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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…
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…
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…
Gassner, John. "The Possibilities and Perils of Modern Tragedy." The Tulane Drama Review 1.3
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.
Nora's life has been made economically easy by her husband, but that subordination is what takes the ease out of her life of comfort. Torvald is the dominant partner in their marriage. Without his consent, she cannot make major decisions, like make a loan, without her husband's permission. "Frankenstein" is also about parental and filial obligation and relationship. Dr. Victor Frankenstein is the creator and father of the monster, but this creator and father immediately abandons his creation the moment he beholds this ugliness. As a child pursues its parent, the creature pursues Victor for his care, protection and instruction. When unable to satisfy these basic needs, the creature of ignorance, ignominy and intelligence turns to the dark and hidden part of him in calling the attention of his creator and displacing the energy his creator infused him with. He begins to destroy the people close to Victor's heart and…
Ibsen, Henrik. A Doll's House (1828). Dover Thrift Editions. Paperback, February 21, 1992
Shelley, Mary Wollstonecraft. Frankenstein (1816). A Bantam Classics. Mass Market Paperback, June 1, 1984
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…
Henrik Ibsen's play A Doll's Housemade him the father of modern literature. His writing showed tragedy and drama in a new and rather modern way. Prior to an analysis of the story at hand, it is only relevant that the plot and main characters are discussed in detail. This story does not revolve around a whole bunch of characters and is based on only a few days. The story starts off on A Christmas eve when Nora is in the living room and has just gotten back from a shopping trip. Nora is the protagonist of the play and is a wife and a mother. As soon as the play commences, the audience can tell about the rigid relationship between Nora and her husband, Torvald Helmer.
The conversation that the two are having shows that the couple and the family had to go through some tough times before.…
Adams, Robert Martin. "Henrik Ibsen: The Fifty-First Anniversary." The Hudson Review, 10. 3 (1957): 415 -- 423. Print.
Fjelde, Rolf. Four major plays: Volume I. New York City: Signet Classic. 1992. Print.
Forward, Stephanie. "A New World for women? Stephanie Forward considers Nora's dramatic exit from Ibsen's A Doll's House." The English Review, 19. 4 (2009): Print.
Freedman, Morris. The moral impulse. Carbondale: Southern Illinois University Press, 1967. Print.
Henrick Ibsen's work, A Doll's House, focuses largely on the theme of obligation, which can be viewed in turn as a basis of the human experience to which all human beings can relate. In viewing this overarching theme of "obligation" within the text, the reader can not only see the ways in which Ibsen uses specific literary devices to hone in on this theme, but lays the basis for a deeper meaning beyond the words that the reader can gauge in applying their own experiences to those addressed in the text.
A Doll's House has largely been viewed as a work that embodies the need of the individual to find out the kind of person he or she really is, along with the constant struggle one feels within themselves to become that person in every aspect of their lives. In this, comes not only an obligation to ourselves,…
Ibsen, H. (2005). A Doll's House. Clayton, DE: Prestwick House.
A Doll's House, Ibsen
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…
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.
Henrik Ibsen's a Doll's House
Henrik Ibsen's characters are not the people they appear to be. On the surface and at the beginning of the play audiences see typical people, pursuing typical lives with typical problems. Not until the play progresses, and in retrospect, do audiences realize that society negatively or positively stimulates the characters motives and actions. This paper looks at three such characters in Henrik Ibsen's play A Doll's House -- Torvald, the protagonist Nora and the antagonist Krogstad.
Though not the antagonist or the protagonist, Torvald plays a central role in A Doll's House. He is not the character that he appears to be. In the beginning of the play Emma Goldstein notes,
He is an admirable man, rigidly honest, of high moral ideals, and passionately devoted to his wife and children. In short, a good man and an enviable husband. Almost every mother would be proud…
Goldman, Emma. "The Scandinavian Drama: Henrik Ibsen: A Doll's House." The Social Significance of the Modern Drama (Boston: Richard G. Badger, 1914; The Gorham Press, Boston. 21 October 2003. http://sunsite.berkeley.edu/Goldman/Writings/Drama/doll.html.
Henrik Ibsen (1828-1906)." 2000. Pegasus web site. 20 October 2003. http://www.kirjasto.sci.fi/ibsen.htm.
Isben, Henrik. A Doll's House. 1 August 2003. Guttenberg Project. 21 October 2003. http://www.farid-hajji.net/books/en/Ibsen_Henrik/dh-index.html .
Johnston, Ian. "On Ibsen's A Doll's House." 2000. Text of a lecture delivered, in part, in Liberal Studies 310 at Malaspina University-College, Nanaimo, BC, Canada. 21 October 2003. http://www.mala.bc.ca/~johnstoi/introser/ibsen.htm.
Rank. "But, Nora darling, you're dancing as if your life depended on it!...This is sheer madness - stop, I tell you!...I'd never have believed it - you've forgotten everything I taught you" (Ibsen 204). Torvald must now take her in hand and re-teach the wild Italian dance, the tarantella.
The choice of this particular dance by Ibsen is a stroke of genius as it aptly illustrates the nature of the situation arising within Nora. The dance derives from an Italian belief that the only way to purge the poison of the tarantula was to dance wildly and dance the poison out of the body. "The tarantella is an expression of fear bordering to madness and a sensuous zest for life that also operates as a regenerative process" (Rekdal 168). ithin Nora in this dance, the audience sees the fear and madness, but the scene also foreshadows the zest for real…
Drake, David B. "Ibsen's a Doll House." Explicator. Fall 1994, Vol. 53, Issue 1, 32.
