and the Drama of Femininity. American Literary History. Volume: 6. Issue: 1.

" Otherwise, Nora's interest in who is employed at the bank -- Krogstad or Mrs. Lind -- would wholly ruin Torvald's carefully constructed social reality. This, essentially, is the only way in which a woman playing the feminine role is able to bend the rules; Nora can exert her influence, but only by emphasizing her helplessness.
Throughout A Doll's House there is an interesting relationship between parents and their children. Recurrently, we are told that both Nora and Torvald believe that a vast number of traits can be passed down to children through their parents. Foremost among these traits are those dealing with money. Torvald suggests that Nora's capacity as a spendthrift comes from her father: "Still, one must take you as you are. It is in the blood; for indeed it is true that you can inherit these things, Nora." (Ibsen, 4). Yet overall, the characteristics that Nora and Torvald…...

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Works Cited

1. Ibsen, Henrik. A Doll's House. New York: Dover Publications, 1992.

Ibsen's Nora
Although it is difficult to know exactly how audiences watching Henrik Ibsen's A Doll's House felt about the content of the play when it was first performed, it is difficult for us reading or watching it in the 21st century to see it as anything but a strongly feminist statement.

hat is especially striking about the powerful feminism of the play - other than the year in which it was written - is the fact that Ibsen himself always claimed to be resolutely apolitical. And yet for a man who claimed in no way to be either a feminist or more generally an advocate for social change, his exploration of the ways in which women were continually infantilized by society in fact seems highly political to us, and in fact is one of the reasons that the play remains so compelling to us more than a century after it was…...

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Works Cited

Davies, A. Neville. "A Doll's House is Inconclusive" in Hayley Mitchell (ed.). Readings on a Doll's House. New York: Greenhaven, 1999.

Eubank, Inga. "Ibsen and the Language of Women" in Hayley Mitchell (ed.). Readings on a Doll's House. New York: Greenhaven, 1999.  http://www.owlnet.rice.edu  http://www.ssn.flinders.edu.au/scanlink/nornotes/vol2/articles/hurrell.htmhttp://nauvoo.byu.edu/TheArts/Theater/studypackets/lesson01/context.html

Ibsen, Henrik. Four Major Plays: A Doll House, the Wild Duck, Hedda Gabler, the Master Builder. New York: New American Library, 1992.

Kauffmann, Stanley. Ibsen and Shaw: Back to the future. Salmagundi 128/129, Fall 2000, 275-280.

Mattel Faced in China
In 2009 Mattel opened a six-story House of Barbie in Shanghai, expecting it to be an enormous hub for an emerging market in China. However, just two years later Mattel was forced to close the doors on the $30 million facility. This paper will explain why Mattel failed to make an impact with its House of Barbie in Shanghai. It will show the problems that the company faced going in, which it failed to sufficiently consider, and how those problems might have been overcome.

The main points that this paper will examine are the specific market problems that Mattel faced by opening its store in China as well as the cause of the failure in terms of values and attitudes, gender differences, polite behavior expectations, forms of communication, importance of emotion, and education. The last points will focus on recommendations. In short, the American company expected the…...

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Reference List

Burkitt, L. (2013, November 7). Mattel Gives Barbie a Makeover for China. The Wall

Street Journal. Retrieved from  http://www.wsj.com/articles/SB10001424052702304672404579183324082672770 

Rose, I. (2014, November 26). Can Barbie Conquer China? BBC News. Retrieved from  http://www.bbc.com/news/business-30210261 

Voigt, K. (2012, November 21). What do Chinese consumers want? Not Barbie. CNN.

The reality of this truth is that is Nora does not know herself, her husband cannot possible know who she is. Nora experiences the pain of a blind love that has finally seen the truth. In a moment of enlightenment, she tells her husband, "You don't understand me, and I have never understood you either -- before tonight" (194).
For years, Nora lived safely behind the lie that she called a marriage but after Torvald found out about the loan, the happy marriage was gone and both partners saw the lies of one another. Nora's difficulty with love is different in that she makes a positive discovery in addition to the terrible truth she has learned. In short, not all is in vain. Nora can walk away a more informed, educated, and independent woman as a result of what she went through with Torvald. She can also look forward to…...

