Year 11 Literature 2018

Learning Task 5

Task: Ibsen Take-home Essay

Respond to one of the following questions with primary focus on A Doll’s House and/or another Ibsen play
you have studied.

1) When making meaning from a literary text, we need to consider the values and attitudes
of not just the time in which it was written, but also the time in which it is read. Discuss
this statement in reference to A Doll’s House.

2) Discuss how the meaning you make from A Doll’s House is informed by an understanding
of genre and/or dramatic conventions.

3) Literary texts often pose questions about an established social order. Discuss how
representations have been constructed in A Doll’s House in order to critique, reinforce or
destabilise social institutions and/or social expectations.

Syllabus Points Covered—depending on question of choice

● The degree to which individual viewpoints, experiences and contexts shape readings of texts.

● A reading of a text refers to a meaning that can be made of a text.

● In responding to a literary text, readers might consider the context of the writer, the society and culture in
which the text was produced, their own experience of reading and their own way of thinking about the world.
● How there are different reading practices or strategies, such as reading with an emphasis on various
representations; or reading with a focus on different contexts; or reading intertextually, that is, reading that
focuses on connections between texts.
● Different reading strategies produce different readings.

● The ways in which informed reading influences interpretation of texts.

● How readings are constructed as a result of the reading practices or strategies that readers apply and as a result
of readers relating the text to their understandings of the world. In this way, multiple readings of a text are
possible
● The ways in which text structures, language features and stylistic choices provide a framework for audiences’
expectations, responses and interpretations.
● The ways in which texts resemble and/or refer to other texts, including through parody, imitation, appropriation
and transformation; and the ways in which adaptations of earlier texts allow new insights into original texts.
● How the production and reception of texts is informed by an understanding of the conventions usually
associated with a genre.
● The relationship between conventions of genre, audience expectations and interpretations of texts.

Task guidelines

● Conditions: Take Home

● 1000-1200 words typed

 ● You will have time in class in Week 11 to outline and plan your essay

● See ‘maximising your learning’ handout posted on your CONNECT page

● Help-desk will be managed by your teacher

● Turn in this task sheet on top of your typed essay

● Assessment criteria: see reverse side of this sheet for marking key.

Weighting: 7.5%

Due date: FRIDAY of Term 2 Week 1—if you do not have class that day, you must
submit to teacher’s pigeon hole outside of English by the end of lunch. Email not accepted.
Marking Key: Essay Response Year 11 Literature
The response Marks
Engagement with the task /6
demonstrates a comprehensive and illuminating engagement with the task 6
demonstrates a thoughtful and purposeful engagement with the task 5
demonstrates a mostly purposeful engagement with the task 4
demonstrates a general engagement with most of the task 3
demonstrates a limited or simplistic engagement with the task 2
demonstrates little engagement with the task 1
demonstrates no engagement with the task 0
Quality of reading /5
presents a detailed, insightful and informed reading of the text 5
presents a detailed, feasible reading of the text 4
presents a feasible reading of the text 3
makes some general points 2
shows limited understanding of the text 1
shows no understanding of the text 0
Expression of ideas /5
expresses ideas in a sophisticated and lucid style 5
expresses ideas in a clear, well-structured and coherent manner 4
expresses ideas clearly 3
expresses some ideas clearly 2
expresses ideas in a manner that is unstructured and incoherent 1
does not express any ideas clearly 0
Use of key literary concepts and terms /5
demonstrates a consistently accurate understanding of key literary concepts and terms 5
demonstrates a sound understanding of a range of key concepts and makes effective use of
4
appropriate literary terms
demonstrates some understanding of key concepts and attempts to use some appropriate literary
3
terms
makes limited use of key concepts and of literary terms 2
makes very limited use of key concepts and literary terms 1
makes no use of key concepts or literary terms 0
Use of supporting evidence /4
makes insightful use of supporting evidence including quotes and/or examples 4
makes frequent and appropriate use of supporting evidence including quotes and/or examples 3
makes some use of supporting evidence including quotes and/or examples 2
makes limited use of supporting evidence including quotes and/or examples 1
makes no use of supporting evidence 0
Total /25

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 2018

Task
Home5:Essay
Ibsen Take-
ROJIN MORADI ZANIANI
LITERATURE ATAR 11 UNIT 1 / SEMESTER 1 2018
Rojin Moradi Zaniani / Task 5: Ibsen Take-Home Essay / Literature ATAR 11 Unit 1

TABLE OF CONTENTS
PLANNING 1

FINAL COPY 4

PLANNING
Q3. Literary texts often pose questions about an established social order. Discuss how representations
have been constructed in A Doll’s House in order to critique, reinforce or destabilise social institutions
and/or social expectations.

