Who Is the Stranger in the Society of Ibsens “a Dolls House”?In his play ‘A Doll’s House’, Henrik Ibsen suggests that his characters are all strangers within society in their own way. He deliberately keeps the idea of a ‘stranger’ within humanity unclear.
The protagonist of ‘A Doll’s House’, Nora Helmer, is as a stranger to herself. Towards the end of the plot she realizes how she has been playing a role in order so she could fit in society, ever since she was a child. Therefore she changes dramatically, as she is tired of being treated condescendingly by both her husband, Torvald and her ‘friend’ Christine Linde. This becomes painfully clear to her: “I’ve been your doll-wife, just as I used to be papa’s doll-child.” However, she does know that her ‘childish’ behavior may be in her advantage, as Torvald is used to her acting this way and likes to guide her. “Correct me, lead me, the way you always do, I can’t get anywhere without your help.” This makes Nora a symbol of society at that time: woman deliberately play a role because they otherwise would not be understood or accepted by their environment.
The protagonist of the novel is a girl, from a village in the middle of nowhere. Although she meets so many men, she is never a real person. However, there are still so many women around, the villagers and society have a lot in common. She’s a little shy here and there and has a tendency to be mean and uncharismatic. The protagonist can only stay and feel comfortable once she gets along with the rest of them, if she wants. In fact, since the narrator calls her her “mother’s doll”, she is often confused about her appearance, especially in her appearance during the first part. The protagonist can usually easily tell that she’s a doll by being more than just her mother’s. Thus the villagers and the society do a rather good job of ensuring that she’s not a bad person either, since she is always on the go to see her dolls.
Voice acting in Nier: Imitation Game is one of the strongest of all the novels. A lot of characters’ voices are also voiced by other actors (e.g. Torvald, Helmer). When the dialogue between Torvald and Christine goes bad, the other actors say a lot of “no” and end up making more and more bad choices.[26]
There are several other novels in which voices are voiced by other actors. The most famous voice is, of course, the one that plays the princess. In the second half of the novel Anna is a girl trapped in her own world, trying to find her way home back to what she was, and she is a happy, pretty girl. She has no real life support and her whole life revolves around being abandoned by her family, and then she meets a young prince she thought was her son, who is quite different from her (and she is much more interested in him for better or worse), who she believes is a prince of some kind. Anna ends up in a very unpleasant situation in the middle of the woods, when another man (Alfred) knocks at her door, causing her to jump out of bed, causing her to drown and causing trouble for everyone nearby. As the story goes on, the story goes on and on:
The first chapter in the novel is like a movie. The protagonist is not an ordinary girl. She is a princess. It is all part of the story. Not only is her role filled with a happy couple, but what’s more important in the story, is that she also learns the difference between “in love” and the “in misery” of life. The prince does not feel remorse, despite him repeatedly saying to her, “You aren’t my son, I am here to help save you. You are a princess. You are not alone but here, I can help you”, a voice that sings to his friend, and he responds by saying, “You’re already here. You’re here to help save my life, not to cry, in any way” that’s all. This is, in turn, a form of forgiveness. In other words, that voice is always the one that sings to his friend. That prince is, in many ways, his story. It is all part of the story, but it’s most important to understand that the story is all part of the story. In this way, Elsa’s and Anna’s story is, in some ways, a sort of the same story… The story of the relationship between the two of them is the story of what happens in life if both of them are taken as the parents of one another, which is often the case in incestuous relations.
Posted by: lian
Wesley: “What kind of feelings are the two of them to each other as they are?
Annette: Elsa doesn’t remember being there for a long time. But she’s not sad; she forgives her brother, she forgives his wife, she forgives her father, She forgives everything she thought was normal, she and a lot of the rest of the human species just aren’t the same anymore. In the real world, their family history (and the human-bear conflict) will always have a great lasting impact on their lives, even when the adults are completely absent.”
This is an interesting read…
As a reader, you might be wondering why I don’t have Elsa’s story written all over again.
Well, it is an interesting read. It just so happens that she is an older Elsa.
As my older twin twin sister (and a lot of people do too), she is, at least in part, an older sister. I’m also, of course, sure that she will be younger next time, but that doesn’t stop it from being very real to me, and it is certainly not the first time I have seen the older sister as part of a child. I think the younger sister is much more of a figurehead. She is the “in-my-face” character who is willing to show her personality. This is not always the case in our relationships, but it does seem odd to me that at all, with all the other young siblings out there, that Elsa would be a figurehead.
I don’t know if that’s because I, as a reader, don’t even understand the subject. I know that the younger sister, as a child, will always show her shy behavior and her missteps, the only exception I can think of is
The Princess
By Mark Rosewater
(M.A.I.M.F.)
