A+Doll+House

=**Henrik Ibsen** = Some essays to consider: This one is interesting in that it considers Ibsen as a "social realist" and makes some explicit references to how this distinguishes him from Edward Bond, the last playwright we'll study: William Urban's essay on "Parallels in //A Doll House//" "Female Jouissance in //A Doll House//" -- A little heavy (and //Scandinavian// to boot!), but for the mature reader/thinker...this is worthwhile!

A critique of the Chinese translation -- Some fairly harsh words...it's called ="Erasing the Artistry"(!)= Good material to review Ibsen's key notions through his language choices []

A sidelight of sorts
When //A Doll House// was published, there was a flurry of reactions, much of it negative and worried about the immorality supposedly displayed by the female protagonist. A number of alternate endings were produced, one of them by Ibsen himself, that "corrected" or at least seriously altered the theme and impact of the original play. One of these, sort of a parody of the English reactionaries, was written and published by Eleanor Marx (Aveling), the youngest daughter of Karl Marx. Eleanor herself led quite a dramatic life, complete with its own ironic twists and strange feministic connections to the character of Nora -- she also tried her hand at playing Nora on the London stage opposite her "husband" (not her real husband) Edward Aveling while George Bernard Shaw played Krogstad! Anyway, here's her thoroughly tongue-in-cheek rewrite, first published by //Time// magazine in 1891, //"A Doll's House// Repaired"//:// For more on Marx Aveling's odd and insightful take, check JStor for a great article called "Karl Marx's Youngest Daughter and "A Doll's House" by Bernard F. Dukore.