STRUCTURE
● Intro: summary of fem, man, and marriage
o Fem
▪ Restricted and confined to domesticity

▪ Dependent and reliant on male counterparts

o Man
▪ Patriarchal role of sole provider

▪ Focus on reputation and status

o Marriage
▪ Power imbalance of a possessive nature, similar to paternal-filial

▪ Separation of spheres in which female sphere consists of domestic domain, and

male sphere consists of all other areas, and still plays a significant role in the
woman’s sphere
▪ Contractual financial nature and motivation of the marriage, void of true and
unconditional love
● 1st Para: Bourgeois woman’s domestic sacrifice and religiously enforced expected roles

● 2nd Para: Bourgeois woman’s and financial dependence and submission to the man

● 3rd Para: Bourgeois woman’s financial objective and impotent influence in marriage

● Conclusion: summary
o Thesis
o Nora’s destabilisation of societal norms and expectations

THESIS: In Henrik Ibsen’s play, A Doll’s House, the social expectations and institutional
standards of the bourgeois woman are critiqued and destabilised by representing the sacrifice and
domestic roles expected of the woman, her financial dependence and submission to the bourgeois
man, and her objectification and power confinement in a marriage. These representations are
constructed through the dialogue of Nora Helmer, and her husband Torvald Helmer, and stage
directions.

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TOPIC IDEAS
Domestic sacrifice and In A Doll’s House, the representation of the bourgeois woman’s societal norms of sacrifice
expected roles and domestic roles, are critiqued and destabilised through the use of stage directions, and
the dialogue of Nora.
● Strict domestic roles
● Sacrificial
o Altruistic towards
husband and family
o Extreme selflessness
with harmful effects on
self
2
HOW THEY ARE QUOTES
CRITIQUED/DESTABILI
SED
● Stage directions: Nora, the ● Stage direction: “… [the
ideal bourgeois woman
never leaves the home,
with all other characters
moving in and out
throughout the set.
● Domestic roles also
supported by orthodox
Christianity, which is the
religion adopted in Nora
and Torvald’s household
o Seen through the set
arrangement, as it is fist
established by the
Christmas tree in the first
scene
● Ideal bourgeois wife is
sacrificial to her family,
and is expected to prioritise ● D to T: “I have another
her husband and children
and put their comfort and
affairs before her own
● Nora ultimately is left
discontent from the
sacrificial role being
imposed on her by society,
and her religion
o Own life stripped of
ambition and fulfillment at
expense of others (Torvald ● Nora begins to identify
& children)
o Can lead to the dissociation
of the woman from the
world and herself, resulting
in an identity crisis
nursemaid enters with
the children] … this
place now becomes
unbearable for anybody
except mothers.”-T (.)
● Stage direction further
supporting strictly
domestic role for woman,
with the husband viewing
the caretaking role of the
children as “unbearable”
● Burden of children placed
entirely on mother
● “…A PORTER can be
seen outside holding a
Christmas tree…”
duty equally sacred [as
family duty] … my duty
to myself…I believe first
and foremost I am an
individual, just as much
as you are…” -N (3.82)
o Sacred – religious
connotations, challenging
traditional female norms
in Christianity
herself as an “individual”
rather than solely a
mother and a wife
● “I felt any money I got
for them had to go on
them alone…whenever
Torvald gave me
money…I never spent
more than half.” -N
(1.15)
o “on them alone” supports
notion that she does not
take into account her own
wants and needs
 Rojin Moradi Zaniani / Task 5: Ibsen Take-Home Essay / Literature ATAR 11 Unit 1

