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Munch and Ibsen, 2002.
Examines how the work of artist Edvard Munch was influenced by the playwright, Henrik Ibsen.
1,650 words (approx. 6.6 pages), 7 sources, £ 42.95
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Abstract
This paper examines the influence of Henrik Ibsen on the work of Edvard Munch. Munch designed playbills and sets for Ibsen's works and also sketched and drew based on images from his plays.
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Comparing Ibsen and Strindberg, 2002.
A comparison of dramatic strategies of Henrik Ibsen and August Strindberg, focusing on off-stage events and utterances in the plays - looking at Ibsen's "A Doll's House" and "Hedda Gabler" and Strindberg's "Miss Julie".
2,748 words (approx. 11.0 pages), 7 sources, MLA, £ 57.95
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Abstract
This paper shows how Ibsen and Strindberg both wrote plays taking place in one setting over a short period of time, often only a day or two in scope. The writer explains that to propel the plot there had to be action that took place off stage, outside the constructed set. Ibsen embedded offstage action into his texts more so than Strindberg did, but Strindberg succeeded elsewhere. Whereas both were successful in removing important action from the stage, Strindberg?s work was brought further into the realm of what will soon be defined as off the off stage than Ibsen?s, with the difference being Strindberg?s better use of a new form of player: the audience. The plays analyzed are Ibsen's "A Doll's House" and "Hedda Gabler" and Strindberg's "Miss Julie."
From the Paper
"Dealing first with the off stage world of Ibsen we can see many examples of the action he writes for the express purpose of invisibility to the audience. In ?A Doll?s House? the audience is given a very good chance to hear events offstage. The main stage area comprising of one room with four doors leading to other parts of the house. Throughout the play the characters move within this space, but constantly refer to actions taking place outside of it as well. Beginning in the opening scene, the audience is allowed only a glimpse of the outside world in the porter bringing the Christmas tree in for the maid (Ibsen, 3). This is one of the few visuals the audience has of the off stage world; most of our comprehension of the off stage happens as a result of utterances. ?Is that my little lark twittering out there?? (Ibsen, 4) Helmer calls from his room early in the first Act. This simple line, with the stage direction, immediately defines the space we see. As he is calling from his room, we immediately identify the space on the stage as belonging to Nora. This is further strengthened throughout the play as we see Nora take charge of this main stage space. When her life is interrupted, so is this space. Krogstad?s entrance through a door left ajar upsets her, removing control from her hands to his. Her first instinct is to take control where she can by taking her children to the room on the left and shutting the door after them (Ibsen, 26). Nora?s space, her life, is thus defined by the space around her off stage; her boundaries of power remain clear. She has power only as it relates to people invading her space: for one example she is able to bolt the door to Torvald?s room on her side of the door, giving a degree of privacy to her affairs (Ibsen, 55). Her space thus defined the actions offstage suddenly take on a greater importance: these are actions that Ibsen has defined as outside of Nora?s world."
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Ibsen and Feminism: "A Doll's House", 2003.
An analysis of whether or not Ibsen intended "A Doll's House" to champion feminist agendas, with particular emphasis on the actions of Nora.
3,425 words (approx. 13.7 pages), 7 sources, MLA, £ 66.95
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Abstract
For years, literary critics have tried to reach some sort of conclusion on questions concerning the text and Ibsen's personal views: Was Ibsen a feminist? This paper attempts to examine whether "A Doll's House" is a work that supports feminist views and whether Ibsen intended Nora to be a campaigner for the feminist cause. It shows how, a closer inspection of both the play and Ibsen's preliminary notes about its construction reveal that Ibsen did not intend Nora to advocate women's rights. He intended her to be the catalyst for human betterment, a movement which he felt both men and women needed to participate in before any type of true union between the sexes was possible.
From the Paper
"The fact that Torvald, like Nora, is not allowed to break from his role either indicates that he is also a slave to the roles which society dictates, and that freedom for both sexes from these roles is tied up in the release of the opposite sex from their role (Baruch 34). Baruch points out that in this play, the home, traditionally believed to be a place where one is allowed to be oneself, is instead a training ground of sorts for both little boys and girls in which they learn their sexually dictated roles (33). Ibsen himself champions the need to liberate both women and men in Norwegian society in a letter written to Bjornstjerne Bjornson, "Norway is both free and independent enough; but a great deal needs to be done before we can say the same of Norwegian men and Norwegian women" (Sprinchorn 179). "
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Misogyny in Henrik Ibsen's Plays, 2008.