Ebscohost. Academic Search Premier. 16 March 2007. http://web110.epnet.com.
Gilman, Richard. The Making of Modern Drama. New York: Farrar, Straus, and Giroux, 1974.
Ibsen, Henrik. A Doll's House and Other Plays. Trans. Peter Watts. New York:
Doll's House" by Henrik Ibsen
The Theme of Woman Empowerment in "A Doll's House" by Henrik Ibsen
The play "A Doll's House" by Henrik Ibsen centers on the story of Nora Helmer, a simple housewife who is portrayed as a woman who holds a 'romanticized' picture of her family -- that is, she will do anything for her family to be happy. However, Nora tries to achieve this happiness through material things, where she buys things that she perceives her family will appreciate.
In this essay, a character analysis of Nora Helmer is conducted to illustrate how Nora, as the main character of the novel, has gone through character transition, i.e., from being an indecisive wife to her husband, to being a resolute woman. In this event, she finally gains her freedom and self-identity after realizing that she and her husband are living a life where love no longer exists.…
Ibsen, H. A Doll's House. From Project Gutenberg Literary Archive.
DOLL'S HOUSE AND MOAL VIEWS
"A Doll's House" is one of the classical social plays of all time. Written by Henrik Ibsen, the plays deals with deep-rooted social issues and confronts long held views about morality. It seeks to challenge the idea of morality that people held in late nineteenth and early 20th centuries and exposes the double-standards embedded in moral views of the society in those days. In Doll's house, the author explains that every person has his sense of what is moral and what is not; and what may appear moral to one might appear something restraining and restrictive to someone else.
Nora and Torvald are the two central characters in the play. They are a married couple leading a traditional married life. Nora is a timid, submissive wife who believes that it is her moral duty to take care of her husband and children. In the process,…
1) Ibsen, Henrik. A Doll's House, Electronic version; 2004 Retrieved online: http://www.gutenberg.org/dirs/etext01/dlshs11h.htm
Nora leave family end Ibsen's play "A Doll House"? 2. Define conflict Ibsen's "A Doll House"? 3. The past important understand present.
hy does Nora leave her family at the end of Ibsen's play "A Doll House"?
In spite of going through a process that makes her feel that she is guilty, Nora eventually comes to gain a more complex understanding of her life. This means that she is no longer willing to be in a position where she is solely appreciated for her role as a wife instead of her personality and thinking type. It would be safe to say that Nora reaches a point where she wants to focus on herself rather than to give everything she has for Torvald. A sudden realization makes it possible for her to see the degree to which her life was a lie. The lie was not actually connected to her borrowing…
Ibsen, H. " A Doll's House," (Arc Manor LLC, 1 Jan 2009)
"The dramatically active question of the last act is whether the "wonderful thing" will happen or not. The scene in which Nora realizes that it won't is one of the great scenes in modern drama, not only in precipitating the same mordant speeches" (loom, 32). Nora rapidly discovers that she cannot save Torvald and sadly leaves him as she knows that she needs change in her life and that she needs to do it with or without Torvald, as he does not deserve to join her as long as he does not understand what the most important values in life are.
In contrast to Nora, Torvald is exactly what society wants him to be: an individual who acknowledges the importance of material values and who considers his self-interest to be more important than anything. This character's personality is shaped by traditions and he is largely unable to understand concepts that…
Harold Bloom, ed., Henrik Ibsen (Philadelphia: Chelsea House, 1999)
Ibsen, Henrik, A Doll's House: Easyread Super Large 24pt Edition, (ReadHowYouWant.com, 2008)
Johnston, Ian, "On Ibsen's A Doll House"
Through all these events, Torvald demonstrates that he does not see Nora clearly. He is blind to her strengths and exaggerates her weaknesses, and sees her only as someone to entertain and enhance his image in the eyes of others.
HOW NORA RELATES to TORVAL
While clearly Torvald sees Nora as an entertaining child who must be guided, Nora's conversations with her friend Mrs. Linde show that to some extent, Torvald is right. Mrs. Linde visits Nora while she is in some distress. Her husband has died and she desperately needs a job. As Nora talks to her, she says whatever pops into her head first without considering how it will affect Mrs. Linde. She comments that Mrs. Linde is not as attractive as she once was. Even though she knows Mrs. Linde has no income, she boasts that with Torvald's promotion they will have "pots and pots of…
Downs, p. 113)
Drake, David B. "Ibsen's a Doll House." The Explicator, Vol. 53, 1994
Hartman, Dorothy. "Women's Roles in the Late 19th Century," in Life in the 1880's. Accessed via the Internet 6/19/05. http://www.connerprairie.org/historyonline/1880wom.html
She is striking out on her own in an attempt to make a statement about the way Torvald has treated her, but the reader has to wonder if she will actually have the strength to stay away and not return. The door closes behind her, but the situation is never actually resolved, and it seems Nora may find the outside world too harsh for her to survive, although the play makes it clear she is not afraid to work hard to survive.
The theme of social justice is not as pronounced in this play. Both Nora and Torvald seem like decent people, and so does Mrs. Linde, who wants the family to be honest with each other. Krogstad seems like a shadowy figure that uses his power over Nora to get what he wants, but he reforms in the end. Thus, his consciousness is decent by the end of the…
character Nora transformation Doll House play.
