https://padlet.com/rebecca_daville/7x5z6p7r506hi6u Use this padlet to collate useful exam material. AO3 - context, AO5 - different interpretations. AO4 - key links between texts en-us 2022-05-16 08:43:15 UTC 2025-04-24 07:28:20 UTC hello@padlet.com https://padlet.net/icons/png/1f6aa.png rebecca_daville https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185612132

Relationships  ​

Gender roles ​

Sacrifice /goodness ​

Ethics and morality​

Power and control​

Pleasure /enjoyment​

Individual vs. society​

Reputation​

Love

]]> 2022-05-16 12:29:50 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185612132 rebecca_daville https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185690406 https://www.theguardian.com/stage/2012/oct/17/nora-dolls-house-film-modern-world
Carrie Cracknell's short film 'Nora' and accompanying article]]> 2022-05-16 13:18:04 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185690406 rebecca_daville https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185691504 2022-05-16 13:18:40 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185691504 rebecca_daville https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185692260 2022-05-16 13:19:07 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185692260 rebecca_daville https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185693933 2022-05-16 13:20:04 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185693933 rebecca_daville https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185694565 2022-05-16 13:20:27 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185694565 rebecca_daville https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185698019

]]> 2022-05-16 13:21:56 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185698019 https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185700431 -A revised version of A Doll’s House with an alternate ending premiered in Flensburg, Germany in 1880. The actress playing Nora, Hedwig Niemann-Raabe, was outraged at the notion that a mother would leave her children and refused to perform the play as written. Ibsen created an alternate ending where Nora did not leave, but this was unpopular and later abandoned

-the original script of A Doll's House was forbidden to be performed in Germany and London due to its highly controversial nature

-A Doll's House sold out in the two and a half weeks between its first publication and performance and was considered scandalous by those in authority, both in its treatment of marriage and for the fact that the heroine stands up for herself

]]> 2022-05-16 13:23:19 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185700431 https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185710761 A Doll's house - Nora is treated like a doll and a possession of Torvald.

- “Nora confronted every convention and the chivalrous masculine prejudice that caged her within a child’s toy structure, hoping to ensure that she would remain a housepet and infant there forever.” Kate Millett (Sexual Politics) 1971.

Krogstad’s power comes from the £250 he loaned to Nora and it gives him the power to blackmail her: “If I get thrown into the gutter for a second time, I shall take you with me.


]]> 2022-05-16 13:29:00 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185710761 https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185717636 - Goblin Market [link attached separately] - Jasmine Yeh - "middle ground between the pure and impure due to that bond of sisterhood" - "Rossetti acknowledges two extreme perceptions of women as passionless angels and whores"
- Twice - link attached separately
- Shut Out - Kathleen Jones - speaker represents Eve, spirit God / an angel. No earthly garden can live up to the Paradise that is Eden.
- Round Tower at Jhansi - poem can be read with a post colonialism perspective
- No, thank you, John - Woolf - Rossetti heard someone talking about her and responded "I am Christina Rossetti" - poem = symbolic of Rossetti's personal determination and forcefulness in choosing her own path in life and not adhering to the social norm of marriage.
- Winter: My Secret - Dinah Roe - called entire poem a "verbal striptease" e.g. last stanza ends with 'guess'.
- Good Friday - Myra Reynolds, 1898 - “Good Friday is a passionate outcry against the easy indifference with which man can think of the Christ who bore our shame in agony”.
- Soeur Louise de la Miséricorde - is Rossetti writing in the mindset of Soeur Louise or herself - overlap in experiences e.g. forced decisions.]]> 2022-05-16 13:32:40 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185717636 https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185722994 'Winter: My secret' - control over her secret "I tell my secret? No indeed, not I" = personal pronouns indicates her possesive nature over her secret.

Draft title: 'Nonsense' was there ever a secret or did the 'secret' create an illusion which the speaker was able to galvernise and gain power/control. 