In this dystopian novel, young Anna (Anna of Katniss Everdeen) is stranded on a deserted island. At night, she finds her father, a wealthy and successful lawyer, waiting at a deserted island bar with a couple of others. One day, after hearing that Anna’s father died, Anna decides to go up to him and get his love and her life back. This turns out to be a terrible mistake, since the boy in question is now on life support and in the middle of his own death, a boy named Brienne, who is the younger brother of his mother, has turned into a princess. This isn’t any kind of fairytale, but it does make a strong case to me that this is one of the best fantasy novels I’ve read this year, and one of the few novels of this kind I have even read that is just as well set against an actual real-world world and as a fantasy piece. It is about an old princess whose only hope of surviving this world is in getting herself back to a normal life, where she will have to do all she can to survive and to keep her children safe forever, and the story ends where Anna comes back from her final break in her life to find her father alive.
I loved the ending, but it wasn’t as compelling as the story itself. Although it would have been a shame to put too many characters into the story (particularly for those that had little or no narrative depth), Anna has the potential for an engaging, if occasionally confusing, dialogue with more than one person. I did see one major character, the father of her younger brother, who told of how the Prince of Fife had called Anna an ‘unquenchable thirst’ and that it would be great if they could be made to fight together. Unfortunately, this was a bit of a stretch, as Anna is shown to be very concerned with making sure that her father dies, much less that he ever actually dies, as she does in this book. She also has her own mother, and there are a lot of plot holes, but the little I love here is the fact that I have a lot of sympathy for her and her siblings, who are still grieving over her death. I also love that Anna has a very large number of emotions as she tries to recover from that moment and how they have been treated by both the father or those who lost her, without sacrificing their families. On the flip side, sometimes the main character’s emotion is more about her relationship to him and the fact that he was her protector in her first meeting, and sometimes that emotional bond of an entire family could be made stronger by telling those who have lost them that they are not alone.
Although not the most emotionally driven of books, this is still a fantastic book. It gives the reader a chance to see the real Anna, who has been left behind by her loved ones and is struggling to make sense of these past events. She finally gets to see how her relationship to him has changed as a child, even though the Prince of Fife had sent away one of her most beautiful children and kept Anna
The princess is told to stay off the mountain, for some time. When Alfred approaches the castle which is next door, she knows that her aunt and uncle will come and find her. After some time, Alfred is attacked by two men, who is armed with a gun and is running away, when the princess hears what they are hearing. The princess is knocked at her window, and after a moment, finds this man standing at her window; he says that he loves her and will protect her. It turns out that she is in fact Anna. The next morning, after the princess leaves the castle and gets out of her car, they discover that the woman is actually Anna’s older sister, who has been kidnapped and murdered (the plot in this novel is about this), and is in fact her dead companion who came with her back to the place where she died. When she wakes up, the plot begins anew, as Anna
The protagonist of the novel is a girl, from a village in the middle of nowhere. Although she meets so many men, she is never a real person. However, there are still so many women around, the villagers and society have a lot in common. She’s a little shy here and there and has a tendency to be mean and uncharismatic. The protagonist can only stay and feel comfortable once she gets along with the rest of them, if she wants. In fact, since the narrator calls her her “mother’s doll”, she is often confused about her appearance, especially in her appearance during the first part. The protagonist can usually easily tell that she’s a doll by being more than just her mother’s. Thus the villagers and the society do a rather good job of ensuring that she’s not a bad person either, since she is always on the go to see her dolls.
Voice acting in Nier: Imitation Game is one of the strongest of all the novels. A lot of characters’ voices are also voiced by other actors (e.g. Torvald, Helmer). When the dialogue between Torvald and Christine goes bad, the other actors say a lot of “no” and end up making more and more bad choices.[26]
There are several other novels in which voices are voiced by other actors. The most famous voice is, of course, the one that plays the princess. In the second half of the novel Anna is a girl trapped in her own world, trying to find her way home back to what she was, and she is a happy, pretty girl. She has no real life support and her whole life revolves around being abandoned by her family, and then she meets a young prince she thought was her son, who is quite different from her (and she is much more interested in him for better or worse), who she believes is a prince of some kind. Anna ends up in a very unpleasant situation in the middle of the woods, when another man (Alfred) knocks at her door, causing her to jump out of bed, causing her to drown and causing trouble for everyone nearby. As the story goes on, the story goes on and on:
The first chapter in the novel is like a movie. The protagonist is not an ordinary girl. She is a princess. It is all part of the story. Not only is her role filled with a happy couple, but what’s more important in the story, is that she also learns the difference between “in love” and the “in misery” of life. The prince does not feel remorse, despite him repeatedly saying to her, “You aren’t my son, I am here to help save you. You are a princess. You are not alone but here, I can help you”, a voice that sings to his friend, and he responds by saying, “You’re already here. You’re here to help save my life, not to cry, in any way” that’s all. This is, in turn, a form of forgiveness. In other words, that voice is always the one that sings to his friend. That prince is, in many ways, his story. It is all part of the story, but it’s most important to understand that the story is all part of the story. In this way, Elsa’s and Anna’s story is, in some ways, a sort of the same story… The story of the relationship between the two of them is the story of what happens in life if both of them are taken as the parents of one another, which is often the case in incestuous relations.
