Position of Women in Society in a Doll's House Essay

Position of Women in Society in a Dolls House - Essay ExampleIn A Dolls House, Ibsen explores the realism of womens social position. Nora enjoys a dolls roles and attitudes, until she learns that a dolls life is neither appealing nor fulfilling. This topic analyzes the symbolisms and theme of A Dolls House. Symbolisms, as well as Noras and Torvalds char carryers, depict the theme of womens position in cabaret as dolls, which Nora reverses as she reclaims her humanity. One of the strongest symbolisms in the play is the house, which translates the only private space where women actively work, but also remain duly suppressed as genuine actors of society. The title itself talks about a dolls house. Nora seems to be playing the lead role, since misfires play with dolls and she is seen as a mere girl by all men in her life. But Kashdan underscores that she is not an actor, but a doll inside this house, where men see women as dolls to be housed in toy mansions and be indulged, but only sparingly (Kashdan 3). Nora is 1 of the dolls in society that must be controlled. Men are the ones who do the controlling. When they marry, they treat their wives standardized dolls that they put into their houses. Men, as traditional breadwinners, own these houses. They are masters, while their wives are followers, most often than not, they are slaves. Before, Nora enjoys being in this house. The house stands for her feminine domestic help duties, which she dutifully follows. Gillian Brown calls this as the domestic cult of true womanhood (Lee 623). Noras main goal is to create and maintain a beautiful, happy infrastructure (Ibsen Act 1). Later on, Nora becomes the breadwinner of the house to make ends meet- a gender role reversal. She is supposed to stay inside the house, a prisoner of the private space where women back tooth only exist with the secondary social roles in life. Torvald, however, does not appreciate his wifes sacrifices and efforts. For him, this house is his h ouse to control alone. As Monrad points out that Monrad believes in nature nature, which again is the creation of God, for ever given and unalterable (Langas 150). Torvald does not want altered gender roles, because it threatens his power and superiority. The door and Tarantella dance represent Noras way out of her doll-like existence and an entry into her humanization. One of the ways that Nora humanizes herself is when she diverges from her dolls roles. Lee says Noras humanity relies on a sentiency that she is the exclusive owner of herself, her body and her work (623). She becomes independent when she takes matters into her own hand and uses lies to save Torvalds ego and life. Then, she also secretly works and earns money, another act of defiance and autonomy. Nora, however, is not yet aware of her humanity. She does not even use the word human being to describe herself until Act 3. During this time, she says I believe that beforehand all else I am a reasonable human being, jus t as you are--or, at all events, that I must try and become one (Ibsen Act 3). When she closes the door, she takes control of her life as a human being. MacPherson stresses that people reach their selfhood through their freedom, and Lee interprets this that for Nora, it entails being a proprietor of her own potentiality (624). She becomes a person, a human being with free will and civil liberties. Nora