o Establishes Nora’s
willing personal sacrifice
to her husband and
children
● D to T: “…I’ve never
made anything of my
life… I thought I was
[happy], but I wasn’t
really.” -N (3.80)
o No personal
achievements or success
from spending life
sacrificing for other
people’s achievements
The representation of the societal norms imposed on the bourgeois woman are hence
critiqued and destabilised, particularly of the strict domestic roles and the expectations of
sacrifice. This is constructed through the use of stage directions and the dialogue of Nora,
as Ibsen represents the bourgeois social norms as dehumanising and oppressional to
women.
Financial dependence and In A Doll’s House, the representation of the bourgeois woman’s societal expectations of
submission financial dependence and submission to men, are critiqued and destabilised through the use
of the dialogue of Nora, and Torvald.
o Men’s societal role of
● Man holds the patriarchal ● “…Terribly
sole provider
role of being the sole embarrassing and
provider in financial terms humiliating… if he
thought he owed anything
● By forcibly depriving
to me … this happy home
women of things, of ours would never be
particularly income, in the the same…” -N (1.15)
income-driven bourgeois
society puts ultimate power ● “…I wouldn’t be a proper
in the man’s hands man if I didn’t find a
o Dependence of woman
woman doubly attractive
on man ● Leads women to be
for being so obviously
financially dependent, key helpless.” -T (3.80)
reason for their submission
and inferiority to men, ● Demonstrating bourgeois
social view that a
● They possess no other
helpless woman is
realistic option to earn or “doubly attractive”
sustain their own living
● “…That some rich
gentleman had fallen in
love with me…’my entire
fortune to be paid over…
to Mrs. Nora Helmer.’…
something I used to sit
here pretending” -K
(1.16)
o “Rich gentlemen”
described as being
desirable purely for
monetary value, as there
was no other realistic

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way for women to earn or

sustain their own living
● “…I must try to discover
who is right, society or
me … If I’m ever to
reach any understanding
of myself and the things
around me, I must learn
to stand alone.” -N (3.83)
o ‘stand alone’ -
pioneering independence
and self-worth,
contrasting to the
bourgeois expectations of
an ideal housewife
The representation of the societal expectations of financial dependence and submission to
men which are imposed on the bourgeois woman, are hence critiqued and destabilised
through the use of the dialogue of Nora, and Torvald. Ibsen’s construction of these ideas
hence represents the bourgeois financial expectations of women to be morally degrading
and inauspicious.
Marriage ideals In A Doll’s House, the representation of the ideal bourgeois marriage norms includes the
possession, emotional manipulation and domestic restriction of women. These
representations are critiqued and destabilised through the use of dialogue between Nora and
her husband, and also between Nora and Kristine.
o Possessive nature
● The woman being ● “Is that my little skylark
portrayed as the possession chirruping out there?” -T
of a man (1.1)
o Emotional manipulation o Through dialogue;
● “my” – possessive
Torvald’s use of pet names
pronoun, “little” –
● Includes the societal condescending,
expectation that the ideas, patronising, “skylark”-
beliefs and morals of the Weak, insignificant
woman are to be adapted ● “…I have been your doll
o Domestic restriction
to align with the man’s.
o Strips wife of any control wife…”-N (3.80)
over her own life or o “Doll” – wife objectified
decisions, leading to an as a material possession,
unsatisfactory and hence as something that can be
unsuccessful marriage played with to suit one’s
needs with no inherent
● Woman must remain under value
control of the man, ● “… I acquired everything
restricted in a domestic
sphere, further to the same tastes… or I
demonstrating the pretended to...”-N (3.80)
complete lack of any ● Nora accommodated
control possessed by the
herself to suit Torvald,
woman
did not make her own
o Strict roles and obligations
decisions or judgements
of the woman create
deceit/lack of honesty ● Marriage not beneficial
which are destructive to a nor satisfactory for Nora
healthy marriage
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Rojin Moradi Zaniani / Task 5: Ibsen Take-Home Essay / Literature ATAR 11 Unit 1