Nora Helmer is the archetypal housewife in Henrik Ibsen's "A Doll's House" and she initially seems perfectly happy with her position. She enjoys the way Torvald teases her and the fact that she is close to individuals who actually care for her. However, she slowly but surely demonstrates that she is much more than the innocent and unknowing individual that Torvald considers her to be. She goes through great efforts in order to assist her husband and has little to no problems in finding solutions to diverse problems that the couple comes across.
Nora is an intelligent woman who is often underestimated as a consequence of her gender and because her husband is often inclined to emphasize her apparent dependent nature. Instead of feeling significantly transformed after she interacts with Krogstad, she actually realizes that she fueled society's tendency to discriminate her…
Ibsen, Henrik, "A Doll's House"
Ibsen's a Doll's House
Henrik Ibsen's play A Doll's House dramatizes its heroine's dilemma by providing an example of what fate might possibly await her: the subplot involving Mrs. Linde is designed by Ibsen as a deliberate contrast and warning to Nora, the "little doll" of the play's title (Ibsen 84).. I hope by an examination of the different uses Ibsen makes of his counterplot to demonstrate that Ibsen intends the ultimate effect of A Doll's House upon the audience to be an open-ended one that is rife with competing possibilities. To some extent, Mrs. Linde's fate represents one available option for Nora among many. But in the end I think Ibsen makes Mrs. Linde more dynamic, by offering a new behavior in her final appearance which indicates a complication to her own motives.
The play introduces us to Nora as she presents a too-generous poirboire to a Porter who…
Instead of needing his help and protection, Torvald finds out that it was only Nora's role playing and really she was capable of working and doing deceptive things. Torvald's response to the letter shows that he has very little self-awareness and really thought that the "role-plays" were reality.
5. Torvald believes that marriage and family are important, and that the man or husband is in control. Torvald thinks that men should make all of the choices and that they must protect and watch out for their families, particularly their wives. Torvald had already made up his mind to fire Krogstad since he saw Krogstad as a bad person. hen Nora tried to change his mind he probably thought she was weak or stupid or a little of both. He seemed to resent her trying to get involved with his work and his decisions, as women were not meant to have…
Ibsen, Henrik. A Doll's House. Trans. William Archer. 1879. 8 Dec. 2006 http://wlac.etudes.fhda.edu/etudes/courses/westla/spring2004/WLAC_THEATER100_ZURLA/downloads/DollsHouse_full01.pdf.
People in Love in Ibsen's a Doll's House and Chopin's "he Story of an Hour"
Berkove, Lawrence I. "Fatal Self-Assertion in Kate Chopin's "he Story of an Hour" American
Literary Realism 32.2 (2000). Print. Berkove makes a very interesting point. Mrs.
Mallard's self-assertion does end her life. He argues that Louise Mallard is not a feminist heroine but "an immature egoist and a victim of her own extreme self-assertion" (10). His theory is that Louise is not a woman to look up to as a feminist icon, but a monstrous figure.
his article is useful in that most criticisms of both the Ibsen play and the Chopin story are from a feminist perspective. His argument is the direct opposite. He believes that Mrs. Mallard is too weak to face the reality of her imagination. When there is a challenge to her newly-found sense of self, she collapses.
Dagenhart, Natalia. "Freedom…
This text is useful in discussing a historical basis for the play. Unlike Nora in A Doll's House, Laura was not able to separate herself from her family. She needed to be a mother but Nora was more interested in becoming a fully-developed human being than in motherhood.
Zhuo, Liu. "The Epiphany of Woman's Consciousness: a Reading of Kate Chopin's The Story of an Hour." Journal of Northeastern University (2004). Web. The article discusses the importance of a woman's self-actualization. The argument is that not only is the woman in the story the subject of infantilizing by her husband but so too are all women in the American landscape at the time the story is written.
This is also Nora's problem in Ibsen's A Doll's House. She is infantilized by her husband and comes to the point where she cannot allow this of herself anymore. In Chopin's story, the young woman only realizes what she has become when she learns that her husband is dead. It is a societal problem and that is why, ultimately, she cannot escape her sphere.
" 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…
1. Ibsen, Henrik. A Doll's House. New York: Dover Publications, 1992.
Given that Nora's school friend Cristina's intervention, however unintentionally, lays the seeds the financial if not the emotional destruction of Nora's happy home, it might be best to not read the central theme of "A Doll's House" as the simple need for female liberation. After all, Cristina has worked hard all of her life, and even her marriage was a kind of work, falsely chosen for financial remuneration rather than love. Ironically, Cristina's early hard work and self-sacrifice for her family formed her own happiness in later life as a woman, as she finally marries a man who loves her, while Nora's feminine wiles and deception in pursuit of her husband's health ruins her own domestic bliss.
The difference between Nora and Cristina, however, is deception -- Nora, as indicated by her costumed performance as a sexy Spanish lady who dances the Tarantella, is constantly lying to her husband in…
DOLL'S HOUSE: FILM AND TEXT
The one play that seriously endured criticism and lasted much longer than anticipated was Henrik Ibsen's Doll's house. For some strange reason, people continue to read this play and directors/producers enjoy enthralling the viewers with cinematic versions of this play. And if that is not enough, the play is regularly played on Broadway. There indeed is an enduring quality about the play that gives it a universal meaning and every woman especially married ones feel they can relate to the central character Nora. But as with all cinematic adaptations of play, Doll's house's various versions have shown inconsistencies in the depiction of the central character. The husband's character has remained more or less static primarily because it doesn't undergo a transformation in the play and basically doesn't evolve. On the other hand, Nora's character takes a 360-degree turn at the end and we see a…
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…
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://nauvoo.byu.edu/TheArts/Theater/studypackets/lesson01/context.html http://www.owlnet.rice.edu http://www.ssn.flinders.edu.au/scanlink/nornotes/vol2/articles/hurrell.htm
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.
