Source To Be Female Means to Be Oppressed The repression of women, as a whole, gave men the power to control the female gender by creating general outlines of what their interpretation of the role of femininity encompassed. In doing so, the female was systematically stripped of her individuality and forced into a cookie-cutter mold of what was considered to be socially acceptable for herself and her gender.
In the beginning of the work, the symbolic representation of deception and masquerading is introduced, which are the macaroons that Nora nibbles on.
The way in which she passively denies eating them to Torvald in a seemingly firm tone, with not the slightest sign of hesitation- especially for such a trivial affair- provides an insight into her dishonest nature.
The intensity of the lie increases as she initially promises, and then goes on to swearing, implying that the degree of the lie augments, solely to convince Torvald against the notion. In Miss Julie, the female protagonist is partially contrived about her true emotions, and is compelled to masquerade them because of her aristocratic background.
In addition, she evades the truth because of her unwavering inability to accept it. Miss Julie hides behind a wall of lies she builds around her, deceiving herself into believing in the existence of these lies. When Miss Julie realizes that she succumbed to sexual covetousness, she tries to convince herself that her love for Jean provoked her to doing so, unwilling to accept the fact that she was overcome with lust.
Lust is masquerading as love. Her artificial personality masks her genuine self. This is evident throughout the play, as she responds in an exaggerated jovial tone, which makes her seem like an extrovert, while suppressing her actual views, that is, she is reticent when it comes to expressing her personal outlook.
In this case, she hides her intended purpose to stall him. In the case of Miss Julie, her thoughts and actions work in coordination towards fulfilling her motive of satisfying her palpable sexual desire.
However, she uses masquerading as a way of hinting about this ulterior motive, which is conveyed very indirectly in her body language and words when talking to Jean, which eventually becomes a way of subtly enticing him into submission to carnal pleasure.
It is unusual for a personage of higher social standing to cajole, or even consider another of a socially inferior level, as per the ideal, expected behaviour, unless there were to be an out-of-sight intention.
These actions lure Jean towards her but are carried out in a concealed manner, as they appear to be very indefinite, yet strongly suggestive of a seductive undertone. This contradiction between her actions and her feelings emphasizes her role in the act of concealment.
Miss Julie appears to have dual sides in her character. When considering her peculiar mode of upbringing, one would expect her to behave in an unrefined manner, but rather she is seemingly dainty and aristocratic.
Expectations and natural desires are conflicting alternatives so she is bound to masquerade. Nora dances the tarantella, derived from Taranto, Italy, where, on being bit by a venomous tarantula, the local residents believed that their only chance of survival would lay in dancing ardently to this atypical dance.
As it involves frenzied movements, the stir instigates Nora to dance in order to have an outlet for her inner, stifled frustrations and apprehensions, that is, the tarantella is used as a way to conceal her anxiety, and to radiate it out. Her hair falls over her shoulders, and she pays no attention.
She is engrossed in the dance. Nora appears to be a person who can go to great lengths to hide the truth. She even resorts to self-demeaning, as a tactful technique of reaching her ulterior motive indirectly.
Her constant plea for more pennies makes it seem as if Nora is frantic for more, thus making is seem as if it were a necessity. This desperate tone is indicative of the pressure she is burdened with to reimburse the loan.
She appears to be hiding anxiety behind her pretence of holding an acquisitive attitude, whereas in reality, she appears to be selfless.
The sole motive that drives Miss Julie and Nora to masquerade is male hegemony. It oppresses them into complying by the social norms, which impose women to behave with docility. Conservatism was expected in the Victorian society.
However, at the end of the play, on the revelation of the truth, they chose not to conform, but to expose their actual views, putting an end to concealment. Bibliography Works Cited Ibsen, Henrik. Cambridge University Press, Jul 09, · One would go so far as to say that what Miss Julie experienced in the play was not only a result of her upbringing, but was the result of the systematic oppression of the female benjaminpohle.coms: 1.
Nora Helmer vs. Miss Julie - the Role of Women being Degraded by Man "A Doll's House" by Henrik Ibsen and "Miss Julie" by August Strindberg are two plays, the first from and the latter from , which portrays the life and role of women at their time in society, as both have as their main characters two women - Nora Helmer and Miss Julie.3/5.
In the plays "A Doll's House" and "Miss Julie," the characters of Nora and Miss Julie were victims, and also products, of their societies. They share many similar psychological characteristics, but at the same time, they are complements of one another; when one went from black to .
A Doll’s House will be considered through the reaction of London critics in the 19th century, the women’s political movements in Norway and other influences in Ibsen’s life at the time of writing. Miss Julie will be examined through the women’s movement in Sweden of the .
These actions lure Jean towards her but are carried out in a concealed manner, as they appear to be very indefinite, yet strongly suggestive of a seductive undertone. 3 Strindberg, August.
Miss Julie. 6. 4 Strindberg, August. Miss Julie. 5 Strindberg, August. Miss Julie. The Importance of Scenography in Miss Julie and A Doll’s House. The work of a playwright is customarily evaluated in terms of the interaction between the elements of literature such as setting, character, theme, plot, and style.