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Works Cited

Chekhov, Anton. "The Lady with the Pet Dog." The Norton Anthology of Short Fiction R.V. Cassill, ed. New York W.W. Norton and Company. 1981.

Ibsen, Henrik. A Doll's House. Three Plays by Ibsen. New York: Dell Publishing Company, Inc. 1963.

307).
Yet American Girl dolls, perhaps because of their expense but also because of their reliability seldom provoke such mutilation. "I have to confess -- I have an emotional connection to this brand," admitted one adult, female NPR commentator, reviewing the film, stating that it was impossible for her to give an objective review of "Kit Kittredge, American Girl" because of her own love of the Kristen doll, as a girl, a doll that had traveled far from Sweden to settle in colonial America (Baker 2008). "She has the same name as me...I like playing with them [better than Barbies] because they're more like me," said an eleven-year-old interviewed by the NPR reporter, explaining why she adored the brand and couldn't wait to see the film

Even while some might be cynical about the fact that "a Kit doll, complete with book and accessories, will currently run you $105" and the spin-off…...

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Works Cited

American Girl Official Website. December 5, 2008  http://www.americangirl.com/ 

Baker, Jesse. "Kit Kittredge: An American Girl." June 19, 2008.  http://www.npr.org/templates/story/story.php?storyId=91680901 

Catsoulis, Jeanette. "Wholesome life lessons for budding Reporter. The New York Times. June 29, 2008. December 5, 2008  http://movies.nytimes.com/2008/06/20/movies/20kitt.html?ref=movies 

Chin, Elizabeth. "Ethnically Correct Dolls: Toying with the Race Industry."

Ibsen
In Act I of Henrik's A Doll's House, the widow Mrs. Linde comes to see Nora and during their conversations patronizes and belittles her just as Torvald does. Mrs. Linde states, obnoxiously, "you know so little of the burdens and troubles of life," because all Nora knows is "small household cares and that sort of thing!" Mrs. Linde follows her claim with the brutal statement, "You are a child, Nora," (Act I). Nora stands her ground, one point of proof that she is most certainly not a child -- if "child" is to be defined as an immature person. To analyze whether Nora is a child or not depends on one's definition of "child." Possessing emotional intelligence is a sign of maturity that many children possess in far greater proportion than their adult counterparts. However, when Nora is called a "child" the word is used in its most derogatory way.…...

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Works Cited

Bradford, Wade. "Nora Helmer: The Protagonist of 'A Doll's House'" About.com. Retrieved online:  http://plays.about.com/od/plays/a/norahemler.htm 

Goldman, Emma. The Social Significance of the Modern Drama (Boston: Richard G. Badger, 1914; The Gorham Press, Boston, U.S.A.). Retrieved online:  http://sunsite.berkeley.edu/goldman/Writings/Drama/doll.html 

Ibsen, Henrik. A Doll's House. Retrieved online:  http://www.gutenberg.org/files/2542/2542-h/2542-h.htm

Winner Not a Winner?
In the short story "The Rocking Horse Winner" by DH Lawrence, the writer creates a spooky fantasy in which three major themes, luck, money, and love combine to form a bizarre and deadly unity. The boy Paul, intuitively feeling the lack of love in his family, becomes the embodiment of his parents obsessions with money. Riding his toy rocking horse he receives supernatural messages that allow him to pick winners in real horse races. He believes that he thus renews his family's luck, by winning money which he equates on an unconscious level with love. Lawrence uses the unified themes of luck, money and love to create a symbolic representation of life that is not truly lived, but in which concepts of luck, money and love are perverted into an imitation of life, the falseness of which kills the boy Paul.

This is a story about the…...

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Bibliography

Beauchamp, Gorman. "Lawrence's The Rocking-Horse Winner." Explicator 31.5 (1973): Item 32.

Becker, George Joseph. DH Lawrence. New York: F. Ungar, 1980.

Burke, Daniel. Beyond Interpretation: Studies in the Modern Short Story. Troy, NY: Whitston, 1991.

Consolo, Dominick P. The Rocking-Horse Winner. Columbus, OH: Charles E. Merrill, 1969.

