With the assistance of their mother, friends and experiences, Meg, Jo, Beth, and Amy struggle between their personal expectations and society’s expectations as they plan for their future and choose their destinies. Mrs. March, also known as Marmee, like many women during this era had to learn how to balance working outside the home with raising a family while her husband served in the Union Army. Marmee shows, “that a home can be run successfully without a man supporting it, as hers is while Mr. March is away at war” (Thomason 123). She proves to have a strong influence on her daughters as they weave through their daily lives and dreams of their futures. The young girls, whom are each unique in their personality and expectations, tend to make poor choices throughout the novel.
The fundamental notion of the female writer evolved within the nineteenth century when women were, and continued to be, considered as inferior beings when compared to their male counterparts. This is especially noticeable within the literary canon, where female writers are sparsely included in ‘reputable’ works of literature, let alone incorporated into any canon at all. Virginia Woolf, in her essay titled “In a Room of One’s Own” (1925), details the apparent trials and tribulations that female writers in the Victorian era experience when attempting to become recognized within a literary community. The female author is revisited during the second-wave feminist movement by Sandra Gilbert and Susan Gubar in their psychoanalytic text, “Infection in the Sentence” (1979), which focuses on the “anxiety” associated with the act of writing as a woman. The approach to identifying the complex social constructs applied to women writers differ due to Woolf’s insistence on androgynous writing in order to unify perceived male and female characteristics, whereas Gilbert and Gubar celebrate distinctly feminine literature as a means to encourage an active literary community of women.
“Women were forced to be dependent on their husband’s for financial support” (Cruea 2). This was unfair, being a victim of discrimination and feeling forced to rely on your husband to meet financial need should have been sociably unacceptable. However, it wasn’t in this time period. “A Doll’s House” tells how Nora was left to take care of the financial responsibilities while Torvald was sick, and this situation led on to cause many problems in their marriage. Nora was unsure how to get money in this situation, made a deceitful decision, and hid it from her husband.
The Controversial Theme of A Doll's House In his play, A Doll's House, Henrik Ibsen depicts a female protagonist, Nora Helmer, who dares to defy her husband and forsake her "duty" as a wife and mother to seek out her individuality. A Doll's House challenges the patriarchal view held by most people at the time that a woman's place was in the home. Many women could relate to Nora's situation. Like Nora, they felt trapped by their husbands and their fathers; however, they believed that the rules of society prevented them from stepping out of the shadows of men. Through this play, Ibsen stresses the importance of women's individuality.
The roles in which gender is the main factor has been fought over but the fact of the matter is that it is still being fought over today. Not only is a gender role an old disagreement, but it is also the hidden symbolic meaning behind Charlotte Perkins Gilman’s The Yellow Wallpaper. In her short story published in 1899, author Charlotte Perkins Gilman effectively use symbolic patterns to comment on how societal oppressions create insanity. Although John thinks he is being supportive by enforcing the “rest cure” for his wife, his lack of listening reflects the roles determined by gender. Men have grown up in a society in which changing what they do not approve of, even women, is okay.
His struggle demonstrates how patriarchal culture oppresses both men and women into ascribed roles based on impossible ideals. Anna, his wife, holds the family together with the meager resources brought in by her husband, who devalues her role because she is a woman and earns no money. As a result of this oppression, she grapples with her own identity, as motherhood and domestic responsibility limit her opportunities for personal fulfillment an... ... middle of paper ... ...ieb, Annie. “A Writer’s Sounds and Silences.” The New York Times Book Review 31 March 1974: 5. Faulkner, Mara.
Orjasaeter, Kristin. "Mother, Wife and Role Model: A contextual perspective on feminism in A Doll's House." Ibsen Studies: Tahlor and Francis. Ltd. 2005. 19-47.
2014. Lemaster, Tracy. "'Girl With A Pen': Girls' Studies And Third-Wave Feminism In A Room Of One's Own And 'Professions For Women'." Feminist Formations 24.2 (2012): 77-99. MLA International Bibliography.
Scribbling Women & the Short Story Form: Approaches by American & British Women Writers. 74-85. New York, NY: Peter Lang, 2008. Wang, Bella. Kissel, Adam ed.
“A Map for Rereading: or, Gender and the Interpretation of Literary Texts” New Literary History 11, no. 3 1980. 451-67 Treichler, Paula. “Escaping the Sentence: Diagnosis and Discourse in “The Yellow Wallpaper,” Tulsa studies in Women’s Literature. 1984.