Noted Norwegian playwright Henrik Ibsen composed his resound opus, "A Doll's House." Ibsen's "A Doll's House" is a dense and intriguing work that continues to vigorously engage readers and audiences after more than a century after his composition. Ibsen composed this play while in Italy, during the last quarter of the 19th century. He composed this play during and slightly before several significant global changes including industrialization and the emergence of American feminism during the Progressive Era of American history. Whether intentionally or unintentionally, Ibsen channels these changes and harnesses them into a creative and well-crafted meditation upon many social and class aspects of society. While the paper will reference narrative aspects and literary devices within the text, the paper will analyze aspects of this "problem play" such as setting, character development, and symbolism to penetrate the depths of meaning present in "A Doll's House."
The primary setting…
Ibsen, H. (1879) A Doll's House.
Templeton, J. (1989) The Doll House Backlash: Criticism, Feminism, and Ibsen. PMLA, 104(1), 28 -- 40.
You see he does not believe I am sick!" (Gilman).
In fact, there is a question as to whether the narrator drags her husband along with her in her journey into madness. Two feminist writers note, "At the moment when Gilman's narrator completes the identification with her double in the wallpaper, she experiences an epiphany. To John she exclaims, 'I've got out at last... In spite of you and Jane!'" (Delashmit, and Long 33). She has realized her freedom, but at a very heavy cost. Like Nora, she leaves behind a child and a husband in order to live in her private "mad" world. Some critics believe she is the result of a "sick" society that treats women so inhumanely they have few options but to desert their families or go mad (Herndl 114). Obviously, the cost to the women and the family is extremely high, and the obstacles they…
Delashmit, Margaret, and Charles Long. "Gilman's the Yellow Wallpaper." Explicator 50.1 (1991): 32-33.
Downs, Brian W. A Study of Six Plays by Ibsen. Cambridge, England: Cambridge University Press, 1950.
Egan, Michael. Henrik Ibsen: The Critical Heritage. London: Routledge, 1997.
Gilman, Charlotte Perkins. "The Yellow Wallpaper." College of Staten Island: City University of New York. 2006. 17 Jan. 2007. http://www.library.csi.cuny.edu/dept/history/lavender/wallpaper.html
Doll's House and Antigone
Sophocles and Henrik Ibsen explore the philosophical discussion of judgment in Antigone and A Doll's House, respectively. In Antigone, the title character questions the right of leaders to judge strictly when she commits treason after burying her brother. The deciding factor in determining Ibsen's characters' fates in A Doll's House is a moral dilemma of the intent behind an act of fraud. Both Sophocles and Ibsen pass judgment on their characters, but show that the justice system may be flawed when motive and intent are not considered in the prosecution of crimes.
Antigone directly challenges the authority of King Creon when she says, "Your edict, King, was strong, but all your strength is weakness itself against the immortal laws of God. They are not merely now: they were, and shall be, operative forever, beyond man utterly." (Sophocles, Scene 2) This illustrates the primary conflict of the…
Ibsen, Henrik. A Doll's House. 1897. Trans. E. Haldeman-Julius. Girard, KS: Haldeman-Julius,
1923. Web. 10 May 2011. < http://en.wikisource.org/wiki/A_Doll%27s_House
Jevons, Frank B. "In Sophoclean Tragedy, Humans Create Their Own Fate." Readings on Sophocles, Ed. Don Nardo. San Diego, CA: Greenhaven Press, 1997.
Johnston, Ian. "On Ibsen's A Doll's House." Malaspina University-College. Nanaimo, BC,
First, find a website about the play and then evaluate the site by answering all the questions below. Note your findings so that you can refer to them when you are working on Part B.
Who is the author? (An expert in the field? A scholar? A journalist? A random member of the public? A student? A politician? A paid marketer or public relations spokesperson? Note that if you cannot quickly locate this information, you might want to move to another source).
