Casa di bambola has ratings and reviews. Huda said: تعبت الدميةتعبت من الخيوط تحرك رأسها وذراعيهاوتجبر قدميها على السير في طريق لا تبتغيه. Listen to Casa di bambola Audiobook by Henrik Ibsen, narrated by Claudia Giannelli, Teresa Ciampolini. Results 1 – 30 of 72 Casa di bambola. by Henrik Ibsen and a great selection of related books, art and collectibles available now at

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Casa di bambola by Henrik Ibsen (4 star ratings)

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Preview — Casa di bambola by Henrik Ibsen. Casa di bambola by Henrik Ibsen. George Bernard Shaw Notes. Per anni ha lavorato per pagare il debito, senza riuscire a liberarsene.

Quando il marito, che per altri motivi lo vorrebbe licenziare, viene a sapere tutto, si preoccupa solo della sua reputazione e rimprovera aspramente la moglie. Paperback89 pages. Published by Mondadori first published To see what your friends thought of this book, please sign up.

To ask other readers questions about Casa di bambolaplease sign up. Can someone help me by giving me some clues about this subject? A Doll’s House is full of references to dolls, puppets, and playthings. Trace these references throughout the play in order to discuss Ibsen’s ideas about gender and societal roles.

What does the original title “Et dukkehjem” mean?

Kelly Hunter There is some debate as to the most appropriate English translation. The most literal translation would be A Doll Home. That doesn’t really roll off …more There is some debate as to the most appropriate English translation. That doesn’t really roll off the tongue as much, though.

Casa di bambola [A Doll’s House] Audiobook | Henrik Ibsen |

See all 9 questions about Casa di bambola…. Lists with This Book. View all 17 comments. Indeed, your husband keeps you on a very tight leash. Such is the perceived life of Nora Helma. Yet, this work is in favour of women Note the word perceived for that is the appearance Nora gives to the outer world.

Her husband is now in charge and before then her farther. The result is a woman who appears week and controllable, but she has kept a big, big, secret from her husband that challenges everything he thinks her to be.

She, this simple minded doll, has managed to borrow money something unheard of for a women of this time to keep her family afloat whilst her husband was too ill to work. So yeah, this play is very feminist. Ibsen shocked his audinece Moreover, this means that the play was an absolute shocker to the Victorian audience. Despite being in a controlling marriage she had managed to be able to borrow money off her own accord, by herself.

View all 5 comments. It premiered at the Royal Theatre in Copenhagen, Denmark, on 21 Decemberhaving been published earlier that month.

The play is set in a Norwegian town circa This is the story of a marriage that superficially seems happy, but a critical turn of events reveals a sham relationship. Torvald and Nora Helmer, who’ve had some financial struggles, are delighted because Torvald has gotten major promotion at the bank where he works. But Nora, behind her lightheartedness and childish behavior – encouraged, always, by Torvald, who calls her diminutive, vaguely or sometimes explicitly insulting names names like “my sweet tooth” and “little spendthrift” – is hid This is the story of a marriage that superficially seems happy, but a critical turn of events reveals a sham relationship.


But Nora, behind her lightheartedness and childish behavior – encouraged, always, by Torvald, who calls her diminutive, vaguely or sometimes explicitly insulting names names like “my sweet tooth” and “little spendthrift” – is hiding a major secret.

She borrowed a substantial sum of money a few years ago to finance a trip to Italy to help Torvald recover from a major illness. She told Torvald the money was left to her by her father, but it was actually loaned to her by one Nils Krogstad, and she has been slowly paying it back.

But now Nils is threatening to tell Nora’s husband I first read this play many years ago as a college English major, and frankly it didn’t leave much of an impression on me at the time.

But rereading this now, as a married woman with children, the utter wrongness and superficiality of Torvald’s and Nora’s relationship hits me hard. Almost everything Torvald says to Nora diminishes her as a person: Come on, don’t be a sulky squirrel. As the problem of the forged promissory looms closer to disclosure, Nora becomes more frantic. But she still thinks that Torvald, who has shown nothing but disdain for her mind and financial ability, will stand by her and protect her if her misdeed which was done because of her love and concern for her husband becomes public.

