Thursday, January 30, 2020
Blood Brothers Essay Example for Free
Blood Brothers Essay It feels like he is this omnipotent being and he is deciding the fate of all the children. Its almost as if he is the emotion that everyone wants to avoid but no one is doing anything about it, Mrs Johnstone carries on in her life pretending that she isnt superstitious and although there is this undying voice inside her saying that she is and one day Mickey and Edward are going to die. This voice is what the Narrator is, he is fate and Mrs Johnstone chooses to ignore it but she knows you cant change fate. On the stage he is always there, he is omnipresent, this constant being there shows that the thoughts of Mrs Johnstone are still there and that nothing you do will undo the past. Mrs Johnstone has to live with the decision of what she has done but she chooses to ignore it. The Narrator can be viewed upon as the referee of life (or as you might God), you know the rules and now you have to follow the rules (the superstition) but Mrs Johnstone turns a blind eye, forgets about it and pretends that it will never happen, but she must follow the rules. Prejudice Prejudice is a fixed opinion, which is not based on a fair examination of the facts. The picture with the black and white boy and the so-called magical stick (simply because we dont know what it is) is a base of which many different scenes can be produced and discussions can take place. The children come across as innocent, possibly that they have no reason to be prejudice against each other but through past happenings (lynching in America and the KKK) their parents want them to be prejudice to supposable keep them from harm. It shows that possibly prejudice to this degree is only set in motion if something terrible happens by a specific type of people (the KKK killing black people) and that when it comes down to it the people themselves are not the same as the people who have done this feat. Suppose that everyone in the world was white and everyone was the same religion, height, age etc. but despite this the KKK would exist and the lynching would still go on; people would find another way to view differences, where you live or even your surname. My point is that I think its human nature to take a dislike against different people, if you look back hundreds of years and people lived in remote places (tribes for example) and a tribe moved to join another tribe, because the new tribe is different it presents its self with a new variable, that it could jeopardise the well-being of the original tribe. So this original tribe will try and eliminate this variable (driving them away or even killing them) to stop it from harming their own tribe. You can translate this to the black people moving into America and the white people living there trying to protect them by getting rid of any new possible threat. Mickey and Edwards first meeting and an evaluation of two groups Francis (me), Jamie and Barry  There was a nice mime of the gun from me as I sat on the apron of the stage. It was good because the gun I made in my hands by pointing one of my fingers out and it looked as though it was a gun because it took the form of a gun well. We did some good work even though we had only one lesson to get it done in. It was good work because we learnt most of our words and got the blocking sorted. The giggling after the F word was good because it was very childish because I and Jamie looked as if we were embarrassed.  My body language was good, my arms movements were exaggerated and typical of a seven year old because that is how the act with their arms.  Even though Jamie lost his place in the play, he didnt come out of character and got back on tracks very quickly. Very good facial and body language from all of use and especially me, me and Jamies facial expressions matched seven year olds expressions and Barrys face showed that he was pissed off and he acted as though he was the boss by talking louder and demanding respect.We could of have improved by thoroughly learning the script and concentrating more on our actions. James and Richard  Both of them learnt the script and did not lose their place or forget their words. They didnt fully use their hand movement so they couldnt act exactly as a seven year old would because people at that age use their hands.  When they said the F word they looked as though they were very excited and embarrassed. They looked like this because they acted as young people would when they heard a naughty word; they did this by having wide eyes and giggling immensely.  When James said pissed off it was well done because it sounded as though he really was pissed off. Only on one incident did James forget his words, but nether the less he still kept in character and sorted it out by referring to the script. What I have learnt about the class differences between the twins I have learnt that Edwards class is most probably upper class; either this or they are very rich middle class people. I have learnt that Mrs and Mr Lyons have a highly etiquette way of living, for example they do not allow swearing of any form whereas with Mrs Johnstones way of living swearing occurs frequently. Mickeys class is probably lower class, which is they do not have a large amount of money or income. She has many children and works very hard for Mrs Lyons but still does not get a large income. I have learnt that its most likely that Mrs Johnstones family expresses their emotions more often than Mrs Lyons family; this could be because Mrs Johnstone does not have as much material possessions compared with Mrs Lyons so she spends more time in her free time with her kids. On the contrast Mrs Lyons has many material possessions so she doesnt spend that much time with Edward because hes playing with his toys (for example). The