Henrik Ibsen: A Doll’s House：練習題

Which of the following best describes the climactic shift in the power dynamic between Nora and Torvald during the final scene?

What is the significance of the setting being Christmas-time in Ibsen's A Doll’s House?

In Nora's final conversation with Torvald, she states that "our house has been nothing but a playroom". How does this connect to Ibsen's critique of the 19th-century legal status of women?

Which character in Ibsen's A Doll’s House is described as having a 'moral incurable' nature by Dr. Rank?

In Act 2, Nora says: "A man can put a thing like that right much better than a woman—". What does this statement reveal about her internal state at this point in the play?

In Henrik Ibsen’s A Doll’s House, what is the specific secret that Nora Helmer has been hiding from Torvald since the beginning of their marriage?

How does the presence of Mrs. Linde provide a structural and thematic contrast to Nora Helmer’s initial domestic situation?

Analyze how Ibsen utilizes the 'slamming of the front door' at the conclusion of A Doll’s House as a subversion of the traditional 19th-century well-made play (pièce bien faite) structure.

In Act 1 of A Doll’s House, Nora explains the logistical difficulties of her secret debt to Mrs. Linde.

(a) What excuse did Nora give Torvald to explain why she was locked in her room for several weeks during the previous Christmas?
(b) According to Nora, what was the 'actual' work she was performing during that time to earn money?

Analyze the social and legal status of women in 19th-century Norway as depicted through the experiences of Nora and Mrs. Linde in A Doll’s House.

(a) Explain how the law regarding loans and signatures restricts Nora’s agency in Act 1.
(b) Compare Mrs. Linde’s professional necessity to work with Nora’s domestic isolation.
(c) How does Ibsen use these characters to critique the 'Victorian' ideal of the angel in the house?