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luxxltyd's review against another edition
mysterious
fast-paced
- Plot- or character-driven? Plot
- Strong character development? It's complicated
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
2.5
Content Warnings
Graphic: Misogyny, Sexism, and Toxic relationship
Moderate: Death and Suicide
raindrop_'s review against another edition
challenging
inspiring
reflective
fast-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.5
Se lee muy rápido tanto por la escritura en sí, como por las ganas de querer saber más.
Veo tres capas muy interesantes: la primera, aquella que corresponde a los ojos de Helmer. Me resulta desconcertante saber que hay personas que interpretan la historia desde un lugar muy parecido al suyo, pero al mismo tiempo no lo es en absoluto, por triste que resulte. La segunda que veo es la que se reconoce por el simple hecho de tener un mínimo de deconstrucción, y es la que creo que es más fácil de identificar. La tercera capa es aquella que pueden percibir quienes han vivido ciertas cosas en primera persona. El tipo de cosas que la mayor parte del tiempo ni te molestas en explicar porque te cansas de la invalidación de aquellas personas que tienen la suerte de no conocer los mecanismos de según qué sutilezas a veces no tan sutiles.
Si bien la conversación final no es perfecta, le falta poco. Absolutamente satisfactoria.
Veo tres capas muy interesantes: la primera, aquella que corresponde a los ojos de Helmer. Me resulta desconcertante saber que hay personas que interpretan la historia desde un lugar muy parecido al suyo, pero al mismo tiempo no lo es en absoluto, por triste que resulte. La segunda que veo es la que se reconoce por el simple hecho de tener un mínimo de deconstrucción, y es la que creo que es más fácil de identificar. La tercera capa es aquella que pueden percibir quienes han vivido ciertas cosas en primera persona. El tipo de cosas que la mayor parte del tiempo ni te molestas en explicar porque te cansas de la invalidación de aquellas personas que tienen la suerte de no conocer los mecanismos de según qué sutilezas a veces no tan sutiles.
Si bien la conversación final no es perfecta, le falta poco. Absolutamente satisfactoria.
Content Warnings
Graphic: Emotional abuse, Terminal illness, Toxic relationship, Gaslighting, Abandonment, Sexual harassment, and Classism
Moderate: Death and Suicidal thoughts
gkcnoble's review against another edition
dark
emotional
reflective
medium-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.75
[Torvald] HELMER.
[following her]. Come, come, my little skylark must not droop her wings. What is this! Is my little squirrel out of temper? [Taking out his purse.] Nora, what do you think I have got here?
NORA.
[turning round quickly]. Money!
HELMER.
There you are. [Gives her some money.] Do you think I don’t know what a lot is wanted for housekeeping at Christmas-time?
NORA.
[counting]. Ten shillings—a pound—two pounds! Thank you, thank you, Torvald; that will keep me going for a long time.
HELMER. Indeed it must.
NORA.
Yes, yes, it will. But come here and let me show you what I have bought. And all so cheap! Look, here is a new suit for Ivar, and a sword; and a horse and a trumpet for Bob; and a doll and dolly’s bedstead for Emmy,—they are very plain, but anyway she will soon break them in pieces. And here are dress-lengths and handkerchiefs for the maids; old Anne ought really to have something better.
Pp 6
In A Doll’s House Ibsen explores the complexities of the Victorian era through Torvald and Nora Helmer’s porcelain marriage. Ibsen’s play serves as a brutal metaphor for the fragile nature of the Victorian patriarchal society, highlighting the constraints placed on women's autonomy. Ibsen red-flags the obstacles women face in surviving a legal system that predominantly favours men in areas such as marriage, divorce, financial control, and child custody. Nora, for instance, assumes the role of a brainless, superficial wife to meet her husband's expectations, all the while secretly borrowing money to maintain the family's financial stability. As expected, men are not exempted from the patriarchal belief system, which hinders individuals like Torvald from loving Nora as an equal. He diminishes Nora’s sex, labels her a ‘skylark’, a ‘squirrel’, and ‘sweet little spendthrift’, and then emotionally blackmails her when she points out his flaws. In Torvald’s eyes, Nora is both a pretty doll satisfying his caprices and a nail upholding the androcentric hierarchy. However, by the play's conclusion, Nora outwits Torvald, no longer allowing herself to be subjected to his tyranny.
Ibsen’s play embodies the ‘undomesticated’ spirit of renowned feminist and advocate of women's rights, Mary Wollstonecraft (1792), who once said: "I do not wish women to have power over men; but over themselves."
[following her]. Come, come, my little skylark must not droop her wings. What is this! Is my little squirrel out of temper? [Taking out his purse.] Nora, what do you think I have got here?
NORA.
[turning round quickly]. Money!
HELMER.
There you are. [Gives her some money.] Do you think I don’t know what a lot is wanted for housekeeping at Christmas-time?
NORA.
[counting]. Ten shillings—a pound—two pounds! Thank you, thank you, Torvald; that will keep me going for a long time.
HELMER. Indeed it must.
NORA.
Yes, yes, it will. But come here and let me show you what I have bought. And all so cheap! Look, here is a new suit for Ivar, and a sword; and a horse and a trumpet for Bob; and a doll and dolly’s bedstead for Emmy,—they are very plain, but anyway she will soon break them in pieces. And here are dress-lengths and handkerchiefs for the maids; old Anne ought really to have something better.
Pp 6
In A Doll’s House Ibsen explores the complexities of the Victorian era through Torvald and Nora Helmer’s porcelain marriage. Ibsen’s play serves as a brutal metaphor for the fragile nature of the Victorian patriarchal society, highlighting the constraints placed on women's autonomy. Ibsen red-flags the obstacles women face in surviving a legal system that predominantly favours men in areas such as marriage, divorce, financial control, and child custody. Nora, for instance, assumes the role of a brainless, superficial wife to meet her husband's expectations, all the while secretly borrowing money to maintain the family's financial stability. As expected, men are not exempted from the patriarchal belief system, which hinders individuals like Torvald from loving Nora as an equal. He diminishes Nora’s sex, labels her a ‘skylark’, a ‘squirrel’, and ‘sweet little spendthrift’, and then emotionally blackmails her when she points out his flaws. In Torvald’s eyes, Nora is both a pretty doll satisfying his caprices and a nail upholding the androcentric hierarchy. However, by the play's conclusion, Nora outwits Torvald, no longer allowing herself to be subjected to his tyranny.
Ibsen’s play embodies the ‘undomesticated’ spirit of renowned feminist and advocate of women's rights, Mary Wollstonecraft (1792), who once said: "I do not wish women to have power over men; but over themselves."
Content Warnings
Graphic: Death, Domestic abuse, Sexism, Toxic relationship, Grief, Gaslighting, and Classism
_abbyj_'s review against another edition
reflective
tense
fast-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.5
Content Warnings
Graphic: Sexism and Suicidal thoughts
Moderate: Death and Gaslighting