Scout initially fears "Boo" Radley based on his race and his seclusion, "You never understand a person until you consider things from his point-of-view until you climb into his skin and walk around in," (Lee 62). Yet, once she can begin to "climb" into other people's skin, she understands the error of her ways. Eventually she and her brother begin to slowly understand Boo as an affectionate person rather than one to be feared. He had begun initial communication with the children by presenting them gifts, yet still refused to come out of his reclusion, "Boo was our neighbor. He gave us two soap dolls, a broken watch and chain, a pair of good-luck pennies, and our lives. But neighbors give in return. e never put back into the tree what we took out of it; we had given him nothing, and it made me sad," (Lee 39). In…...

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Works Cited

Lee, Harper. To Kill a Mockingbird. Dramatic Publishing. 1970.

Biologist
He was born a normal, healthy boy and he grew as little boys do, with G.I. Joe dolls and plastic guns.

He seemed so normal through and through.

When he chose books over monkey bars they thought him a little bit queer.

He didn't pay sports like the others;

instead he read all of Shakespeare.

Then they told him men did not write poems, but they loved working with numbers.

So he buried his inclinations and struggled with physics blunders.

The boy became a biologist, successful and smart they all thought.

But in his heart he hated his life and the terrible lies he bought.

Jennie's Side of The Yellow Wallpaper

I feel so sorry for John's wife. Sometimes I just do not know what to think of their situation. On one hand, I understand that she is suffering from something dreadful and John is only trying to help her. On the other hand, I do not know how…...

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Topics


Discuss the presence of Jim Crow laws and their manifestation in the novel and social ramifications.
Plessy v. Ferguson was a landmark case for maintaining segregation and inequality for blacks. Discuss how this was demonstrated in the novel.
Discuss how the economic stresses of the time added to social tensions in To Kill a Mockingbird.
Tom Robinson is a black man charged with rape of a white woman, tried by a white jury. Discuss the problems inherent in this situation that will ensure he won’t receive a fair trial.
Discuss the parallelisms between Boo Radley and Tom Robinson.
Discuss the parallelisms between Jem Finch and Tom Robinson.
Dill Harris is an intriguing supporting character as he represents a melee of so many of the people and circumstances around him. Discuss.
Critics have described Atticus Finch as overly optimistic. Agree or disagree and explain.
The novel is not a mirror image of Harper Lee’s childhood, but explain how…...

I. Introduction

1. Impact of social class in A Dolls House

   1. Social class determines opportunities and constraints for characters
   2. Social class shapes perceptions and interactions among characters

II. Discrimination Faced by Characters

1. Nora Helmer

   1. Nora faces discrimination due to her lower social class
   2. Her actions are judged differently based on her social standing

2. Krogstad

   1. Krogstad experiences discrimination due to his working-class background
   2. His behavior is viewed negatively because of his social status

3. Torvald Helmer
   ....

1. In A Dolls House, gender presentation is portrayed as a socially constructed performance that restricts individuals from expressing their true identities.

2. The character of Nora challenges traditional gender norms by defying societal expectations of women as submissive and dependent on men for validation and identity.

3. Torvald Helmers portrayal as a domineering and controlling husband demonstrates the toxic effects of gender roles on personal relationships and individual freedom.

4. The societal pressures placed on Nora to conform to gender roles lead to her ultimate realization of the need for independence and self-discovery, breaking free from the constraints of....

1. Nora's transformation from a "doll's wife" to a self-sufficient individual subverts traditional gender roles by defying societal expectations of women as passive and subordinate.

2. The play challenges societal norms by depicting Nora as a complex character who defies traditional gender roles and seeks personal fulfillment outside of marriage and domesticity.

3. The contrast between Nora's submissive behavior at the beginning of the play and her assertive actions at the end highlights the transformative power of self-awareness and the rejection of societal constructs.

4. The play explores the intersection of gender and class, demonstrating how societal expectations and economic....

1. The Symbolic Significance of Title in A Dolls House

2. The Relationship Between Title and Theme in Trifles

3. The Power of Titles in Representing Themes in Literature

4. The Role of Titles in Signifying Subtext in Drama