'Winter' - season has connotations of something cold and bitter - a refusal to tell. ]]> 2022-05-16 13:35:50 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185722994 https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185724047 https://depts.washington.edu/egonline/2010/04/2008-09-winner-christina-rossetti%e2%80%99s-goblin-market-finding-the-middle-ground-by-jasmine-yeh/#more-41

- Goblin Market interpretation]]> 2022-05-16 13:36:28 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185724047 https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185726999 - In both Rosetti and Ibsen's work characters find pleasure in prohibited things due to the fact they know they cannot have them - Nora finds pleasure in eating the macaroons because she knows Torvald has forbidden them , which is similar to Laura in Goblins market as she knows she is not supposed to be tempted by the Goblins but she wants to explore and seeks pleasure in it. 
- Both Ibsen and Rosetti suggest how women find pleasure in wanting to be like men. Nora enjoyed working and trying to pay off her debt because it made her feel "almost like being a man"and she felt like she was in the real world for the first time. In "From the Antique" it is suggested the pleasure the narrator would get out of being a man in society during this period, "I wish and I wish I were a man". This suggests the pleasure women get from doing things like men do and feeling the sense of freedom and control that the men have. ]]> 2022-05-16 13:38:02 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185726999 https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185727810 Within the time Rosetti was writing the 1800's it was uncommon for women to be so expressive through paper, Her first two poems published were "Death's Chill Between" and "Heart's Chill Between", in the Athenaeum magazine in 1848. She then went on to write for the Germ, from January to April 1850 and it was edited by her brother William.

When she was 31 she published Goblin Market which was highly regarded at the time, and critics described her as the "foremost female poet" of the time

Towards the end of her career as a poet she published "Song: A Nursery Rhyme Book" that was published in 1872, although  the public were reported to be more pleased by the illustrations by Arthur Hughes.

]]> 2022-05-16 13:38:33 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185727810 rebecca_daville https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185728292 Lecture series on A Doll's House]]> 2022-05-16 13:38:51 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185728292 https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185731074 -Both Ibsen and Rossetti's literature shares an inequality of female and male gender roles:
-Nora is restricted to the confides of her gender as she is unable to administer a bank loan without the permission of a male figure. Equally, Rosetti is restricted to a "woman's lot" which prevents her from possessing any authority and she is consistently undermined as an intellectual. This was not uncommon in the Victorian period as displayed by Torvald consistently referring to Nora in an overtly derogatory and infantilising manner - "Squirrel", "Spendthrift" etc. 

-Torvald is authoritative and dominates Nora's ability to make decisions. He adopts this role willingly, telling Nora "I would not be a true man if your feminine helplessness did not make you doubly attractive in my eyes". This is mirrored in 'In the Round Tower at Jhansi' as Captain Skene says "I wish I could bear the pang for both". The male fantasy of protection and female helplessness roots from their roles in the traditional Victorian home, with men working to protect their wives and children.
 
-The intensity of Rossetti's desire to be a man, "I wish and I wish I were a man" is not at all tentative and prevents her from possessing any pride or empowerment in her own gender because of the intensity of her desire to cease from being oppressed. Undoubtedly, this sacrifice for freedom is mirrored when Nora leaves her family in order to be freed from Torvald's control and possession. This non maternal act does not comply with traditional Victorian gender roles and portrays Nora in a negative light to the audience. 


]]> 2022-05-16 13:40:24 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185731074 https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185739335 - By the end of the 19th century 'A Dolls House' had been performed in Germany, France, Britain ad the USA, although most performances modified the ending and censored it because it was so shocking

- 'There is something timeless about it ... The things Ibsen writes means it ceases to be about a particular milieu' - Susannah Ruskin

- In Germany, actress Hedwig Nieman-Raabe refused to perform Ibsen's original ending, saying she would never leave her own children. Immediately after the play was published, Ibsen was forced to create an alternate ending for German audiences. In the alternate ending, Torvald forces Nora into their children's nursery doorway, where she sinks brokenly to the floor, overcome by maternal guilt. Ibsen declared that producing an alternate version was a  'barbaric act of violence' against the play.

- There were many sequels that followed 'A Doll's House', mainly anti Nora. For example Marie Itzerott's 'Nora' (1903) punished Nora with a terminal nervous disease, whilst Esther Vilar's 'Helmer'  (1981), saw Toravld becoming a brilliant, selfless single father who refuses Nora access to her children. However Ernst Brunn's 'Where did Nora go when she went out' (1968), is more positive, in which Nora becomes a revolutionary anti-capitalist.