The author of this essay on "A Doll's House" is Emma Goldman. Goldman was an intellectual and a political writer and agitator, associated with left-wing political causes, chiefly anarchism. She was eventually expelled from the United States for political reasons, and sent to the Soviet Union. Ultimately her criticisms of the Soviet state caused her to be exiled again -- she would eventually die…
Goldman, E. (1914). The social significance of the modern drama. Boston: Badger. Retrieved from the Emma Goldman Papers Project online at:
Doll's House (Henrik Ibsen)
The title of Ibsen's masterpiece -- A Doll's House -- doesn't lack meaning or symbolism; that is to say that the house in which Nora, the protagonist, lives is a house, which, for all intents and purposes, is one that has been constructed for the sole purpose of keeping her a kept woman (i.e. A doll in a doll's house). Like a play thing, Nora makes up dances to please her husband, wears seductive outfits and exists, for the most part, to entertain those around her. She is often whimsical and spontaneous -- downing five macaroons in a sitting if she feels like it. The poignancy of this play comes with Nora's realization that sometimes women think for themselves. This happens when Nora forges her father's signature, takes out a loan without asking her husband, Torvald, and then leaves him and her children in order to…
She and her husband do not have a relationship in which they can talk. She has to hide the fact that she borrowed money from Krogstad from Torvald, and has cared deeply about what Torvald would think if he should find out. She allows Krogstad to blackmail her. At the end of the play, I believe she is tired of sneaking around and trying to make everyone happy. She leaves because she does not want to be a doll any longer; she wants to live a life in which her appearance is not always the most important thing about her. Of course, the only thing that matters about a doll is its appearance. Until the end of the play, this has been true for Nora as well. Krogstad threatens her appearance with the blackmail; Torvald is enticed by her appearance when she dances; and Torvald is only angry about the…
Doll House -- Henrik Ibsen
The play by Henrik Ibsen brings to the mind of the reader and the audience that many men in the past and in the present too, see themselves as superior to women, and women in fact should be happy to carry out the wishes of men. Nora Helmer becomes a kind of plaything for her husband Torvald, and in fact he admits to having fantasies about Nora to give him sensual incentive to engage in intimacy with her. But in time Nora has had enough of Torvald's condescending behaviors and she rebels. This story can be seen as a reflection of the fact that women in the late 19th century were beginning to demand fairness and equality in relationships and in society. hile Ibsen later discounted that he wrote a play about women's rights, the play can be seen as a search for freedom and…
Ibsen, H. (1902). The Doll's House: A Play. Boston, MA: Harvard University (Digitized, 2007)
The people elected Andrew Jackson President of the United States even though he had married a divorced woman. Nonetheless…men and women had specific marital responsibilities and lived with considerable restraint on their behavior, always subject to community approval. Men were assigned the world of business and family support. omen were custodians of the home.
In such a social situation, Ibsen, by having Nora walk out on her husband, is literally slapping social convention in its face. In fact, in such a social context, Nora is a walking contradiction: she breaks convention by forging her father's name and taking on work herself (without her husband knowing) to pay a debt that saved his life. Yet his ungratefulness scathes her so badly that she sees no point in acting like his "doll."
Still, it is not social custom that Nora goes out of her way to buck. All of her actions have…
Engel, Margorie. "The History of Divorce." Flying Solo. Web. 8 Aug 2011.
Ibsen, Henrik. "A Doll's House." Project Gutenberg. Web. 8 Aug 2011.
Johnson, Paul. Intellectuals. New York, NY: HarperCollins, 2007.
New Testament. New International Version, 1984. Biblos. Web. 8 Aug 2011.
Linde: Come, come-
Nora: - that I have gone through nothing in this world of cares.
Mrs. Linde: But my dear Nora, you have just told me all your troubles.
Nora: Pooh! -- those were trifles (lowering her voice) I have not told you the important thing (20).
We see Torvald's side of the deception in Act Three after he learns of Nora's forgery and Krogstad's ability to expose her. The conversations Thorvald has had during the previous two Acts show us that he is really only attracted to Nora because of her beauty and the social status that will glean him in society. He notes, "From now on, forget happiness. Now it's just about saving the remains, the wreckage, the appearance," showing us that all he really cares about it he own social status and reputation, naught for Nora. Essentially, Nora's forgery is the epitome of their disenfranchised and…
Ibsen, H. A Doll's House. Clayton, DE: Prestwick House, 2005.
Unwin, S. Ibsen's A Doll's House: Page to Stage Study Guide. London: Nick Hern Books,
Doll's House' it appears that Nora will leave her husband. However, when one considers the events of the play, where the play ends, the reality of society and the other couple in the play, it appears more likely that Nora would return and stay with her husband.
The central events of the play revolve around Nora's struggle against her place in society and her eventual exit from these social obligations. Nora is a woman who exists as she does because of the obligations of society. She has not chosen her role, she has simply adopted it. We see that she has moved directly from her father's care to her husbands. This is emphasized by the fact that she has taken her nursemaid from her father's house to her husbands. We also see it referred to where her husband scolds her over money, saying her irresponsibility is a trait she inherited…
hat is the "miracle" Nora anticipates? The miracle Nora hopes for is that she and Torvald would actually have a romantic relationship in which shared respect and household equality would emerge. She of course is weary of being the "doll child," and of being the little toy that was passed from her father down to Torvald. She realizes that he is controlling, that he really cares only about himself but enjoys her company. In effect she is a kept woman, a kind of slave who will wear erotic garments for him, who will dance sexy dances to amuse him and will agree to remain submissive to his whims. She tires of his condescending attitude when he says that she "doesn't understand how to act on your own responsibilityno, no, only lean on meI should not be a man if this womanly helplessness die not just give you a…
Ibsen, Henrik. (2009). A Doll's House. Rockville, MD: Arc Manor LLC.
Henrik Ibsen's 'The Doll's House' is one of the most widely appreciated classics that underscored the need of a woman to be liberated, to be a person before being a wife and a mother or a daughter. Ibsen's female lead, Nora, is a married woman and on the surface there is nothing wrong with her married life. She has a husband who appears to be caring and loving and her life is the source of envy for by many. Nora too feels she is lucky till it becomes evident how her husband had tried to manipulate things to his favor and that's when she decides to step out of her marriage to become her own person.