An analysis of the concept of misogyny in playwright Henrik Ibsen "A Doll's House", "Ghosts" and "Hedda Gabler".
2,120 words (approx. 8.5 pages), 4 sources, MLA, £ 45.95
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Abstract
This paper relates that, through an analysis of Henrik Ibsen's plays, "A Doll's House", "Ghosts", and "Hedda Gabler", one can realize the under current of misogyny that Ibsen provides in his own patriarchal Victorian milieu, which devalues the role of women under the various aggressions of men brought forth. The paper explains that, for Ibsen, women provided a servant function within patriarchal society that did not necessarily provide a "feminist" perspective, but revealed that men should be tolerant and respect women. The paper concludes that, as a result, the dark under current of misogynist values provided by Ibsen in his plays informs the reader of the struggle of women in Victorian society, but does not effectively redefine a feminist ideology for women to liberate themselves from patriarchal aggression.
From the Paper
"Hedda's behaviors and actions often appear crude and uninformed as to the nature of husband to use her as a servant for his career. Ibsen often has Hedda appear as naive of the fact that her husband is merely trying to us her as a kind of "trophy wife" to accent his real desire to achieve success in his artistic ambitions. In this manner, she wholly a woman that is able to be traditional, but becomes so enamored of her love that she takes independent action to get his attention. The circumstances under which Hedda burns Lovborg's manuscript are, of course, entirely different and infinitely more dramatic"
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Henrik Ibsen's "A Doll's House", 2007.
This paper analyzes Henrik Ibsen's "A Doll's House", one of the most frequently reviewed plays in academic studies.
3,845 words (approx. 15.4 pages), 7 sources, MLA, £ 73.95
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Abstract
This paper explains that, although much has been written about viewing Henrik Ibsen's "A Doll's House from purely a feminist perspective, the truth is that Ibsen's clever crafting of this play and careful development of his heroine Nora has allowed readers and critics over the years to apply many valid interpretations. The author points out that Ibsen's play is about the roles that people are willing or are forced to play: The role that Nora assumes at the end of the play is just another role - one that she has no idea how to play but feels she must. The paper concludes that Ibsen had to make Nora the explorer into a new world so that the audience might begin to understand his motive of revealing how the strict roles of society have stripped people of their human rights.
From the Paper
"The other female character has also become a thinking human being through her trials in life. Ironically, Mrs. Linde because of her ability to think chooses to marry Krogstad during the course of the play. She says in regard to Krogstad's letter that she does not want him to ask for it back because "a whole day's gone by and I've witnessed things in this house that I could hardly believe...This wretched secret must be brought into the open so that there's complete understanding between them". Mrs. Linde's objective is not to destroy their marriage put to force Torvald and Nora to be honest..." with themselves and each other. Mrs. Linde has realized the necessity of this kind of honesty through her life of hardship which is why she decides to marry Krogstad. She accepts that he is not perfect and not a model man of the middle-class, but he can give her what she wants to be happy.
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Munch and Expressionism, 2002.
A biography of the life and works of the artist Edvard Munch.
2,782 words (approx. 11.1 pages), 4 sources, MLA, £ 57.95
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Abstract
This paper examines the life of the German painter Edvard Munch and his influence on German Expressionism. It analyzes how the death and disease that is so much part of Edvard Munch's art was a natural consequence of the time in which he lived and the painful circumstances of his personal life. It shows how he was able to take this pain and grief and synthesize it into art and revolutionized the way visual arts were perceived. Not satisifed with the range that canvas and oil gave him, Munch turned to more innovative technique in an effort to create art that could be reproduced so he carved wood blocks and working closely with printers developed lithographic techniques that changed the way art is made.
From the Paper
"Like the paintings of the Impressionists -- especially the Post Impressionists -- Munch used tremendously bold strokes and very aggressively attacked the canvas, often scratching and etching the dry paint and applying layer after layer of thick paint in unnatural colors. Filmmaker Peter Watkins in a docu-drama film on the life of Munch does an amazing job of catching this process on film. (Watkins online) The often-sickly Munch, attacked the canvas with the same sort of physical intensity as the more robust Gaugain but of course for different effect."
