Paper 2 (A Doll's House and Signs Proceeding End of the World) Flashcards
What are quotes to show the similarity of how both Nora and Makina navigate a male dominated world?
Nora:
- Helmer controls how much money she has as seen with the stage directions when written “hands her some banknotes” (p.29).
- When Nora tells Helmer she wants money as a Christmas gift, he says “It’s incredible what an expensive pet she is for a man to keep” (p.30).
- After the tarantella, Helmer forces Nora to leave, as seen through the stage directions when written “A key is turned in the lock and Helmer leads Nora almost forcibly into the hall…He leads her despite her efforts to resist him (p.96).
Makina:
- When Makina is waiting in the ticket line, “two men ogled her in the bus ticket line, one pushed his face close as he passed and said Lucky’s my middle name! He didn’t brush against her but he felt her up with his breath, the son of a bitch. Makina was used to that sort of thing. Not that she hadn’t experienced it, she just hadn’t let herself get used to it” showing that sexual harassment is common amongst women because she lives in a male-dominated world (p.30)
What are quotes to show the similarity of how Nora and Makina are both sexualised?
Nora:
- Helmer refers to her as “my little squanderbird”and “my squirrel” (p.28) all dehumanising terms and she belongs to him.
- When Nora is begging him for money, Helmer puts his arm around her waist (p.30), the use of this physical gesture highlights her role as an object rather than an equal partner.
- Helmer says “But I haven’t seen him in such a jolly mood for ages. (Looks at him for a moment then comes closer)…Upon my word, you’re distractingly young women beautiful young women…At all this wonderful beauty that’s mine, mine alone, all mine. (Nora goes round to the other side of the table) (Helmer follows her). You’ve still the tarantella in your blood, I see and that makes you even more desirable. Listen! Now the other guests are beginning to go…soon the house will be absolutely quiet” (p.99). This passage shows objectivation through Helmer’s focus on Nora’s physical appearance, calling her “distractingly beautiful,” reduces her to her looks rather than valuing her as a whole person. Also, clear sexual desire through the mention of the “tarantella in your blood” and Nora being “even more desirable” clearly indicates Helmer’s sexual attraction and intentions. Finally, infantilization by referring to Nora as a “young woman” despite her being a mother of three, Helmer perpetuates a sexualized view of youthfulness.
- Helmer describing his sexual thoughts when “And then when you’re about to go, and I wrap the shawl round your lovely young shoulders, over this wonderful curvey of your neck - then I pretend to myself that you are my young bride, that we’ve just come from the wedding, that I’m taking you to the house for the first time - that, for the first time, I am alone with you - quote alone with you, as you satnd there young and trembling and beautiful. All evening I’ve had no eyes for anoyne but you. When I saw you dance the tarentella, like. a huntress, a temptress, my blood grew hot, I couldn’t stand it any longer! That was why I seized you and ragged you down here with me” (p.100)
Makina:
- “A huge redhead anglo who stank of toboacco was staring at her. Makina knew the bastard was just itching to kick her or fuck her and got slowly to her feet without taking her eyes off hm, because when you turn your back in fear is when you’re at the greatest risk of getting your ass kicked; she opened the door and versed” (p.73).
- “For a moment Makina thought he’d make some comment about her looks: You’re even cuter in the flesh, or What a tasty surprise, or A sight for sore eyes, or any of that oafishness that makes men feel they’re being original, but Chucho just kept smoking, face to dawn” (p.38)
What are quotes to show the similarity of how both Nora and Makina leave the comfort of their own home?
Nora:
- “Listen Tolvard. When a wife leaves her husbands house, as I’m doing now, I’m told that according to the law he is freed of any obligations towards her. In any case, I release you from any such obligations. You mustn’t fel bound to me in any way, however small, just as I shall never feel bound to you. We most both be quite free. Here is your ring back. Give me mine…(the street door is slammed shut downstairs) (p.117-118). The exchange of rings is a powerful symbol of the ending of their marriage. By returning Torvald’s ring and asking for hers back, Nora is physically and symbolically rejecting her role as a wife. The slamming of the street door emphasizes the finality and decisiveness of Nora’s action. It’s a stark contrast to the comfort of the home she’s leaving behind Nora’s language is clear and direct, showing her newfound confidence and determination to leave her comfortable life for an uncertain future.
Makina:
- “She looked into the mirrors: in front of her was her back; she looked behind but found only the never-ending front, curving forward, as if inviting her to step through its thresholds. If she crossed them all, eventually, after many bends, she’d reach the right place; but it was a place she didn’t trust.” (p.22). This is said by Makina at the end of Chapter 1. The mirrors creating an endless loop of front and back represent Makina’s sense of disorientation as she leaves her familiar environment. Makina’s lack of trust in the “right place” emphasizes her wariness of leaving her comfort zone and entering a foreign world. The phrase “eventually, after many bends, she’d reach the right place” reflects Makina’s understanding that her journey will be complex and unpredictable.