- The Danish people's paper reviewed in the play's 1879 premiere that 'there is not (...) a single point that justifies her (Nora's) action'

- Several recent adaptations of 'A Dolls House', such as 'Sara' (1992) and 'Nneora: An African Doll's House' (2005) both see Nora take the children with her

]]> 2022-05-16 13:44:31 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185739335 https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185742952 'No thank you, John'
Direct adress = asserting dominance (unconventiional for women); for example - "I never said I loved you".
Ending lines on harsh consonants -> emphasiszes bluntness.
Cyclical structure of "No, thank you, John" = echos the beginnings direct adress and reminds the reader of her determination and not changer her stance. ]]> 2022-05-16 13:46:31 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185742952 https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185745741 -The 19th Century was dominated by strict Victorian social codes and laws that severely restricted the right of all women, and married women in particular
-Governments throughout Europe used the Napoleonic code, which prevented women from engaging in any financial transaction
-women were not allowed to borrow money without their husbands’ consent, or were allowed to vote]]> 2022-05-16 13:48:06 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185745741 https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185749704 Toril Moi (2008)- 'a play that asks what it will take for two modern individuals to build a relationship based on freedom, equality and love'

Toril Moi (2008) calls Helmer's discovery of the letter  'a moment of high melodrama'

Toril Moi (2008) - Nora and Torvald stared in 'idealistic scenarios of female sacrifice and male rescue'

Erik Boegh (reviewing the world premier in Copenhagen) - 'a play so simple in its action and so everyday in its dress made such an impression' + 'never for a moment was the dagger of tragedy raised'

Chris Megson (2010) - 'the best-known play in the Naturalist pantheon'

Ibsen wrote in a letter to Swedish actor-director August Lindberg that the play depended 'to a large degree, on the audience members thinking that they sit [...] and watch something which is happening out there in real life' and 'demand for full ruthless truth to life'

Review in the Danish newpaper 'Social Demokraten' - 'We have never in dramatic or poetic form seen a better, more powerful intervention in the question of women's liberation!'

Otten (1998) - 'the play is elementally about prostitution, about the wilful selling of oneself to gain some advantage'

Times reviewer (1889) - Ibsen used theatre as a vehicle for 'these concerning the education and the rights of women, heredity and other subjects that may be classed under the comprehensive term of social sciences'

Moi (2008) - Ibsen wanted us to 'think about the way we theatricalize ourselves and others in everyday life'

Johnson (1989) - parallels between Nora and the Christmas tree, the latter 'prevented from full growth, cut or transplanted, then prettified and decorated in a domestic environment, like Nora herself'

Tornqvist (1995) - 'I did so want to see Nora in her costume'

Halvdan Koht - the play 'exploded like a bomb into contemporary life'

(1891) Ibsen told his French translator, Moritz Prozor, that 'I was for the sake of the last scene that the whole play was written'

Fokelts Avis, 24th December 1879 - 'is there a mother among thousands of mothers, a wife among thousands od wives, who would act as Nora acts, who would leave husband and children and home so she herself foremost can become "a human being"? [...] absolutely not!'

In 'The Telegraph', Clement Scott doubted that 'those theories as expressed in "The Doll's House" would ever find favour with the great body of English playgoers'

'Breaking a Butterfly' was a German ending of the play which saw the equivalent of Torvald forgiving Nora's forgery - this alternative was praised by 'The Times' and grateful that it allowed 'happiness to be restored to the troubled home' (Christian, 2019)

Toril Moi (2008) calls the play the 'first fully modernist play'

The Danish People's Paper argued that 'There is not [...] a single point which justifies her action'

The Guardian writer, A. S. Byatt - 'every time I read the play I find myself judging Nora with less and less sympathy'

Haydon (2013) called Nora's departure 'pretty questionable'