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Munch and Van Gogh, 2002.
Compares the personal and religious views of death in the "Sick Room" by Edvard Munch and "The Sower" by Vincent van Gogh.
1,150 words (approx. 4.6 pages), 2 sources, £ 30.95
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Abstract
To the unaware and the obtuse, Edvard Munch and Vincent van Gogh simply made paintings. Much like a hot political speech or a fiery church sermon, there is evidence of passion for much more than what is simply on the surface of each artist's works. What becomes clear in looking deeply into not only the works themselves, but the mindset of each painter and the issues of import during the time in which they worked, is that Van Gogh, Munch, and artists like them could not contain their fears about the world and about their mortality in check and used their painting as self-therapy. What we see are not images that were intended for universal appeal; they are deeply personal works that demonstrate elements at the core of each man. Van Gogh's "The Sower", for instance, is a metaphor of not only the questioning of Christ in the Gospel of Mark (through the story of the Sower), but of the internal metaphor of sowing one's own life. Munch's "Death in the Sick Room" also demonstrates a religious parable and a personal one, that of his family surrounding his dying sister, Sofie, and of the crucifixion of Christ and the mourners of different shades who surrounded him. It is the purpose of this paper to examine the elements of personal and theological perspective employed in these two works and to explore their greater application and generalization to the viewer.
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Ibsen's 'A Doll's House', 1999.
An overview of the themes in Henrik Ibsen's 'A Doll's House'
1,100 words (approx. 4.4 pages), 0 sources, £ 26.95
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Abstract
This paper provides a description of the general themes apparent in Ibsen's play 'A Doll's House' and the characters Ibsen creates. In defining the play as a "realism" play, the unique setting Ibsen chooses is analyzed.
From the Paper
"All of the characters in 'A Doll's House' are ordinary, everyday people with whom the 19th Century audience would undoubtedly identify. This notion works in the same way as the naturalistic staging, as it prevented the audience from distancing themselves from 'those type of people'. One of the most acclaimed aspects of Ibsen's work is the profound depth and complexity of his characters. The temptation is to label characters as 'good' or 'bad', 'moral' or 'immoral', but their complexity makes such a definite distinction difficult. This is perhaps one of the things that most disturbed people at the time. Ibsen disregarded simplistic definitions and introduced the idea that all people contain elements of both good and bad."
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Henrik Ibsen's "A Doll's House", 2008.
This paper explores the literary devices utilized by Henrik Ibsen in his play "A Doll's House".
1,535 words (approx. 6.1 pages), 5 sources, MLA, £ 34.95
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Abstract
This paper explains that Henrik Ibsen's "A Doll's House" is a powerful story that has several underlying themes, including but not limited to family life and women's rights. The paper further relates that Ibsen's use of symbolism and his setting are unique and helps illustrate the story for the reader. In addition, with the use of these elements, he helped paint a picture of the scenes throughout the entire story for the reader. These are just a few of the literary devices that Ibsen utilized very well, and are the focus of this term paper.
From the Paper
"One final intriguing use of symbolism involves Dr. Rank, the very good friend of the married couple. Dr. Rank admits that he is very ill from syphilis (which he has suffered from since birth) and he will soon pass. Upon returning from a masquerade, the three of them discuss of the next masquerade, and of what they will dress-up as. When Torvald raises the question to Dr. Rank, he responds vigorously, "At the next masquerade I shall be invisible." he adds "There's a big black hat- haven't you heard of the invisible hat? It comes down all over you, and then no one can see you.""
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"Ghosts" by Henrik Ibsen, 2005.
This paper analyzes the play "Ghosts" by Henrik Ibsen, which examines the moral faults of "modern" Victorian society.
3,230 words (approx. 12.9 pages), 0 sources, £ 64.95
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Abstract
This paper explains that Henrik Ibsen is credited with inventing the modern realistic drama of the Independent Theater Movement and that his play "Ghosts" is cited as being most symbolic of this "New Drama". The author points out that all of the characters have a very long shared history; however, the linear, cause-and-effect structure of the plot occurs within 24 hours of the beginning of the play. The paper relates that the "moral" actions within the play lead to tragedy, despair and injustice. The paper suggests that, although Ibsen's dramas are often staged with vividly realistic sets, the author would stage "Ghosts" in a minimalist style to mirror the bleakness of the characters' lives.