- After crossing the river, Herrea writes “They lay on the shore, spend and panting. It had hardly been more than a few dozen years, but on staring up at the sky Makina thought it was already different, more distant or less blue. Chucho stood, scanned the city at their backs and Well, now, next part’s easier.” (p.40). The sky being less blue shows how she is less optimistic, while simultaneously being more far away shows how her physical environment is already changing and unrecognisable.
What are quotes to show the similarity of how both Nora and Makina go on a life-altering internal journey?
Nora:
- Nora says “I’ve been your wife-doll here, just as at home I was Papa’s doll-child. And the children have been my dolls in their turn. I thought it was fun when you played with me, just as they thought it was fun when I played with them. That’s been our marriage, Torvald.” (p.111). Nora’s journey is primarily psychological and emotional. While she physically leaves her home at the end of the play, her most significant journey is internal. She evolves from a “doll” to a self-aware, independent woman.
- Nora says, once Helmer finds out that she forged his signature, “(looks unflinchingly at him and, her expression growing colder says) Yes. Now I am beginning to understand.” (p.106). This is the moment that she relieases that everything she beleived about her marriage is a lie, as she thought he would offer her something after all of her sacrifices, but instead gets mad at her. She anticipated that Torvald would be willing to sacrifice his reputation to shield her from the consequences of her forgery.
Makina:
- “Makina took the file and looked at its contents. There she was, with another said, another birthplace. Her photo, new numbers, new trade, new home. I’ve been skinned, she whispered (p.106). The phrase “I’ve been skinned” is a vivid metaphor for rebirth, suggesting Makina has shed her old self like a snake shedding its skin.The new file with altered personal details represents Makina’s transformation. “There she was, with another name, another birthplace” signifies her shedding of her old self and the emergence of a new identity.
What are quotes to show the similarity of how both Nora and Makina are used to represent a bigger problem in society?
Nora:
- Nora represents the treatment of women in Norwegian society 19th and 20th century and expectation to act as a “doll” for the male figures that they are passed around too, often their fathers and husband’s and full fill domestic roles.
- “He called me his little doll, and he played with me just the way I played with my dolls. Then I came here to live in your house…I mean that I passed from papa’s ands into yours. You arranged everything the way you wanted it, so that I simply took over your taste in everything - or pretended I did - I don’t really know…Now I look back on it, it’s as if I’ve been living here like a pauper, from hand to mouth. I performed tricks for you, and you have me food and drink. But that was how you wanted it. You and papa have done me a greta wrong. It’s your fault that I have nothing with my life.” (p.111).
- Women being passed from man to man, and clearly have no independence.
Makina:
- Makina is used to show the difficult and challenges any migrant faces when leaving their home country to migrate to a new one, where they are discriminated against and isolated from the rest of society.
- “She thought back to her people as through recalling the contours of a lovely landscape that was now fading away: the Village, the Little Town, the Big Chilango, all those colors, and she saw that what was happening was not a catacylsm; she understood with all of her body and all of her memory, she truly understood, and when everything in the world fell silent said to herself I’m ready.” (p.107). This passage symbolizes the broader challenge of immigrants feeling disconnected from their roots while trying to integrate into a new society that often discriminates against them. Makina’s reflection on her past “as though recalling the contours of a lovely landscape that was now fading away” shows her acknowledgment of leaving her old life behind. The realisation that “what was happening was not a cataclysm” indicates Makina’s shift in perspective, seeing her transformation as a natural evolution rather than a disaster.
What are quotes to show the similarity of how both Nora and Makina ultimately hold the power and control of situations?
Makina:
- “You are the door, not the one who walks through it. Those were the rules Makina abided by and that was why she was respected in the Village. She ran the switchboard with the only phone for miles and miles around. It rang, she answered, they asked for so and so, she said I’ll go get them, call back in a bit and your person will pick up, or I’ll tell you what time you can find them…she responded to them in their own new tongue. Makina spoke all three, and knew how to keep quiet in all three, too.” (p.19). The phrase “You are the door, not the one who walks through it” emphasizes Makina’s position as a gatekeeper of information. By operating the only switchboard in the area, she controls the flow of communication, giving her a crucial and respected role in the Village
- “Makina turned to him, stared into his eyes so he’d know that he next move was no accident, pressed a finger to her lips, shhhh, eh, and with the other hand yanked the middle finger of the hand he’s touched her with almost all the back to an inch form the top of his wrist; it took her one second” (p.31). This illustrates Makina’s ability to defend herself physically. By swiftly and decisively responding to unwanted touching, she demonstrates that she’s in control of her body and personal space.