After reading the story, it becomes clear that Nora did the absolutely right thing when she left her husband in the end. In the beginning of the play, we see Helmer, Nora's…
All quotations are taken from the online version of the Play: Available at http://classicreader.com/read.php/sid.7/bookid.2011/sec.4 / (Accessed on 1st June 2011)
Kristine Linde and ils Krogstad are apparently two minor characters in Henrik Ibsen's play 'Doll's House'. When we meet them for the very first time, they are both surrounded by unfortunate circumstances. Kristine was Mrs. Linde windowed some ten years ago and finally returning to her town to acquire a job at the bank where Torvald Helmer is the manager. ils Krogstad is in a subordinate position at the very same back and he is a widower with several children. Kristine and Krogstad had been close acquaintances at one time in the past. This is clear from Kristine's initial reaction at seeing Krogstad at ora's house and her confession that she knew him.
ora. A lawyer, of the name of Krogstad.
Mrs. Linde. Then it really was he.
ora. Do you know the man?
Mrs. Linde. I used to -- many years ago. At one time he was…
Nora tells Helmer in explicit terms that she wants out. She preferred leaving her marriage to educate herself and to make something of herself. She was no longer interested in her being just a wife and a mother and that she had duties to herself as well which she had been ignoring for a long time. "I believe that before all else I am a reasonable human being, just as you are -- or, at all events, that I must try and become one."
1) Doll's House: Online version, The Project Gutenberg, Accessed on 28 Feb, 2005: http://www.gutenberg.org/dirs/etext01/dlshs11.txt
Mrs. Linde: Character analysis
In Henrik Ibsen's 19th century drama A Doll's House, the character of Christine Linde acts as a kind of foil for the main protagonist Nora Helmer. In most dramatic interpretations of the play (such as in the 1973 film version), to the audience, Christine appears to be dour, inhibited, and accepting of her fate in contrast with Nora's vivacity. Christine married a man she did not love out of duty to her poor family and her life has been one of unceasing toil. She believes her life is in sharp contrast with Nora's carefree existence. However, Nora, unbeknownst to Christine, has been toiling herself to repay a debt she incurred to enable her husband to take a vacation, an act which she believe saved his life. Still, Mrs. Linde never expresses female solidarity with Nora and even allows Nora's husband to find out that his wife…
A Doll's House, 1973. Directed by Patrick Garland.
Stetz, Margaret D. "Mrs. Linde, Feminism, and Women's Work, Then and Now." Ibsen Studies
7.2 (2007): 150-168. Humanities International Complete. Web. 13 Nov. 2014.
Mazur, Ann. "Victorian Women, the Home Theatre, and the Cultural Potency of A Doll's
Yet, despite her own trials she still believes marriage must be based in honesty, even an ugly honesty. "But now a whole day's gone by and I've witnessed things in this house that I could hardly believe. Helmer must know the whole story. This wretched secret must be brought into the open so that there's complete understanding between them. That's be impossible while there's so much concealment and subterfuge," she says in Act 3. There is a certain irony to this assertion, however, given that she entered into a marriage herself, with only intentions of making money and obtaining security in the process and that she is marrying the unethical Krogstad, a man who openly blackmailed Nora, although she says, "Nils, when you've sold yourself once for the sake of others, you don't do it a second time," also in Act 3.
Dr. Rank would be critical of Nora's…
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…
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
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…
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.
societal expectations play a part in "The Sorrowful Woman."
The protagonist in Gail Godwin's short story "A Sorrowful Woman" demonstrates not only the ways in which people's lives can become compromised and limited by their attempts to meet the expectations of others but also the ways in which we each internalize those expectations. This is the real harm that limiting attitudes like racism and sexism have, as Godwin shows us: Not that other people try to limit what we can accomplish in our lives but that we ourselves also begin to believe that we are not good enough to be, as Dickens so eloquently summarized it, the heroes of our own lives.
The story tells about a woman who has become so used to following the societally determined and enforced rules of conduct for a wife and a mother that she is no longer capable of living in an atmosphere…
Ibsen's side note is a emakably astute and honest appaisal of the ealities of patiachy. The statement was cetainly tue of Noa and he society. Even as she ties to negotiate some semblance of powe in the domestic ealm, the baies to women achieving genuine political, financial and social equality ae too entenched in the society.
The cental theme of patiachy is played out though the motif of the doll house itself, which is a metapho fo the domestication and subjugation of women. A woman is pevented fom acting outside of he ole in the domestic sphee. She cannot "be heself" in the way a man can, which is to say, pemitted to pusue any level of education she pleases o acquie any type of pofessional cedentials she would like. Women ae beholden to men and become financially dependent on them, as they ae lauchned into caees of domestic sevitude.…
references to the need to subvert patriarchy in whatever means possible. Patriarchy has a literal and symbolic stranglehold over society. It chokes the ability of women to be happy, as the story of Mrs. Wright shows. Her neighbors muse about the way Mrs. Wright used to be happy, "She used to wear pretty clothes and be lively, when she was Minnie Foster." This shows how marriage can kill the spirit of a woman. The play is an outcry against gender inequity and injustice, not a murder mystery.
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…
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."
It doesn't take a rocket scientist to note that there have been disturbing trends in schools recently. While the spate of extreme violence appears to be waning, schools are still troubled places, with both students and teachers seemingly failing to get out of them what they expect or need, and suffering stress and trauma in the meantime. Society wants 'instant' gratification, TV is full of 'reality shows' that depend on people doing disgusting things to win a huge fortune, relatively speaking, so they can go do and buy more stuff. The most recent presidential race offered us a three-years-and-counting national discussion over who really won the presidency. And we have rushed headlong to send troops into two sovereign nations without benefit of the United Nations' sanctioning the acts, after the United Nations -- located on U.S. soil -- was founded to smooth out relationships between the world's peoples.
