The Feminist Movement Of Henrik Ibsen s Ibsen

Granted that, Ibsen had disclosed that he was not consciously writing the play to support the feminist movement, nor did he have any intentions to motivate women to follow Nora’s footsteps. He actually had treated a Scandinavian who had followed Nora’s footsteps distastefully, and criticized her because she took her child when running away, instead of running away by herself (Templeton 35). The reason for his hypocritical attitude to the woman was to protect himself from the many critics that were already accusing him of a supporter. He had many women in his life that were mistreated due to the societal differences, and actually was mentored by Magdalen Thoresen, who was one of the first â€Å"New Woman† he had met. He eventually married her Magdalen’s stepdaughter, Suzannah, and wrote about her in order to remind people of Suzannah (Templeton 36). Ibsen may have spoken out against being a supporter, but his motives for such actions were very prevalent in his life. Nevertheless, those two females were not the most important feminists in his life however. Camilla Collett, one of the most active feminists in the European countries had. She wrote a novel stating how women’s feelings matter and they have rights as human beings to education and free-will of who they are to marry. Publishers gave her the ultimatum of a masculine name change, or no name at all (Templeton 36). Somehow she became known as the author and was exiled. Her and Suzannah Ibsen became close friends andShow MoreRelatedHenrik Ibsen s A Doll House Essay1501 Words   |  7 PagesHenrik Ibsen’s play â€Å"A Doll House† was set in the Victorian era, a time where women were highly respected. Women in this time period did not work, they had nannies to take care of their children and maids to take care of their homes. Many women had no real responsibilities, they spent their time having tea parties and socializing with their friends. Henrik Ibsen dared to show the realism of the Victorian era while everyone else would only focus on the romantic aspect. In the play, â€Å"A Doll House†Read MoreNora s Escape From Henrik Ibsen s A Doll s House Essay2552 Words   |  11 PagesTomlinson Ms Davis Honors Modern Literature 7 October 2016 Nora’s Escape Henrik Ibsen’s A Doll’s House follows Nora’s struggles to escape the firm grasp of her domineering husband. Throughout the novel, Nora is depicted as obedient to her husband, Torvald, and never dares to stand up to him. Torvald’s condescension and thinly veiled misogyny continuously confines Nora to her strict 19th century gender role. The title of Henrik Ibsen’s A Doll’s House mirrors Nora’s sense of oppression and lack of agencyRead MoreHedda Gabler by Ibsen977 Words   |  4 PagesCritical Analysis of Ibsen#8217;s Hedda Gabler A spider becomes caught in it#8217;s own web. This is an example of an attempted manipulation that went awry. Hedda Gabler, by Henrik Ibsen, is a work about a woman who manipulates the fates of others in order to fulfill her own desires. The title character is a woman who has recently returned from a six month #8220;honeymoon#8221; with her groom, Tesman, a man whom she does not love. She yearns for freedom, but she feels as if she cannotRead MoreAnalysis Of Henrik Ibsen s Ibsen 1459 Words   |  6 PagesHenrik Ibsen is a very common and almost an essential person if you where to judge him by his plays. Ibsen plays are a symbolic representation of how to deal with the reality of social issues. Social issues can be manipulated and used as a powerful political weapon. During this period writers would commonly form information in order to gain the attention and support of the public. Henrik Ibsen understood human nature, he played a crucial role in exploring and illuminating soc iety by uniting honestyRead MoreHenrik Ibsen s A Doll House1563 Words   |  7 Pages In the play, A Doll House by Henrik Ibsen, the title itself symbolizes the dependent and degraded role of the wife within traditional marriages. Ibsen portrayed the generous nature root into women by society, as well as the significant action of this nature, and lastly the need for them to find their own voice in a world ruled by men. Ibsen wrote this play in 1879, this is the era where women were obedient to men, tend the children until their husband came home, and stood by the Cult of DomesticityRead MoreA Dolls House by Henrik Ibsen1725 Words   |  7 PagesIn the late 19th century, the feminist movement was beginning to take shape. Issues that fall under the feminist movement include reproductive rights, domestic violence, maternity leave, equal pay, womens suffrage, sexual harassment, and sexual violence (Donovon 85). To begin with, feminists were concerned with the social barriers that limited their rights such as being seen as less than a man, uneducated, or only to be a hous ewife. As the movement built more support, it began taking a politicalRead MoreA Dolls House Feminism Essay1763 Words   |  8 Pagestopic. However, there were some that wrote about feminist issues without realizing it, such as Henrik Ibsen. In his play ‘A Doll’s House’ Henrik approaches the topic of marriage, gender roles within marriage, and whether a not a women becomes an extension of her husband once she is married; it brings about an interesting debate about women individuality in marriage. And by writing this, he caused a spark a debate that is still being held today. Henrik Ibsen’s ‘A Doll’s House’ effectively questionsRead More Ibsen, Strindberg and Feminism Essay examples2824 Words   |  12 Pageslate 19th century Naturalism was emerging as the primary movement in literature of that period. The movement was influenced heavily by the discoveries made in politics, sciences and psychology of the time. Discoveries such as Darwi n’s evolutionary theories, Marx’s Das Kapital and even Freud’s research on the psychology of the human were creating shock and upset and began to revolutionised society’s outlook on the world. The naturalist movement in literature also coincided with the beginnings of women’sRead MoreCritical Analysis of a Doll House1250 Words   |  5 PagesA Critical Analysis of A Doll House By Henrik Ibsen Henrik Ibsen s background provided him the insight to write the play A Doll House. In Britannica Biographies, Ibsen s father lost his business and the family s financial stability when Ibsen was a young child. Because of the family s financial misfortunes, at the age of 15, Ibsen was forced to leave home and venture out on his own. He supported himself meagerly as an apothecary s apprentice and studied at night to prepare for universityRead MoreAnalysis of A Dolls House Essay1108 Words   |  5 Pageshistory is portrayed in a particular play emphasizing what a certain historical event, personage, or situation enables the playwright to communicate. Discuss what effect the playwrights transformation of historical reality has on an audience. Henrik Ibsens widely regarded work, A Dolls House, was first introduced in 1879 as a theatrical presentation of human rights. Today, Ibsens work remains as such, although often conveyed as more focused on womens rights. The Norwegian playwrights