changing attitudes between Mickey and Edward Through the play the twins attitude changes in aspects of their lives, for example them being blood brothers forever and the relationship between each other. When they were both seven years old they took delight in knowing that they were born on the same day, furthermore they made each other their blood brother. They were both immensely thrilled by this new bond they made and longed to be like each other. However when they grew older their views on being a blood brother changed, especially for Mickey who grows up and realises that he previous action of becoming a blood brother is childs play. He says that while no one was looking I grew up, and I think that because of his harsh life with not much money he stops believing in the childish act and starts realizing that he has to open his eyes and stop playing games. However with Edward he hasnt got a single worry in his life because he has lots of money a good social life and really not many initial problems at all; so because of this he still believes in this blood brother stuff because he hasnt grown up and found out what the world was really like. He still lives in a pampered world where anything he wants (and because he is an only child he is spoilt) he gets, he can afford to play games and Mickey cant. Edward doesnt realize no important a job is, why why is a job so important because he can live off his parent income if he wants to, but Mickey knows that without a job hell have no money and because he mum cant afford extra school he cant get the grades to get a good job. Mickeys attitude towards life changes the most, when he was seven he saw everything as a game and didnt have any real problem to worry about. Although as he grows up he realises that he needs money and a steady income and him being a blood brother with Edward is just a childrens game. On the other hand Edward has gone to university, he can use his parents money to give him anything he wants and he hasnt yet realised what life is really like when your throw in the deep end without any support, so because of this his attitude of being a blood brother hasnt changed dramatically. How we acted these changes out We acted out the first time Mickey and Edwards first meeting, this showed that they are immensely fascinated with each other and wanted to be just like each other, furthermore on top of this they are born on the same day and become blood brothers. To show further how this friendship was good I wrote a monologue showing how Edward was dumfounded with Mickeys knowledge and who he is and that he wants to play and be friends and blood brothers forever. Later on in the play where the most time and the most dramatic difference was noticeable where they had spent the most time away form each other was when Edward got back to Mickey from university. We acted this out in a workshop and showed that Mickey was extremely livid by his job and Edwards fortune. Edward had friends he had money and he had just come back from university and he had a great time, whereas Mickey was just working for minimal pay putting together cardboard boxes. When we see Edward and Mickey meet for the first time Mickey expresses that he hasnt grown up and he makes him sick. Mickey has put up with so much when Edward was at university and his nerves were stretched to breaking point and as soon as the person who is most like him in the world comes home and sees that he is doing very well, he snaps mentally. I think that this is why he is forced into taking drugs. We acted this difference out by showing that Mickey was very angry and livid by the thought of Edward and that he saw him self as a failure, no job and even when he had one it was a very poor job, and Edward doing extremely well makes him feel even worse. The workshop During the workshop I learnt that gesture and hand movements are very important to express emotions and that it isnt all through the voice. I learnt that you can use swear words, gesture and actions which provoke something in the audience but only once or twice because after a couple of times it doesnt have the same effect that it has the first time. I learnt to know that when your on the stage its your stage no one elses so you do not have to rush what you are saying because you are the one on stage and nobody is their to take it away; space between what you are saying. Also that when Mickey is angry and listing all the things that he is angry about I know that it is a good idea to rise in anger as you progress, because Mickey thinks of one thing which makes him angry then he says another and he knows that there are many things that he is angry about; so it topples on top of all the things he is angry or upset about in one frame of mind. In the workshop I learnt that you must always try your best if you want to become an actor (or any other profession) and that if you have an ambition, you should pursue it fully. The best performance When the people in our group performed I thought that Ned performed well; although there is only one criticism I can offer. His charisma on the stage is very good; he projects his voice and shows very well what the character is feeling. When he was playing Mickey and expressing how Mickey felt about his life he did it in such a way that you felt very sympathetic towards him; me must have emphasised a lot to understand what he feeling. The only criticism I can make is that when he acts as though he is upset or angry he tends to do it all the same. His acting at expressing those emotions are very good but he tends to do the same acting for different characters. I just feel that not everybody is angry or upset in the same way, there are many different ways of being angry so I think he should a larger variety of different ways of expressing different emotions.