o Demonstrated by Nora’s
● “...And you never
secrecy towards her
husband confided in your
o Societal expectation that husband?” -K
woman must leave all “Good heavens, how could
other decisions other than you ever imagine such a
family to the man, leads to thing!” -N (1.15)
Nora having to step into ● Dishonesty as a result is
male sphere, which is normalised in the
strongly condemned by traditional institution of
society, regardless of her marriage
intentions to protect her
husband.
The representation of the ideal bourgeois marriage is hence critiqued, consisting of the possessive power the
husband holds over the wife, particularly through restrictive household obligations. This is constructed
through the dialogue between Nora and her husband, and also between Nora and Kristine, as Ibsen represents
the social institution as unsustainable and a contribution to the disintegration of marriage.

FINAL COPY
Q3. Literary texts often pose questions about an established social order.
Discuss how representations have been constructed in A Doll’s House in
order to critique, reinforce or desabilise social institutions and/or social
expectations.

A Doll’s House, written in 1879 by Norwegian playwright Henrik Ibsen, is a play exploring the
conventional roles of men and women in the late nineteenth century. It is critical of the bourgeois social
institutions and expectations of the nineteenth century, particularly on gender roles and marriage norms.
These institutions were patriarchally motivated with favourable expectations towards the bourgeois
man, creating a society in which men had superior social standing to women. This manufactured the
significant oppression of women, stripping them of individualism. This is also examined in bourgeois
marriages, where the societal power imbalance is apparent through the domestic dynamic. In Henrik
Ibsen’s play, A Doll’s House, the social expectations and institutional standards of the bourgeois
woman are critiqued and destabilised by representing the domestic roles and responsibilities of the
woman, her financial dependence and submission to the bourgeois man, and her objectification and
power confinement in a marriage. These representations are constructed through stage directions, and
the dialogue of character Nora Helmer and her husband, Torvald Helmer.

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Rojin Moradi Zaniani / Task 5: Ibsen Take-Home Essay / Literature ATAR 11 Unit 1

In A Doll’s House, the representation of the bourgeois woman’s societal expectation of domestic roles
and responsibilities are critiqued and destabilised through the use of stage directions, and the dialogue
of Nora. The use of set arrangements such as, “… [the nursemaid enters with the children] … this place
now becomes unbearable for anybody except mothers.”, establishes the role of women as holding the
responsibility of the children, and their solely maternal value. In conjunction with the dialogue of
Torvald Helmer, Nora’s husband, the use of the adjective “unbearable” suggests that the mere presence
of the children is not the responsibility of the man. This criticises the absence of fatherhood in a
bourgeois society, with the burden of raising the children placed entirely on the mother. The domestic
role is also enforced in orthodox Christianity, the religion adopted by the Helmer household. This is
seen through set arrangements such as, “[…A PORTER can be seen outside holding a Christmas
tree…]”, with a Christmas tree being a symbol of Christianity. This norm is destabilised through the
dialogue of Nora, such as, “I have another duty equally sacred … my duty to myself…I believe first and
foremost I am an individual.” The use of the adjective “sacred” has religious connotations, challenging
the traditional female norms of Christianity as Nora begins to identify herself as an “individual” rather
than solely a mother and a wife. Ibsen is therefore critical of these norms, by showing that Nora is left
discontent from the domestic role being imposed on her by society, and her religion. This is seen
through her dialogue, such as “…I’ve never made anything of my life… I thought I was [happy], but I
wasn’t really.”, demonstrating that strict domesticity has caused the absence of life satisfaction and
success for the bourgeois woman. The representation of the societal norms imposed on the bourgeois
woman are hence critiqued and destabilised, particularly of the strict domestic roles and the
expectations of sacrifice. This is constructed through the use of stage directions and the dialogue of
Nora, as Ibsen represents the bourgeois social norms as dehumanising and oppressive to women.