Table of Contents:
Context
Genre
Given Circumstances
Geographic Location
Date
Economic Environment
Social Environment
Religious Environment
Previous Action
Plot Analysis
Character Analysis
Mrs. Alving
Theme
Language
Scenography
From the Paper
"The pastor Manders condemns all of the following practices: divorce, adultery, premarital sex, alcohol abuse, drug abuse, and lying. His opinions reflect the sexist foundation of the religious environment. He condemns Engstrand for his decision to marry the "fallen" Joanna for money, but sees nothing wrong with Mrs. Alving marrying her husband, a far more reckless young man, because of the financial benefits for herself and her family. He also condemns Mrs. Alving's decision to leave her husband, despite the abominable way he treated her, stating that "it is not a wife's part to be her husband's judge."
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Ibsen's Treatment of Women, 2002.
An examination of Ibsen's attitude towards women in two of his works.
900 words (approx. 3.6 pages), 4 sources, £ 24.95
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Abstract
This paper examines and analyzes Henrik Ibsen's plays, "A Doll's House" and "An Enemy of the People". It assesses these plays in terms of Ibsen's portrayal of women, their nature, their relationships with men and their attempts to find identity and security.
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Henrik Ibsen's "A Doll's House", 2000.
A discussion of Henrik Ibsen's play "A Doll's House" and its theme of the domination of women.
1,265 words (approx. 5.1 pages), 1 source, £ 29.95
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Abstract
This paper examines Henrik Ibsen's play "A Doll's House" to show how Ibsen illustrates his point that women have the potential to be independent and forceful, but in a society that is controlled by men, they have to make deep sacrifices in order to achieve their rights.
From the Paper
"A patriarchy is defined as a social system in which a community or society is governed by men. For centuries, women have been under the domination of men in patriarchal social systems. In these systems, women are dominated by the law and by repression. Henrik Ibsen?s A Doll?s House shows how women are paternalistically dominated in a society that is governed by men. The protagonist, Nora, is treated like a doll child first by her father and then by her husband. She is never allowed to evolve as a person, and as a result, she is considered to be delightful, ignorant, whimsical, and foolish by the other characters. Yet beneath her twittering, girlish exterior is a woman who has the potential to be independent and forceful, but whose efforts are hampered by the male characters in the play. She is a virtual captive in a lovely dollhouse created by her husband, where her husband keeps her for his amusement."
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An Analysis of Social Construction as seen in Ibsen's, "A Doll's House", 2001.
An in-depth discussion on social construction with reference to Ibsen's play.
1,870 words (approx. 7.5 pages), 4 sources, £ 41.95
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Abstract
In this paper the author takes an in-depth look at social construction. After examining the definition of social construction the author discusses it in relation to romantic love, with particular reference to Ibsen?s, Nora. The author considers the actions and events in ?The Doll?s House? and what they tell us about the link between society and inner self. The paper concludes with a look at other metaphors within the play that also tell us something about social construction and finally focuses on the overall message that Ibsen sends throughout the play.
From the paper:
?? society gives us meaning of not only society, but also of ourselves, that our beliefs are a product of what we learn from society, and that through interacting with society we can change our perceptions.?
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Divakaruni and Ibsen, 2004.
Discusses and compares the theme of oppression in Chitra Banerjee Divakaruni?s ?The Disappearance? and Henrik Ibsen?s "A Doll's House".
756 words (approx. 3.0 pages), 2 sources, £ 18.95
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Abstract
?The Disappearance? by Chitra Banerjee Divakaruni and "A Doll's House" by Henrik Ibsen are two literary works that can easily be compared. This paper points out how, in both stories, there are husbands who are, to some degree, controlling and unaware of their wives? unhappiness. Another parallel discussed is that the wives in each story grow weary of their oppressed lives and decide to leave, leaving behind home, husband, and children.
From the Paper
"The reader realizes, through his contemplation, that she felt controlled and most likely wasn?t happy, but it also seems as if he, like Torvald, still hasn?t grasped this concept. Even after he becomes aware of the fact that his wife left him, the idea that his control made her unhappy never crossed his mind. ?Finished, he thought. Tomorrow, he would contact a lawyer, find out the legal procedure for remarriage.?"
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