亨利克·易卜生的玩偶之家也把“价值放在女性的顺从与服从超越时间。十九世纪，欧洲，一个女人走出她家养的角色在家庭和进入劳动力被外界指责。Torvald的居高临下的方式称呼Nora为“squirrelkin”或“鸣禽”表面上给了亲切的印象，但是有家长式的低音固定Nora关系中的弱势地位。Torvald的不满在诺拉的激动的舞曲在跳舞，“不是太厉害了”，“这是不对的”，反映了第十九世纪欧洲的男权社会的压制女人的欲望满足她的需要自我表现和导致全面和满意的生活。Nora质疑男人的占有欲：“它使你高兴，这就是爱我的想法”，这表明她是如何挑战一个女人必须服从男人的社会习俗的。Nora在剧中结束时的果断退出削弱了女性对丈夫忠实的作用，挑战了女性最终会屈服于男性压制她们的独立性和身份的规范。通过Nora的从一个女人的转变，贬低和她生活中的男性的破坏，成为一个意志坚强和独立，易卜生的玩偶之家探讨个人与社会之间的张力设定的行为标准。
墨尔本论文代写:女性的顺从与服从
Henrik Ibsen’s play A Doll’s House also encapsulates how the values placed within female submissiveness and subordination transcend time. In 19th century Europe, a woman who stepped out of her domesticated role in the home and entered the outside world of the labour force was censured. Torvald’s condescending manner when addressing Nora as “squirrelkin” or “songbird” ostensibly gives off the impression of being affectionate, however has paternalistic undertones which fix Nora’s inferior status in the relationship. Torvald’s displeasure at Nora’s agitated dancing of the tarantella commenting, “Not so violently”, ” It isn’t right” reflects how the patriarchal society of 19th century Europe suppressed a woman’s desire to fulfil her need for self-expression and lead a full and satisfying life. Nora questions the possessive attitude of men in “It pleased you, that’s all- the idea of loving me” which demonstrates how she challenges the social conventions that a woman must remain subordinate to men. Nora’s assertive exit at the end of the play undermines the role of women staying faithful to their husbands, challenging the norm that women will eventually submit to the male suppression of their independence and identity. Through Nora’s transformation from a woman, belittled and undermined by the males in her life, into a strong-willed and independent being, Ibsen’s A Doll’s House explores the tension between the individual and the society with set the behavioural standards.
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