Doll’s House Criticism Flashcards
Kristin Shepherd-Barr on Ibsen and family
‘he is interested in alternatives to the vice like grip of the nuclear family’
Ronald Gray on Torvald
‘[Ibsen makes] Helmer grotesque and reduces the tragic quality of the ending’
Anthony Storr on Ibsen and Freud
‘Ibsen anticipated many of Freud’s ideas, especially the idea that we are governed by events from our remote past’
Sally Ledger on the upper class in the play
‘[The play shows a] critical scrutiny of the lives and values of the bourgeois class’
David Thomas on Torvald
‘Torvald is as much a victim as Nora’
Ian Johnston on the ending of the play
‘the ending resists simple moral formulation…Nora is both triumphantly right and horribly wrong’
Ian Johnston on Torvald
‘Torvald’s moral code is entirely derived from society’s expectations’
Michael Myers on Torvald
‘his security depends upon feeling superior’
Ingmar Bergman on Torvald
‘[Ibsen’s play] is really the tragedy of Helmer’
Amalie Skram
‘when the woman first has risen, she will never let herself be stopped again’
Sally Ledger on the play’s message
‘Ibsen is critically dissecting modern life and all its problems’
Sally Ledger on Nora
‘part of Nora desires to comply to patriarchal social arrangements’
Shannon Cron on how Nora inspires
‘[Nora’s actions are] a way of reinforcing an individual’s right - regardless of gender - to protect themselves’
Balaky and Sulaiman on Nora
‘Nora transforms from a doll, a possession…into an individual human being’
Jennette Lee on Nora
‘she herself performs the miracle that sets her free’