Wednesday, January 22, 2020
Facts about Ecstasy :: essays research papers
     Ecstasy, or MDMA, has become a major drug problem in the last few years. Although it is widely used, it has been proven to be dangerous. Ecstasy is a designer drug, which means it is synthetically made by street chemists. These people are not usually certified chemists and are in it for the money. This makes taking E even more dangerous. Ecstasy effects are very similar to Amphetamines and speed. Although the chemical structure is not similar to these other drugs, the effect on the body is the same. This is an informational article and in no way endorses the use of ecstasy, since it is a dangerous and illegal drug. NAMES      Ecstasy, since it is highly illegal, naturally has many names to cover its true identity. Ecstasy is also known as MDMA, pills, Adam and eve, X, E, Ecstacy, XTC, or Adam. Some fake-ecstasy drugs can be bought over the counter, such as Cloud 9, or The Pill. These are herbal fakes, and are considered by experts to not be anything like ecstasy in its true form. They may say they are ecstasy, but they really aren’t.                     DOSAGE      A average person must take 100-159 milligrams orally to feel the full effects of this drug. The drug works quickly, and effects will be noticed about forty-five minutes later. As with other drugs, if it is smoked, snorted, or injected, it will work quicker. The physical effects generally last about eight hours. The mental effects can last much longer, with them trailing off around one or two days.                     MENTAL EFFECTS      The mental effects of ecstasy are sometimes hard to describe since they are mental feelings. Scientists have classified the major mental effects of ecstasy. Entactogenesis is the first major effect of ecstasy when people feel that everything is right and good with the world. They also find interest in common everyday objects. They just have a general happy feeling. Empathogenesis is the next major effect of ecstasy; it is seems to create a feeling of closeness to others and a breakdown of communication barriers. So it seems to make you be much for open with people than before. This effect probably helped ecstasy earn its name of the Love Drug.                     PHYSICAL EFFECTS      MDMA can create any number of physical effects such as dizziness, accelerated heartbeat, sweating, insomnia, incessant talking, euphoria are all experienced. Many users report a loss of judgment, which can threaten physical health. Almost every user of ecstasy has major loss of body fluid through sweating.