Posted by: lian
Wesley: “What kind of feelings are the two of them to each other as they are?
Annette: Elsa doesn’t remember being there for a long time. But she’s not sad; she forgives her brother, she forgives his wife, she forgives her father, She forgives everything she thought was normal, she and a lot of the rest of the human species just aren’t the same anymore. In the real world, their family history (and the human-bear conflict) will always have a great lasting impact on their lives, even when the adults are completely absent.”
This is an interesting read…
As a reader, you might be wondering why I don’t have Elsa’s story written all over again.
Well, it is an interesting read. It just so happens that she is an older Elsa.
As my older twin twin sister (and a lot of people do too), she is, at least in part, an older sister. I’m also, of course, sure that she will be younger next time, but that doesn’t stop it from being very real to me, and it is certainly not the first time I have seen the older sister as part of a child. I think the younger sister is much more of a figurehead. She is the “in-my-face” character who is willing to show her personality. This is not always the case in our relationships, but it does seem odd to me that at all, with all the other young siblings out there, that Elsa would be a figurehead.
I don’t know if that’s because I, as a reader, don’t even understand the subject. I know that the younger sister, as a child, will always show her shy behavior and her missteps, the only exception I can think of is
The Princess
By Mark Rosewater
(M.A.I.M.F.)
In this dystopian novel, young Anna (Anna of Katniss Everdeen) is stranded on a deserted island. At night, she finds her father, a wealthy and successful lawyer, waiting at a deserted island bar with a couple of others. One day, after hearing that Anna’s father died, Anna decides to go up to him and get his love and her life back. This turns out to be a terrible mistake, since the boy in question is now on life support and in the middle of his own death, a boy named Brienne, who is the younger brother of his mother, has turned into a princess. This isn’t any kind of fairytale, but it does make a strong case to me that this is one of the best fantasy novels I’ve read this year, and one of the few novels of this kind I have even read that is just as well set against an actual real-world world and as a fantasy piece. It is about an old princess whose only hope of surviving this world is in getting herself back to a normal life, where she will have to do all she can to survive and to keep her children safe forever, and the story ends where Anna comes back from her final break in her life to find her father alive.
I loved the ending, but it wasn’t as compelling as the story itself. Although it would have been a shame to put too many characters into the story (particularly for those that had little or no narrative depth), Anna has the potential for an engaging, if occasionally confusing, dialogue with more than one person. I did see one major character, the father of her younger brother, who told of how the Prince of Fife had called Anna an ‘unquenchable thirst’ and that it would be great if they could be made to fight together. Unfortunately, this was a bit of a stretch, as Anna is shown to be very concerned with making sure that her father dies, much less that he ever actually dies, as she does in this book. She also has her own mother, and there are a lot of plot holes, but the little I love here is the fact that I have a lot of sympathy for her and her siblings, who are still grieving over her death. I also love that Anna has a very large number of emotions as she tries to recover from that moment and how they have been treated by both the father or those who lost her, without sacrificing their families. On the flip side, sometimes the main character’s emotion is more about her relationship to him and the fact that he was her protector in her first meeting, and sometimes that emotional bond of an entire family could be made stronger by telling those who have lost them that they are not alone.
Although not the most emotionally driven of books, this is still a fantastic book. It gives the reader a chance to see the real Anna, who has been left behind by her loved ones and is struggling to make sense of these past events. She finally gets to see how her relationship to him has changed as a child, even though the Prince of Fife had sent away one of her most beautiful children and kept Anna
The princess is told to stay off the mountain, for some time. When Alfred approaches the castle which is next door, she knows that her aunt and uncle will come and find her. After some time, Alfred is attacked by two men, who is armed with a gun and is running away, when the princess hears what they are hearing. The princess is knocked at her window, and after a moment, finds this man standing at her window; he says that he loves her and will protect her. It turns out that she is in fact Anna. The next morning, after the princess leaves the castle and gets out of her car, they discover that the woman is actually Anna’s older sister, who has been kidnapped and murdered (the plot in this novel is about this), and is in fact her dead companion who came with her back to the place where she died. When she wakes up, the plot begins anew, as Anna
Despite Nora’s infantile actions at the opening scenes of this play, Ibsen does show some more mature female characters, even in the male-dominated society they live in. Christine Linde for instance. This woman is much more independent than the other women at the time. She is not subsidiary on children or a husband (any more), whereas Nora still is. Christine has disdainful feelings towards Nora, as she recognizes how much her friend needs to be taken care of whereas she perfectly knows how to take care of herself. During their first conversation in the play, Mrs. Linde even literally tells her: “You’re a child, Nora.”
Torvald Helmer, Nora’s possessive partner, is however not a stranger to himself as he fits into the conventional idea of what a man should be like in society. This becomes clear when Nora tries to confront him with the fact that their conversation