Bean, J.P. (1998). Alternative models of professorial roles: New languages to reimagine faculty work. Journal of Higher Education, 69(5), 496+.
Bertoch, M.R. (1989). Reducing teacher stress. Journal of Experimental Education, 57(2), 117-128.
Fatt, J.P. (1998). Innovative teaching: Teaching at its best. Education, 118(4), 616+.
Iannone, R.V., & Obenauf, P.A. (1999). Toward spirituality in curriculum and teaching. Education, 119(4), 737.
The subject of films is a matter of dreams for many persons though the attraction has come down after the new medium of video has come in. Yet, for some it is still the medium to dream in.
To get into the concept of formalist film theory, one has to talk about the film in terms of the formal or technical elements within the film. These are in terms of its lighting, sound and set design, scoring, color usage, composition of shots and editing. This is the most prevalent method of studying films today. Thus when the theory is considered, it will take into account the synthesis or lack of synthesis of the different elements of film production and the total effects that are produced by the individual elements of the film. One of the common examples of this is to consider the effects of editing and when a…
Baker, Elizabeth. 2003. Hitchcock. Retrieved from http://www.sprocketguild.org/pdf/essay-hitchcock.pdf Accessed 14 August, 2005
Film Reviews: Great Expectations. Retrieved from http://www.timeout.com/film/70513.html Accessed 14 August, 2005
Formalist film theory. Retrieved from http://www.absoluteastronomy.com/encyclopedia/F/Fo/Formalist_film_theory.htm Accessed 14 August, 2005
Spotlight of the Month: The Night of the Hunter. Retrieved from http://www.turnerclassicmovies.com/ThisMonth/Article/0,,99305%7C911%7C29975,00.html Accessed 14 August, 2005
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…
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 play implies that social conventions can mask the truth by forcing people to take on false appearances, and pretend to believe they are true.
The most upstanding characters in the play are Krogstad and Mrs. Linde. Mrs. Linde is not respectable because she has worked hard all her life and does not have the easy life of a pampered wife. Mr. Krogstad's reputation and his decision to bust Nora make him seem sleazy, but he is actually trying to hold down a job and raise children on his own without any support. He turns out to be, at heart, a good man. Ibsen wants us to know that appearances can be deceiving.
8. This play is supposed to be a tragedy, and is meant to enlighten us about how we lie to each other and to ourselves in order to save face and keep up appearances.
Nora's character changes…
For example, Torvald often refers to his wife as a "squirrel," indicating that she spends a great deal of money. She has to hide the macaroons that she purchases and wipe the evidence from her mouth when she asks him to come see what she has bought. At first, Torvald replies, "Don't disturb me," (Ibsen 1) and closes the office door. He then returns with a pen in his hand, questioning her. "Bought, did you say? All these things? Has my little spendthrift been wasting money again?"
In addition, Torvald makes statements like, "That is like a woman," (Ibsen 2). His attitude toward women and toward his wife in general is rather traditional and formal, and Nora does not appear to be that way. Breaking free of him seemed to her to be the best thing to do under the circumstances. In the end, Nora chooses to leave her husband…
She appears very confident of her own abilities and desires. The movie emphasizes the issue of feminism and gender empowerment as one of the central if not the central theme of the entire story. This is decidedly not true of Ibsen's work, which focuses much more on the distinct social roles that individual's play and the undercurrents of domestic society. This change was most likely instituted in order to create more attention for the movie and to promote greater sales. Also, the application of Nora's story in modern society would naturally be changed into a feminist struggle not only due to its era, but that this is one of the problems that one can identify. Whereas within Ibsen's time period, the development of feminism had not progressed to a point where women would question the need for individualism. Thus, Ibsen's approach to the play is very much justified by the…
As Nora tells Torvald, for example, shortly before leaving him: "I
can no longer content myself with what most people say, or with what is
found in books. I must think over things for myself and get to understand
them" Ibsen, (A Doll's House, Act III). Ibsen's Nora is a deep-feeling
woman who, in seeing how far she truly is from knowing her true self,
realizes she must take herself away from her family in order to grow into
personhood on her own. In this way, then, Nora evolves personally and
changes into a stronger and more reflective character as A Doll's House
Nora realizes during the play that she has never really grown up into
an independent adult human being. For this reason, as Nora explains to her
husband Torvald, within the ending scene where she slams the front door and
leaves him and their three young children…
Ibsen, Henrik. A Doll's House [full online text]. 14 Dec 2007
Regardless of the infidelity of their husands, upper-class wives were expected to e loyal, and daughters to remain virgin until marriage. Through seclusion and high regard for virginity, male domination reinforced the class structure of Cuan society during this period (Fernadez, 1998). Both Spaniards and creoles shared the notion that a man's honor and shame were directly linked to his aility to control the sexual ehavior of the women in his family (Fernadez, 1998).
Besides preserving ladies from the threat of lack men, keeping them at home ensured their chastity and their suservience (Fernadez, 1998). In this vein, ladies young and old were shut away like precious icons, the architecture of their houses reflecting their status as property that must e guarded, and their situation as virtual prisoners in their own homes (Fernadez, 1998). Windows needed to e kept open in order to air the rooms, ut roers and intruders…
bibliography) History Today
Ibsen, Henrick, (2006) a Doll's House. 10 Pocket Series number 353.