Charles Hamilton Houston Civil Rights Attorney and Mentor

Overview When attorney Charles Hamilton Houston wanted show the inequality of segregation, he did not only present arguments in a courtroom. While arguing Brown v. Board of Education, Houston took a camera throughout South Carolina to identify examples of inequality existing in African-American and white public schools.   In the documentary The Road to Brown, judge Juanita Kidd Stout described Houston’s strategy by saying, ...All right, if you want it separate but equal, I will make it so expensive for it to be separate that you will have to abandon your separateness.   Key Achievements First African-American editor of the Harvard Law Review.Served as Dean of Howard University Law School.Helped dismantle Jim Crow laws as the litigation direction of the NAACP.Trained future U.S. Supreme Court Justice, Thurgood Marshall. Early Life and Education Houston was born on September 3, 1895 in Washington DC. Houston’s father, William, was an attorney and his mother, Mary was a hairstylist and seamstress. Following a graduation from M Street High School, Houston attended Amherst College in Massachusetts. Houston was a member of Phi Betta Kappa and when he graduated in 1915, he was the class valedictorian. Two years later, Houston joined the U.S. Army and trained in Iowa. While serving in the army, Houston was deployed to France where his experiences with racial discrimination fueled his interest in studying law. In 1919 Houston returned to the United States and began studying law at Harvard Law School. Houston became the first African-American editor of the Harvard Law Review and was mentored by Felix Frankfurter, who would later serve on the U.S. Supreme Court. When Houston graduated in 1922, he was received the Frederick Sheldon Fellowship which allowed him to continue studying law at the University of Madrid. Attorney, Law Educator and Mentor Houston returned to the United States in 1924 and joined his father’s law practice. He also joined the faculty of Howard University School of Law. He would go on to become the school’s dean where he would mentor future lawyers such as Thurgood Marshall and Oliver Hill. Both Marshall and Hill were recruited by Houston to work for the NAACP and its legal efforts. Yet it was Houston’s work with the NAACP that allowed him to rise to prominence as an attorney. Recruited by Walter White, Houston began working the NAACP as its first special counsel in the early 1930s.   For the next twenty years, Houston played an integral role in civil rights cases brought before the U.S. Supreme Court. His strategy for defeating Jim Crow laws was by showing that the inequities present in â€Å"separate but equal† policy established by Plessy v. Ferguson  in 1896. In cases such as Missouri ex rel. Gaines v. Canada, Houston argued that was unconstitutional for Missouri to discriminate against African-American students wishing to enroll in the state’s law school since there was no comparable institution for students of color. While waging civil rights battles, Houston also mentored future lawyers such as Thurgood Marshall and Oliver Hill at Howard University School of Law. Both Marshall and Hill were recruited by Houston to work for the NAACP and its legal efforts. Although Houston died before the Brown v. Board of Education decision was handed down, his strategies were used by Marshall and Hill. Death Houston died in 1950 in Washington D.C. In his honor, the Charles Hamilton Houston Institute for Race and Justice at Harvard Law School opened in 2005.