Tuesday, January 14, 2020
Choose One of the Following Models of Psychosynthesis
Choose one of the following models of psychosynthesis: (a) subpersonalities, (b) ‘I’ and the sense of identity, (c) the egg diagram. Discuss and critique its usefulness as a tool for understanding your own development and its possible application to clinical work. This essay will choose to discuss model (b) ‘I’ and the sense of identity, particularly in relation to the work of John Firman.This essay aligns with the definitions of â€Å"I†and Self as outlined by Assagioli (1965), that â€Å"I†is one’s sense of personal self, the centre of our consciousness and will, and not to be confused with the psychological contents of consciousness. Assagioli recognized a powerful integrative principle acting within the human psyche – the Self, stating that â€Å"I†is a â€Å"projection†or â€Å"reflection†of Self, seeing Self as the Ground of Being, the luminous Source from which our being flows.I agree with Firmanâ €™s (1997) singular use of the term Self to refer to the entirety of â€Å"I†s deeper being. Through the process of psychosynthesis, Assagioli believed that the â€Å"I†could become freed up to establish itself as an autonomous centre serving the Self, and it is this â€Å"freeing up†of â€Å"I†from its surrounding â€Å"contents†, including its many constellations of personalities, known as subpersonalities in psychosynthesis, that can allow for a person’s authentic sense of identity to emerge.This essay will focus on the fundamental nature of empathy in psychosynthesis thought, as an inherent quality of â€Å"I†, with its source in Self, and how, through the emerging sense of my own sense of â€Å"I†, the development of my own personal centre, this psychological tool assisted in my understanding of my own development, and was in fact utterly key to it. I will then discuss and critique the â€Å"I†s possible appl ication to clinical work, especially in relation to the importance of developing empathy.Empathy in this sense refers to the potential of â€Å"I†to be fundamentally loving towards all aspects of the personality (Firman and Gila 2007). This emergence of â€Å"I†may be seen as the heart of psychosynthesis therapy, and the pre-requisite for authentic self-expression in the world, as Assagioli affirms, â€Å"I am a living, loving, willing self†(Assagioli 1973, 156).It is precisely the ability of the therapist to provide an authentic unifying centre for the client that Assagioli emphasized as imperative to the development of personal identity, seeing such a unifying centre as â€Å"An indirect but true link, a point of connection between the personal man and his higher Self, which is reflected and seen in that object†(Assagioli 1965,25). Thus, the empathic, relational interaction with such an external unifying centre conditions the formation of an inner r epresentation or model of that centre, which can be called an internal unifying centre.In this sense the inner centre becomes capable of fulfilling the same function as the external one. In psychosynthesis, the â€Å"I†is taken as the sense of identity with its roots in Self. Assagioli (1965) affirmed the essential unity of â€Å"I†and Self, but he was also careful to maintain a distinction between them, since â€Å"I†is one’s personal sense of self flowing from the more universal nature of Self. In psychosynthesis, it is this relationship, between â€Å"I†and Self, that forms the very ground of Self-realization, defined here as one’s sense of authentic relationship.Assagioli’s insight into the nature of personal identity, or â€Å"I†, is central to psychosynthesis thought, and he was also clear not to confuse such personal identity with organizations of psychological content. Rather he saw â€Å"I†as distinct but n ot separate from any contents of experience, from any and all processes or structures of the personality†(Firman & Gila 2007, 9). One primary way Assagioli stressed to reveal the nature of â€Å"I†, was through introspection, an act of self-observation, attending to the ever arising contents of experience in consciousness. †¦the point of pure self-awareness (the â€Å"I†), is often confused with the conscious personality just described, but in reality it is quite different from it. This can be ascertained by the use of careful introspection. The changing contents of our consciousness (the sensations, thoughts, feelings, etc) are one thing, while the â€Å"I†, the self, the centre of our consciousness is another. †(Assagioli, 1965, 18). Here, a clear distinction is made between one’s sense of identity and one’s personality, a central and profound distinction within psychosynthesis thought.I began my own personal journey with a gre at need to establish my own sense of identity. I had a very broken experience of self that many times led me into a crises of identity. It was through the practice of introspection, or self-attention, in