Nora:
- “Nora: (Nora goes over to the stove) Very well Tolvard, As you say. Helmer: (follows her) Now, now! My little songbird mustn’t droop her wings. What’s this? Is little squirrel sulking? (Takes out his purse) guess what I’ve got here. Nora: (turns quickly) Money! Helmber: Look (hands her some banknotes) I know how these small expenses crop up at Christmas” (p.29)
- Nora has power, because Helmer eventually gives in.
What is a possible introduction for A Doll’s House?
“A Doll’s House,” written by Henrik Ibsen in 1879, is a groundbreaking play set in 19th-century Norway that critiques the societal norms and gender roles during its time specifically the control placed on women within marriage as well as family life.
What is a possible introduction Signs Proceeding the End of the World?
“Signs Preceding the End of the World,” written by Mexican author Yuri Herrera in 2009, follows the journey of a young woman named Makina as she navigates the complexities of immigration and identity while crossing the U.S.-Mexico border.
What are some quotes to show how Nora doesn’t leave her house compared to Makina who goes on a physical journey?
Nora:
- Nora throughout the play never leaves the house, in fact she rarely lives the living room.
- “I must stand on my own feet if I am to find out the truth about myself and about life. So I can’t go on living her with you any longer” (p.112). This quote emphasises Nora’s realisation that she must leave her house to truly understand herself and the world. Nora leaves to go back to her hometown where she wishes to receive an education. This realisation of her marriage all happens in her house, and almost in one room.
Makina:
- Makina crosses the border from the US to Mexico to find her brother, shows her physical journey. Not only does she cross the border but she then goes on an adventure to find her brother, as he is not where Makina suspected him to be.
- “She’d been asking after her brother around the edges of the abyss. She’d approach anybody she heard speaking latin tongue, give a verbal portrait of her brother, imitate his singsong accent, mention his favourite colors, repeat the story of the land he was there to claim” (p.73).
- “They walked into the restaurant. Makina followed him past rows of cauldrons boiling on the stove…After half a block the youngster was already lagging and decided to give Makina the address of the house where her brother had gone. Makina flew; she literally felt her feet not touching the ground, as if she could floatm scissoring her legs till she found her brother.” (.p.75-76)
What are some quotes to show how the speed at which Makina and Nora undergo their transforming internal journey is different?
Nora:
- Nora’s journey is characterized by a sudden realization and change at the end of the play.
- “Taking off my fancy dress…Yes, Tolvard. I’ve changed.” (p.109), only after Nora releases that Tolvard was not going to protect her, and once he’s safe does he take it all back, and this is when Nora comes to this transformative realisation. Nora has changed as she is no longer listenting to him, and taking off the dress is symbolical because she was told to wear it by him.
Makina:
- In contrast, Makina’s transformation is portrayed as a gradual process throughout the novel.
- Makina leaves her border town in Mexico and crosses over to the United States in search of her brother. She gracefully yet fiercely survives the emotionally and physically challenging journey: a deadly river crossing, desert crossing, several encounters with intimidating male authority, a bullet wound, walking miles through freezing tundra-like conditions.
- Makina also undergoes several situations when all eventually lead to her being reborn, for example, she does not recognise “her very own brother” because he’s “hardier, and more washed-out” (p.86) and also “then off in the distance she glimpsed a tree beneath the tree a pregnant women…if there was any sort of omen it was a good one: a country where a women with child walking through the desert just lies right down to let her baby grow, unconcerned about anything else” (p.43). But, Makina releases that it’s actually an immigrant who dies, and the heat releases gases make your stomach bloated.
What are some quotes to show how the language Makina and Nora use is different?
Nora:
- Nora speaks within the limitations of 19th-century Norwegian society, using formal and polite language.
- As Nora’s character develops, her language becomes more assertive, reflecting her growing self-awareness, as seen when “Helmer: May I write to you Nora? Nora: No. Never. You must’t do that. Helmer: But at least you must let me send you- Nora: Nothing. Nothing” (p.117). Nora speaks in high modality, the roles have clearly switched, as it’s now Helmer asking for permission.
Makina:
- “They speak an intermediary tongue that Makina instantly warms to because it’s like her: malleable, erasable, permeable; a hinge pivoting between two like but distant souls.” (p.65).
- “They speak an intermediary tongue that Makina instantly warms to because it’s like her: malleable, erasable, permeable; a hinge pivoting between two like but distant souls.”
- The description of the language as a “hinge pivoting between two like but distant souls” emphasizes Makina’s role as a mediator between cultures4.
- Fluid identity: The language being “malleable, erasable, permeable” mirrors Makina’s own adaptable nature, reflecting how her identity shifts as she crosses borders
- Makina uses language as a power