Louis a. Perez (ed) Slaves, Sugar, and Colonial Society: Travels Accounts of Cuba, 1801-1899 (Wilmington: Scholarly Resources Inc., 1992);
Levi Marrero, (Vols 13 & 14) Cuba, Economia y Sociedad (Madrid: Playor, 1971-88);
Wildberger, Sara (1999) Role With the Changes; Exhibit Examines Lives of 19th-Century Women. The Washington Post
Competence in AASEC Outcomes
Pesonal Educational Philosophy
AASEC-1 Knowledge Base (CE299-1)
AASEC-2 Child, Family, and Community elationships (CE299-2).
AASEC-3 Observation and Assessment (CE299-3).
AASEC-4 Learning Environments (CE299-4)
AASEC-5 Ethics and Professionalism (CE299-5)
AASEC-6 Individuality and Cultural Diversity (CE299-6).
Use your Unit 1 Project
I am 47-year-old individual who grew up in Brooklyn, New York, in the public school setting. I grew up in the projects and my mother was a teen mother since she was 14-years old when my twin brother and I were born. In addition to loving basketball, my twin brother and I generally grew up in a rough neighborhood or environment.
The educational setting in which I participated was
The educational setting or context in which I participated was similar to normal educational settings. This setting was known as PAL, an afterschool program that assisted me with my school work and playing sports, especially basketball.…
Cherry, K. (2014). What Is Art Therapy? Retrieved from about.com: http://psychology.about.com/od/psychotherapy/f/art-therapy.htm
Riley, S. (2001). Art therapy with adolescents. Western Journal of Medicine, 54 -- 57.
sjcshk.com. (2007). What is Art Therapy? Retrieved from sjcshk.com: http://www.sjcshk.com/Art%20Therapy.html
parties have a contract?
The parties had a contract from the moment they agreed to the deal verbally. This is easy to prove, as X received an email from them stating their acceptance of the terms and conditions. In it, they agreed with the fax he sent them in principle. This is illustrating how there was a contract in place, based upon the email communication indicating that Company will follow the different provisions. These factors are demonstrating how X can go to court, present this information and demonstrate this relationship between the two parties. (Blond, 2007) (Le oy, 2009)
What facts may weigh in favor or against X in terms of the parties objective intent to contract?
The specific factors that will weigh in favor of X are: the email communications and the agreement he faxed to Company A. These variables will bolster his case and show how there was…
Block, G. (2004). Legal Writing Advice. Buffalo, NY: William Hein.
Blond, N. (2007). Contracts. New York, NY: Aspen Publishers.
Gale, M. (2004). Legal Remedies. New York, NY: Author House.
Hudson, L. (2005). Equity and Trusts. London: The Glass House.
Women's choice lead a celebate life, remain a virgin, a rejection societal expectations? A conclusion drawn thesis question. I attaching suggested books citation. Essay 12 pages length counting citations bibliography.
Was a Women's choice to lead a celibate life or remain a virgin a rejection of societal expectations?
The role of women in the society has been widely debated throughout the history of both philosophical thought and social sciences. Women have a particular place in society since ancient times and there are clear indications, in the religious literature, that women have had specific views and opinions regarding their own place in the society. In this context, the current research discusses the choice of women to lead a celibate life or keep herself a virgin and whether this choice was a reaction to societal expectations and social pressures. The perspective of the research analysis is focused on Christian traditions from the…
Kung, 2001, p22-3
Karant-Nun, 2003, p10
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…
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…
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 the…
Lee, Harper. To Kill a Mockingbird. Dramatic Publishing. 1970.
He had been most inspired by the songs of Woody Guthrie. "Woody had a sound and said something with his music." He wanted to meet Woody and thank him for such inspiring songs. Woody had not been well and was being treated in a local hospital. Bob went and saw him and then wrote a "ong to Woody."
uddenly, following that visit, as if overnight, Bob Dylan became a household name. He was selling out theatres across America and England. He was referred to as a genius. It has been said that Bob went down to the crossroads and struck a deal with the devil, in order to arrive at such a place. He continued to evolve from the old acoustic folk singer that everyone loved, to a somewhat loud electric rock star. Columbia Records and many of his fans were not happy about this change. Fans were booing and…
Suddenly, following that visit, as if overnight, Bob Dylan became a household name. He was selling out theatres across America and England. He was referred to as a genius. It has been said that Bob went down to the crossroads and struck a deal with the devil, in order to arrive at such a place. He continued to evolve from the old acoustic folk singer that everyone loved, to a somewhat loud electric rock star. Columbia Records and many of his fans were not happy about this change. Fans were booing and heckling him at concerts, yet they continued to buy tickets. Bob's electric song "Like a Rolling Stone" from the acclaimed album "Highway 61 Revisited" climbed to number 2 on the Billboard pop charts, second only to The Beatles "Help."
The central theme to this documentary is a lesson that teaches us to remain true to ourselves no matter what others think. If we are to conform to the labels and beliefs of others, we are bound for failure. Bob knew this, and continues to follow his heart to this day.
Steve Allen of Billboard said: "Dylan's poetry is born of a painful awareness of the tragedy that underlies the contemporary human condition." This is as true in 2010 as it was in 1965. Martin Scorsese captured a moment in time with this project, and the moment he captured is the same now, as it was then, and will always be.
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…