Hemingway’s Descriptive technique Free Essays

The First World War wreaked more havoc and destruction than the world had ever seen before. All around them, people could only see death and devastation. The existing moral structure and value systems were coming crumbling down as men killed fellow men without so much as a second thought. We will write a custom essay sample on Hemingway’s Descriptive technique or any similar topic only for you Order Now This led to people questioning faith, religion, and the existence of God. They began to feel that if there really was a God, then surely he would stop the pain and suffering that man was facing at that time? A movement slowly began to sweep over Europe, where people began to re-think and question the very meaning of life. This school of thought came to be known as Existentialism. Very similar to Existentialism, was Modernism. The Modernists were people who revolted against the music, art and architecture of the times, and targeted mainly the classical and romantic strains of literature. They were people who were depressed and disillusioned by the militarism of the times, and challenged fundamental values such as progress and enlightenment. Like the Existentialists, they too did not believe in the existing set of rules and morals that governed society, and believed it was time for a change. Both of these concepts influenced Hemingway greatly, and we can see the effect of this influence clearly in his writing. The novel. â€Å"A Farewell to Arms† is narrated entirely from Frederick Henry’s point of view. He has a very distinct way of describing things-short and crisp. Throughout the novel, though Henry is surrounded on all sides by death, destruction and the wreckage of war, never once do we see him dramatizing or romanticizing it. He has what one might call a â€Å"reporter’s eye†-everything is portrayed as if being reported by a journalist, concentrating only on the concrete facts and nothing else. Hemingway does not give the reader the opportunity to pass moral judgement on any of the characters or situations, infact, Henry gives us a perfect 360 degree view of things, and the way in which he speaks of death and casualties with such practiced normalcy almost unsettles the reader. In this part of the novel, Hemingway also stresses on the differences that have grown between Rinaldi and Henry. Henry was injured and had to leave the front, which subsequently led to him spending time and falling deeply in love with Catherine. This episode in his life gave him the chance to change and grow as a person, he becomes more mature and very different from the Henry that we came to know at the beginning of the book. Rinaldi, on the other hand, remains the way he has always been, and seems to have grown embittered and hostile towards the war. â€Å"It is killing me,† he says. Of Henry he says, â€Å"you act like a married man,† almost accusing him of having changed. In this manner, Hemingway uses Rinaldi as a foil to bring out and emphasize the change and growth that has taken place in Henry. In Book Three of the novel, Henry and Catherine’s romantic interlude has ended, and the focus shifts once more from love to war. It is once again Autumn, and â€Å"the trees were all bare and the roads were muddy;† Hemingway continues with his use of rain and water as a bad omen. Mud here also represents the unclarity and uncertainty of the times. Later, in chapter 28, mud acts as an antagonist of sorts, when the ambulances get stuck in it, and this leads to Henry shooting a fellow Italian officer. The contrast between the plains and the mountains, which Hemingway had established in earlier chapters, is laid out more explicitly here when Henry, while speaking to a driver named Gino, tells him that he does not believe that a war can be fought and won in the mountains. This establishes the mountains not only as a place of peace and tranquility, but also of refuge. Rain also seems to be ever-present during Book Three. In Chapter 27, it begins to pour, and this marks the beginning of the Italian retreat. By the evening, the rain turns to snow for a while, giving the men a glimmer of hope, only to start raining again. The reader is so tuned into the rain- death symbolism by now that when, over dinner, a driver known as Amyno says, â€Å"To-morrow maybe we drink rainwater,† we are left with a deep sense of foreboding and doom. Perhaps the most important bit of symbolism in the whole novel comes in Chapter 28 of Book Three. It is the climax of the novel, and the action is all downhill from then onwards. Here, Henry deserts the war at long last, it is something that has been in the pipeline for many a chapter. Chaos seems to be at large, as Henry witnesses Amyno being shot by a fellow Italian. As he says, â€Å"We are in more danger from Italians than from Germans.† Henry had never felt any duty or obligation to the Italian army, he always seemed to be isolated from the war, and so it seems as if all this time Hemingway was preparing us for this very moment. When Henry plunges headlong into the river, effectively abandoning the war, the reader is not shocked, and does not feel the urge to pass judgement of any sort, because he understands Henry’s motives for desertion. His dive into the river is Hemingway’s way of signaling a Re-Birth or Baptism of sorts, as when Henry comes out of the w ater, he is a changed man, who has made his own peace with the war. This is further exemplified when Henry says, â€Å"Anger was washed away in the river along with any obligation,† Also, while Henry is clutching on to the piece of timber and floating down the river, we notice that though the entire novel up until that point has been entirely in the first person (â€Å"I†), the narration now shifts for a brief moment, and Henry begins to use the words â€Å"you† and â€Å"we†. The result of this is that the reader feels much closer to Henry, and gets a chance to put himself in Henry’s shoes. Its as if Hemingway wants us all to be Fredrick Henry, if only for a moment. At the end of Book Three, we see Henry traveling in a train car used to transport guns, and thinking quietly about what he has just done, and about his love for Catherine. Again, Hemingway uses the second-person narrative, as Henry justifies his desertion to himself by thinking, â€Å"You were out of it now, you had no more obligation.† Thus, Hemingway effectively utilizes these various descriptive techniques and employs them to peel away the layers of glory and honour that surround the war, instead showing us the honest, brutal face of war. The novel reaches its climax in Book Three, and we see descending action from here onwards. How to cite Hemingway’s Descriptive technique, Essays