the form of continuous attention to the consciousness â€Å"I†, or the inner feeling â€Å"I†, that I developed my own sense of self. In my teenage years, my sense of identity would constantly move through what was for me, a very fragmented terrain of personality, and I had a very fragile connection to an authentic centre of identity within my personality matrix.Through the process of self-attention, I was able to establish an authentic sense of identity. Once this sense of â€Å"I†had been established as a â€Å"good enough†sense of self within me, a process of self-empathy could develop as a result of this, providing me with an â€Å"internal holding environment†(Winnicot 1987, 34), of empathy and love, an internal unifying centre, a ground fr om which to include ever more of my experience, allowing me greater exploration of self, and a centre from which to form such experiences into creative expression in the world.This leads onto one of the most useful aspects of this model in my experience, which is the concept of disidentification, a necessary requisite of empathic love. This refers to the capacity of â€Å"I†to not get stuck in, identified with, any particular contents of experience, such as thoughts, feelings, sensations, subpersonalities, etc, but rather to be able to shift and move through them all (Firman & Gila 2007).My personal practice of attention to the inner feeling â€Å"I†acted for me as an external unifying centre, that over time, coupled with my own therapeutic experience, became the internal holding environment of my own authentic sense of â€Å"I†. Through this psychosynthetic approach to identity, one may come to discover that one is not what one sees, that is the contents of c onsciousness, but rather, one is the seer themselves, the point of pure consciousness embodied within the various contents.Through this capacity of the â€Å"I†to be distinct but not separate from such contents of consciousness, the possibility of self-empathy may be born, whereby one learns to enter into a relationship with all parts of oneself, experiencing each, without losing one’s inherent sense of identity. This was of invaluable use to me in my development as it allowed me to find an anchor as it were, a point of stability, within an ever changing flow of experience.And for me, it was this process of disidentification that allowed me to disentangle myself from â€Å"survival personality†(Firman & Gila 1997), that defensive part of me that had formed as a result of not being â€Å"seen†and validated as an â€Å"I†when I was a child, due to what self-psychology calls â€Å"empathic failures†in my early holding environment. In my ca se this was due to a mother who â€Å"saw†me through a projection of her own self thus resulting in my own core essence not â€Å"being seen†.This led to deep â€Å"primal wounding†in me, and from this it becomes clear how Assagioli’s â€Å"introspection†may serve as part of what can heal such â€Å"primal wounding,†which Firman and Gila define as â€Å"an experienced disruption in the empathic mirroring relationship between the personal self or â€Å"I†and Self†(Firman & Gila 1997, 89). This may allow for a sense of continuity of being to be established, since the I-Self connection is that essential empathic connection, hinting at the relational source of human being.In my experience, one of the potential dangers of this model is that the concept of â€Å"I†may be taken literally, as a thought, rather than as a person’s authentic experiential centre of being. Here, a danger is that the tool of disidentific ation could act as a further form of dissociation rather than allowing space for the deeper vulnerabilities of the personality. For me, this manifested in that I would identify with the pure â€Å"I†as a single and specific mode of experience that rendered other modes remote, becoming a further aspect of my â€Å"survival personality†.However, since disidentification has been defined as â€Å"simple, introspective, self-empathic witnessing†¦. founded in the transcendence-immanence of â€Å"I†– the ability of â€Å"I†to be distinct, but not separate from the contents of awareness. †(Firman & Gila, 1977, 56), it is identification, and not disidentification that is the dynamic underlying dissociation. It is important here to bring in the concept of subpersonalities, that may be defined as the â€Å"many constellations of thought, each composing an identity†(Ram Dass, cited in Firman & Gila 1977,63), since the theoretical istinc tion between one’s authentic sense of identity and the many â€Å"subpersonal†identities is essential in psychosynthesis. Firman & Russel (1994) use the concept of â€Å"authentic personality†when referring to this â€Å"empathic reaching†within oneself to realize the authentic, whole expression of one’s essential nature or â€Å"I-amness†, which they argue is akin to the true â€Å"inner child†; and they distinguish between