This is one of the earliest feminist works of literature, written in by Norwegian playwright Henrik Ibsen. It’s hard to believe that this hard-hitting play, about a woman who realizes she’s been treated as a mindless doll all her life by her father and then her husband, and what she decides to do about it, was written over years ago.

It raises some important questions of true communication and finding yourself, not just for women but for all people. British actress Hattie Morahan, who played Nora, made some comments about it that really struck me: These are universal anxieties, and it seems from talking to people that it resonates in the most visceral way, especially if they are or have been in a difficult relationship.

Someone said to me the other night, ‘That’s the play that broke my parents’ marriage up. I’ll admit that the ending leaves me unsettled, with its burning all bridges approach. Although I have some sympathy with German actress Hedwig Niemann-Raabe, who famously refused to perform the play unless Ibsen rewrote the ending, I don’t think changing it was the right decision from a literary point of view.

As a literary work, the ending is tremendously powerful. However, as a practical guide to life, I’m not convinced that what Nora does is right. Still, giving him at least a chance to change, once she realizes that they both need that change, would seem like the right thing to do in real life.

What bothers me more is Nora also leaving her children and cutting off all communication with them as well, at least until she finds herself as a person. Nora, at least, didn’t feel like she had a choice, but I wasn’t convinced.

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In any case, this is a very thought-provoking play that’s still relevant years after it was written. View all 8 comments. Nora, the protagonist of Ibsen’s A Doll’s Houseis a twit. There’s no getting around it. We may choose to assign blame for her twittishness to her husband, her milieu, or her era, but this will never adequately mitigate her essential twit nature to that reader or spectator of the play who must endure her self-identification as her husband’s ‘squirrel’ or her childlike idiocy.

I myself couldn’t stop wondering if Nora is an actual twit i. And I haven’t of course ruled out a combination of the two.

Ibbsen my mind became even more scrupulous. Was my judgment that Nora is a twit itself a condition of my entitled position in a still ibsenn society? I actually thought this. This is what a culture of loudly warring intellectual discourses does to a man. Am I guilty because I think Nora is twit? Well, I abandoned that idea. Now I am convinced that she really is a twit, but now I ascribe some of her twittishness to the artificiality of drama itself, especially at the end of the nineteenth century.

I think I’ve temporarily settled on this opinion. But ask me tomorrow, and who knows? Since I’ve spent so much time convicting Nora of being a twit, it might seem surprising that I’ve given this play four stars.

But really—there are plenty of fine stories to be told about twits and their ostensible transformations into non-twits.

We shouldn’t discriminate ihsen twits. Don’t they have hopes, dreams, sorrows, disappointments like the rest of us?

A Doll’s House is the story of a silly, naive Norwegian wife named Nora who is being blackmailed by an unsavory bank clerk; apparently, she forged a document some time before, but the backstory is too contorted and contrived to bother with here.

I’m more than a little annoyed that Ibsen couldn’t come up with a more elegant MacGuffin—one that’s not entirely reliant upon Nora’s [guileless or stupid, as you see it] admission of wrongdoing to her blackmailer. Nora works overtime to keep her husband Torvald from finding out about her transgression. Here, a cultural difference comes into play: Eventually, he does find out though and rips Nora a proverbial new one.

This leads up to a famous and infamous confrontation between husband and wife punctuated by Nora’s door slam heard ’round the world.

Casa di bambola

It’s a fascinating and prescient play, no doubt, but it’s also more than a little creaky—at least in translation. The conclusion, I think, retains much of its provocation today, well over a hundred years later. It is very difficult to watch or read the play and not react to Nora. She will always be subject to moral condemnation, but she’s intriguing—even in her twittishness—because she isn’t entirely cassa or wrong In an often infuriating way.

View all 19 comments. I really do save all I can. But the thing is, you CAN’T!