In A Doll’s House, the representation of the bourgeois woman’s societal expectations of financial
dependence and submission to men are critiqued and destabilised through the use of the dialogue of
Nora, and Torvald. In a bourgeois society, the man holds the patriarchal role of being the sole provider
on financial terms. This is evident through the dialogue of Nora, such as “…terribly embarrassing and
humiliating… if [Torvald] thought he owed anything to me …”, which supports the notion that women
are separated from financial duties and involvements. Through the adjectives “embarrassing” and
“humiliating”, the reality in which a man is financially indebted to a woman is seen as shameful and
deplorable based on societal expectations. This leads women to be financially dependent, seen as a key
reason for their submission and inferiority to men. This is also represented through Nora’s dialogue,
with phrases such as “…[if] some rich gentleman had fallen in love with me … [and said] ‘my entire
fortune to be paid over… to Mrs. Nora Helmer.’… is something I used to sit here pretending.”,
representing the societal helplessness of women to acquire income from an external source. The
depiction of a “rich gentleman” is described as being desirable purely for monetary value, as Nora
possesses no other realistic way to earn or sustain her own living. Her dependent mindset is critiqued
and ultimately destabilised towards the end of the play and is constructed through her dialogue, such as,
“… if I’m ever to reach any understanding of myself and the things around me, I must learn to stand
alone.”, with the phrase ‘stand alone’ pioneering Nora’s independence and self-worth. The
representation of the societal expectations of financial dependence and submission to men which are
imposed on the bourgeois woman, are therefore critiqued and destabilised through the use of Nora and
Torvald’s dialogue. Ibsen’s construction of these ideas hence represents the bourgeois financial
expectations of women to be morally degrading and inauspicious.

In A Doll’s House, the representation of the ideal bourgeois marriage norms includes the possession,
objectification and power confinement of women. These representations are critiqued and destabilised
through the use of dialogue between Nora and her husband, and also between Nora and her friend,
Kristine. The traditional institutions of marriage consist of the husband being in possession of his wife.
This is evident through the use of dialogue between Torvald and Nora, particularly through Torvald’s
use of pet names. Phrases such as, “is that my little skylark chirruping out there?” by Torvald, and, “…I
have been your doll wife…” by Nora, work to build the domineering qualities Torvald holds over Nora
in the marriage. The pronouns “my” and “your”, indicate Nora to be under the possession of Torvald,
and in conjunction with the phrase “little skylark”, show the belittling and objectifying of Nora. The

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Rojin Moradi Zaniani / Task 5: Ibsen Take-Home Essay / Literature ATAR 11 Unit 1

particular use of the word “doll” also indicates Nora to be represented as a material possession, and as
an object with no inherent value. This is representative of the ideal bourgeois wife, who was considered
to be an extension of her husband. In bourgeois marriages, women were also expected to remain under
the control of the man and were restricted to the domestic sphere, which can create deceit and
dishonesty in the marriage. In the play, Nora’s secrecy towards her husband Torvald arose from him
needing financial help. Although insisting to Nora that he was well adequate, Nora stepped into the
male-dominated sphere of finance to obtain income, which led to her having to hide it from him. This
represents fraudulence in the marriage and is constructed through the use of dialogue between Nora and
Kristine. An example is when Kristine questioned Nora, “… and you never confided in your husband?”,
to which Nora replied with, “… good heavens, how could you ever imagine such a thing!”,
demonstrating that dishonesty is consequently normalised in the bourgeois institution of marriage. The
representation of the ideal bourgeois marriage is therefore critiqued and destabilised, particularly the
possessive power the husband holds over the wife, and the objectification and power confinement
imposed on her. This is constructed through dialogue between Nora and her husband, and between Nora
and Kristine, as Ibsen represents the social institution as causing deceit and as being unsustainable.

Henrik Ibsen’s play, A Doll’s House, is a literary piece serving to critique and destabilise the social
expectations and institutional standards of the bourgeois woman, by representing the domestic roles and
responsibilities, financial dependence and submission to the bourgeois man, and the objectification and
power confinement in a marriage. These representations are constructed through stage directions, and
the dialogue of Nora Helmer and her husband, Torvald Helmer. The character of Nora Helmer is
representative of the ideal bourgeois woman, and through the progression of her rebellion from societal
norms and expectations, the defectiveness of female society ideals of the late nineteenth century are
represented. Ibsen’s criticism and destabilisation brought a significant awareness to society, examining
the often dehumanising and oppressive effects inflicted onto the women of the bourgeoisie.