what they call one’s true personality â€Å"core†, and the varying â€Å"ego-states†or subpersonalities.Psychosynthesis therapy is able to provide a powerful environment of support and nurturance for the emerging sense of a client’s authentic â€Å"I-amness†, allowing for the client’s self-expression to begin to express their â€Å"true nature†, rather than their sense of identity and self-expression being based on an unconscious attempt at self-defence.So these ideas are very useful in relation to understanding how a person’s authentic sense of â€Å"I†or identity can become enmeshed in â€Å"survival personality†due to childhood wounding, and how, through the therapeutic experience of an â€Å"authentic unifying centre†, and a â€Å"holding environment†that fosters authentic, spontaneous expression of self rather than defensive focus on survival, the emergence of authentic â€Å"I†may emerge as the central feature of a person’s personality and identity, potentially allowing them a more creative and authentic life in the world.The point here is that identity is relational, and not an isolated event, and thus, a clinical setting may provide a holding environment that may allow for a â€Å"good enough†healing of a person’s I-Self connection to allow for enough personal continuity of being, begetting a stronger path of self-actualization. In my experience, my own therapist p rovided me with an external unifying centre that has continued to be a powerful centre for me and my journey into authentic relationship (Self-realization).My own psychotherapy became for me my first relational experience that allowed me to feel â€Å"seen†. â€Å"When I look, I am seen, therefore I exist. †(Winnicot, 1988b, 134), and thus begun my work of personal psychosynthesis with grounded and self-actualizing potency. For me, I realized that my true work lay in the mastery and integration of my total being â€Å"around the unifying centre of the â€Å"I††(Assagioli, 1965, 51).Chris Meriam (1996) makes it clear, as already discussed, that the first principle of empathic enquiry, applied to ourselves, is our willing exploration of our subjective world as a way of understanding that world, holding ourselves as â€Å"I†distinct but not separate from all that we encounter. â€Å"When we relate to ourselves in this way – simultaneously t ranscending and engaging the vast array of psychological content†¦we become more deeply self-understanding, self-empathic†(Chris Meriam 1996, 18).Applying this to a clinical setting, Meriam speaks of the inner world of the client being engaged in much the same way allowing for the emergence of their own â€Å"I†and authentic sense of identity. In this sense, the therapist remains distinct but not separate from the client’s world, also taking the same stance towards the clients â€Å"issues†. It is referring to this capacity of empathic â€Å"I†that Firman & Gila (2007) speak of â€Å"I†as â€Å"transcendent-immanent†.This ability to â€Å"hold†the client in their â€Å"I-amness†allows them the opportunity for empathic engagement with â€Å"any and all†of their subjective experience. Thus, the emerging sense of empathic â€Å"I†that is given possibility through psychosynthesis therapy, allows a c lient to bring to awareness unconscious identifications that may be functional within their psychological patterning, constricting their consciousness and inhibiting their growth. In this vein, Assagioli writes, â€Å"We are dominated by everything with which our self becomes identified†(Assagioli 1965, 22).Here Assagioli is speaking of unconscious identification where we have become â€Å"captured†by our subjective world rather than standing in a â€Å"free†position to it. So the empathic â€Å"I†or personal self of the therapist allows the therapist to offer interventions based on an emerging understanding of the client’s subjective world as an interpenetrating mixture of higher, middle, and lower unconscious material â€Å"-of personal and transpersonal activities and states of awareness-all underscored and held together by a deeper empathic Self. (Chris Meriam 1996, 16) Here again, it is worth noting the potential danger of an individual m isusing the idea of transcendence as a form of â€Å"spiritual bypassing†(Firman & Gila 2007) of certain unwanted identifications or more â€Å"difficult†psychological content, thusly ignoring the deeper â€Å"transcendent-immanent†capacity of empathic â€Å"I†to engage in the full exploration of subjective experience.It is to be aware that withdrawal from psychological content as a form of avoidance is dissociating from the very ground of empathic relationship, and thus, authentic personal sense of identity is â€Å"disconnected†. However, within proper use of empathic â€Å"I†is held the tremendous potential that can be offered through the clinical setting in relation to the development of a person’s â€Å"I†and sense of identity.Here, as Chris Meriam (1996) notes, not only is â€Å"I†inherently of empathic nature, but also includes qualities of observation and awareness, responsibility, power, and choice. †Å"I†has consciousness and will. These potentialities of â€Å"I†, ever in line with true psychosynthesis, allow for the possibility of an ever deepening sense of identity and self-knowledge, an ever deepening degree of self-realization, and an ever widening field of authentic self-actualization, as one learns to express oneself with, and be guided by, integrity and creative self-expression in the world.In conclusion, it is clear how utterly central the â€Å"I†and sense of identity are to psychosynthesis and psychosynthesis therapy. In my own case, the profound insight into â€Å"I†underpinned my connection not only to my own inner and authentic sense of self, helping me distinguish between â€Å"I†and my â€Å"community of selves†, but also how it also lay down the foundations of my authentic relational experience with others.In this light, I feel that one of the major aspects of this model, is the understanding of the I-Self relationshi p as â€Å"containing†the very source of empathy, and thereby situating the very â€Å"heart†and â€Å"core†of personal identity as an empathic and relational experience, rather than an isolated event of personal liberation independent and detached from the relational field altogether, as posed by so many traditional spiritual paths. Also, through â€Å"I†s empathic presence in a clinical setting, and with applied echniques such as personal â€Å"introspection†, psychosynthesis therapy may allow for an ever more authentic and emerging sense of self within the client. Here the main point brought forth is that the psychosynthetic, psychotherapeutic relationship â€Å"works†, fundamentally, because of its allowance and nurturing of the clients emerging sense of empathic â€Å"I†, ultimately fostering the development of an internal unifying centre and the subsequent development of authentic personality. Taking this further, we might co nclude that empathy is the key to understanding our connection to all forms of life and all existence. We may even have a keen sense that everything from the tiniest particle of sand to the most distant star is held together in empathic wholeness. †(Chris Meriam 1965, 23) Thus, may â€Å"I†offer not only one’s authentic sense of identity, but â€Å"I†may also be the very point of relational connection itself, and the very heart of communion with All-That-Is.
Sunday, January 5, 2020
Analysis Of Ibsen s A Doll House - 848 Words
Honey, You are a Doll Nineteenth century women were viewed by society as possessions to their husbands and less capable than the male race. This era of women were thought to be only capable of simple tasks like house work and being a mother. This role is very evident in Ibsen’s â€Å"A Doll House†, but Ibsen shows the multiple ways his female characters could get their way even though they are oppressed. In â€Å"A Dolls House†the females may have been the underdog but they showed that they knew how to get what they wanted. Females of the era were making sacrifices because of the way society viewed them. Women have to make conscious decisions throughout their lives such as nobility, but they also had to make sacrifices because they have limited legal rights and limited influence. Young women of the nineteenth century always wanted to find their one true love, as long as that love is within her standards. These ladies cared about what class the male of their liking was in, it was not socially acceptable to marry down. No matter if it is love or not these women did not care they assume that the better man is the one in a higher class, but as Nora learns that the higher men do not like to play nice. In â€Å"A Doll house†Nora is a submissive to her husband, but soon to find out that she is capable of so much more than just house work. Torvald teases Nora but she does not mind because she is pampered, and treated highly because of their social class. Until Nora realizes what is really goingShow MoreRelatedAnalysis Of Henrik Ibsen s A Doll House 1823 Words  | 8 PagesA Doll House is a play that was written by Henrik Ibsen in 1879. Nora Helmer is a wife and mother who secretly loaned money to save her husband’s, Torvald, life. Torvald views a nd treats Nora has a doll and she goes along with it. As conflict comes and goes Nora decides that her current life is not what she wants for herself. She no longer wants to be anyone’s â€Å"doll†and decides to leave her family in search of independence. This play was controversial during the time it was written becauseRead MoreAnalysis Of Ibsen s A Doll House 1776 Words  | 8 PagesAnalysis of Ibsen’s â€Å"A Doll House†In 1879, Ibsen wrote â€Å"A Doll House†. This play lets you get an understanding of what it was like back in that era. You get an eye opener to how much things for woman have changed