Toril Moi - the two men in the play treat Nora like a doll

]]> 2022-05-16 13:50:23 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185749704 https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185751000 https://victorianweb.org/authors/crossetti/harrison2/4.6.html]]> 2022-05-16 13:51:08 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185751000 https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185751444 2022-05-16 13:51:24 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185751444 https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185752013 Gender and class: 
- it was organised hierarchically, including a  sexual double standard, gender was purely biological and there were set roles that assigned with either gender 
- gender ideology was premised on the “doctrine of separate spheres” , meaning men and women were meant for separate purposes 
-men belonged in the public sphere whereas women belonged in the private sphere, playing a more domestic role of reproduction and household duties compared to the societal role a man would play 
Religion:
- most victorian were christian, with the anglican churches of england, wales and ireland were the state churches
- the only substantial non- christian faith was judaism 
- change was instituted when the 1851 census revealed that only 5.2 million out of 18 million attended church of England services with 4.9 million attending other christian places of worship, this caused large upset, linking to how Rossetti’s ex fiancé changed to roman catholicism instead of following the church of England’s regimes 
Culture and art: 
-theatre thrived in the victorian era, featuring melodrama with evil villains , virtuous heroins and intricate plots (much like a dolls house) 
- often regarded as history of theatre ruled by queen Elizabeth from 1847 to 2001 
- Ibsen's “a dolls house” was considered to the first feminist play challenging victorian ideals of a woman’s role in marriage, when it was written in 1879 it was banned from being printed or performed in Britain soon after as it criticised the society that it was performed to and the lack of justice and humanity in the treatment of women in victorian society  
Emily Davies:
 she edited the ‘english woman’s journal’, founding member of a woman’s discussion group that pushed parliament for woman’s voting rights, involving herself in the suffragette movement, finally opening Britain’s  first women college “Girton college”
Contagious diseases acts; 
-passed by parliament in 1864
-legislation allowed police officers to arrest women suspected of being prostitutes, to then be subjected to compulsory checks for venereal disease, if found they had it they would be confined to a “lock hospital” until recovered or finished sentence 
-shaming women for this lifestyle and involuntarily sentencing them to confinement, similarly to female hysteria 
-they could be locked up for 3 months gradually extending to a year in 1869 
-created significant controversy and sparking the debate between men and womens rights, Josephine butler began a campaign against this

]]> 2022-05-16 13:51:44 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185752013 https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185754242 -Nora forges her fathers signature to save Helmer’s life.
-In goblin market Laura eats the Goblin Men’s fruit and becomes a fallen woman to save her sisters life lizzie sacrifices herself.

- Nora believes she has to keep looking young or she will be replaced.
-In soeur Louise , the speaker ‘loses value’ with her appearance and is replaced by a younger woman. ‘My rose life gone all to prickles’

- Nora’s love masks how controlling Torvald is towards her, as long as she thinks he loves her she is happy to love him.
-Rossetti is happy with the comfort of God’s Love.

-‘it’s incredible what an expensive pet she is for a man to keep.’ We explicitly see how Torvald sees Nora as a pet rather than a wife. He is possessive and controlling in their marriage, Nora is his ‘property’
-In Rossetti’s ‘when I am dead my dearest’ the speaker tells her lover to move on after her death. Opposite of possession. 

]]> 2022-05-16 13:52:48 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185754242 https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185754432 -word spread reasonably slowly about the play. It was two years before the play was performed outside Scandinavia and Germany, and ten years before a recognizably faithful version was seen in England or America. France did not see the play until 1894. By the time it took its place in the European theatre annals, Ibsen was over sixty.

-The first German production notoriously altered the ending so that Nora did not leave home, when leading woman Hedwig Niemann-Raabe refused to act the part as written, an amendment Ibsen later described as "a barbaric outrage".

- it premiered at the Royal Theatre in Copenhagen, Denmark, on 21 December 1879, having been published earlier that month. It instantly sparked controversy as it criticised the role of women.

-1880 first performance in London- 1911 a dolls house receives its asian premier in Japan - 1945 premier in india

-1922 a first (now lost) silent film version of A Dolls House stars All Nazimova

-1923 Silent German film version directed by Berthold Viertle, Nora was played by Olga Chekhova

-1993 Sara, Dariush Mehrjui's film, relocates the story to Tehran (city in Iran)

-A dolls house production, captured by Digital Theatre live at London’s Young Vic Theatre, was directed by Carrie Cracknell. It starred Hattie Morahan as Nora and Dominic Rowan as Torvald, and was met with widespread critical and public acclaim. (revolving stage)

- Hattie Morahan, again played Nora in a Young Vic production of Ibsen's powerful classic about a woman taking control of her own destiny, stars in writer Nick Payne and director Carrie Cracknell's short film imagining what a modern-day Nora might look like, 130 years on from the original.

- In his 1989 Royal Dramatic Theatre production of A Doll's House, for which playwright Klas Östergren created a new Swedish translation, Bergman followed Ibsen's text very closely but made dramaturgical and scenographic changes. In a combined rehearsal-press conference interview, Bergman stressed the importance of the child (Hilde) as a tragic figure in a collapsing marriage. (He had received criticism for omitting the children in his own film Scenes from a marriage.On Hilde's chair sat a doll when she herself was not present on stage. Furthermore, Nora was the only one who never left the acting area. 

- One of the most unusual modern productions was a fascinating 2007 production by Lee Breur, which played at the Edinburgh Festival and which cast dwarves in the male roles in order to play with the gender bias in Nora’s society. This version rendered comic Torvald's insistence on patronising his "poor little Nora," especially since he was small enough to be (at one point, actually) picked up by his wife. 