since that era. Ibsen wanted us to understand that a woman cannot be herself in modern society since the 1879 era was and exclusively man society. He wanted us to understand how Nora, the nanny, and Linde all made scarifies for the ones that they love and over their own real wants. InRead MoreAnalysis Of Henrik Ibsen s A Doll House 1152 Words  | 5 PagesHenrik Ibsen’s play â€Å"A Doll House†addresses the importance of the roles women play throughout this time period. Women are thought to be like â€Å"dolls†to their husbands, by obeying their commands and keeping a good image. We see the main character, Nora Helmer struggle to keep her perfect image of a great wife as troubles start to arise. Throughout the play we begin to see Nora push through her troubles and f ind her true identity, Nora shifts from being the loving, perfect wife, to being a strongRead MoreAnalysis Of Henrik Ibsen s A Doll House884 Words  | 4 Pagestransform minor lies such as white lies into something more dangerous. When one works to conceal a lie, a cloud of deception hangs over those involved and can lead to the destruction of friendships, relationships, and even marriages. In Henrik Ibsen’s A Doll House, he uses the motif of lies and deception to illustrate the fragileness of the Helmer’s marriage, which ultimately leads to its demise. Nora Helmer, a naà ¯ve woman who has never been given the chance to mature into an independent woman, never revealsRead MoreAnalysis Of Henrik Ibsen s A Doll House995 Words  | 4 Pagesguiding the integration of all these elements belongs to the director. One of the toughest tasks of a director is to reinvigorate a socially important and renowned production while maintaining its original message and composition. Henrik Ibsen’s A Doll House is a socially important realistic play that portrays the gender dynamics that plagued the nineteenth century and questions the expectations held for women in a household and society. The play is still incredibly influential because the issues itRead MoreAnalysis Of Henrik Ibsen s A Doll House 851 Words  | 4 PagesHenrik Ibsens’s, A Doll House, details the lives of the Helmers, a seemingly perfect couple. As the story progresses from act to act, it becomes quite obvious that their relationship is everything but perfect. Com plications arise quickly when a forged loan by Nora Helmer is brought to her husband Torvald’s attention. The prejudices women experience, particularly, Nora is a definite tone in this play. Henrick Ibsen does a great job at showing both sides of the oppression of women, particularly withinRead MoreAnalysis Of Henrik Ibsen s A Doll House 1472 Words  | 6 Pages â€Å"A Doll House†Playing many different characters is what Henrik Ibsen’s meant to do in A Doll House. The main characters fool people into believing they are someone other than their true selves. Nora plays her role flawlessly as she pretends to be living two different lives. Nora is Torvalds devoted and self-indulgent wife, but naively enough, she doesn’t realize she is a courageous, self-sufficient women. As the character’s progress so does Nora’s personality, she goesRead MoreAnalysis Of Henrik Ibsen s A Doll House 924 Words  | 4 PagesHenrik Ibsen once wrote a play called â€Å"A Doll House.†Back in 1879 when the play was written there was lots of controversy on whether are not they play should have been showed. It created lots of arguments because of the time that they play was done (Hemmer). In the time frame that Ibsen wrote his play it was a time where women really had no say. Women would listen to their husbands and do as they say. At the end of the original play Nora, the main character, left her husband and her kids. Ibsen onceRead MoreAn Analysis Of Henrik Ibsen s A Doll House1460 Words  | 6 Pagesthe idea of a female president. Traditionalist opposition has women body shamed into the fixed standard of beauty being the skinny Caucasian blonde. People still look down on women in troubled relationships as being their fault. Henrik Ibsen’s A Doll House puts into criticism the problems brought by traditionalism though the story between Torvald and Nora. Where Nora has to keep a secret how she saved her husband’s life to save her marriage, because she fears a woman helping a man would shame himRead MoreAnalysis Of Henrik Ibsen s A Doll House 1154 Words  | 5 Pagessacrifice mean? Is it important? Sacrifice can be defined as an act of immolating someone or something. Will one might think it depends on the person to decide on the importance of the sacrifice? In light of this play, â€Å"A Doll Houseâ₠¬ written realistically by Henrik Ibsen, he has portrayed many symbols throughout the play. One of the many symbols that stood out was sacrifice. Clothing also symbolized some importance in the play and the Tarantella dance as well. However, what exactly is a symbol
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