- "Zinnie Harris sets Ibsen's most famous domestic drama in 1909 London. The result is not as dumb as the National's Mrs Affleck and at least gets Gillian Anderson back on the stage. But it still feels like a diluted version of a great play."-Michael Billington 




]]> 2022-05-16 13:52:53 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185754432 https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185754934 Power of reputation: When Torvald thinks that Nora has ruined his reputation he has a plan to keep the children away from her to save them from being tainted (belief in bad actions being hereditary) and he wants to preserve the appearance of his marriage for the sake of respectability. However, respectability in the play is shown to be a façade. Although Torvald sneers at Nora’s father, he was happy to accept the money that he believed had been left to Nora in her father’s will. Further, when he finds out the truth of Nora’s deception his chief objective is in how he can cover it up to save himself. His relief when he reads Krogstad’s note which says he won’t expose Nora, is to think of himself: “I am saved!”, he says, as if this is all that is important. In the eyes of society, it is important and Torvald’s reaction perpetuates the myth.]]> 2022-05-16 13:53:09 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185754934 https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185755576 https://m.youtube.com/watch?v=kOuFocD10hU]]> 2022-05-16 13:53:32 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185755576 https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185755724 -Both Ibsen and Rossetti's literary works explore the theme of sacrifice and compromise. 

-Undoubtedly, Nora is forced into a state of sacrifice when she leaves her family for freedom. The necessity to compromise her security and comfort in order to liberate herself highlights the limited options that women were presented with during the Victorian period. This can be equally identified in Christina Rossetti's 'Shut Out'. Her decision not to marry in order to maintain her, already limited, social and economic freedom therefore excludes her from Victorian society as a woman's primary purpose in life was matrimony and childbearing. 

-Kristine is forced to sacrifice her relationship and love with Krogstad in order to pursue a comfortable life because of her lack of rights as a woman in the Victorian period.


]]> 2022-05-16 13:53:36 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185755724 https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185756193 - Christina Georgina Rossetti was born on December 5th 1830 in London.

- Born into a well educated middle class English-Italian family and was the youngest child of four.

- Her siblings were Maria Francesca (author and nun at St. Mary Magdalene Home for the Fallen Women), Dante Gabriele (famous poet and painter) and William Michael (writer and critic).

- Her father, Gabriele, was a poet and a professor of Italian at Kings College London after being exiled from Italy.

- Her mother, Frances Polidori, was a scholar and a model for some of Dante's paintings and homeschooled Rossetti.

- She is very religious and she had a breakdown when she was 14 and it was labelled as religious mania.

- She was engaged to a man called James Collinson in 1848 when she was 18, however, in 1850 they broke off the engagement because he converted to Roman Catholicism.

- In 1866, Rossetti's friend, Charles Cayley proposed to her but she rejected him as he was agnostic.

- James Brett also proposed to her but she rejected him as well.

- She released her first collection of novels in 1862 when she was 33 called 'Goblin Market and Other Poems'.

- Rossetti grew up surrounded by illness:
    - Her father had bronchitis which       triggered him to have depression causing the family to suffer financially as he was the main source of income.
    - Due to her siblings working or going to school, Rossetti felt isolated and lonely growing up.
    - Both Dante and Lizzie Siddall, his wife, were drug addicts and she died of an overdose.
    - Rossetti suffered from Graves Disease for almost 20 years and developed brain cancer which she died from.

- Rossetti died in 1894 in London.]]> 2022-05-16 13:53:52 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185756193 https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185757376 A feminist perspective on A Dolls House 

is that the character of Nora is very empowering in rejecting Torvald and her old life to find her new path, one she decides.

A feminist perspective of

 Soeur Louise de la Misericorde Is that it shows Women being used for others' desires and not theirs. "I have desired and I have been desired".

From the Antique: "I wish and I wish I were a man", from a Feminist perspective you could say this shows that Rossetti was tired of oppression as a woman.




A marxism perspective of A dolls house

Is that prove the point made by Karl Marx that the less fortunate get exploited by the more fortunate and wealthier people., as Nora is shown to rely on financially Torvald and when she takes a loan from Krogstad of £250, she gets exploited by him through blackmail even though she was trying to save Torvald life. Also, Krogstad is shown to be exploited by the bank as he is threatened to lose his job due to his reputation.


A marxism perspective in Rossetti's poetry

In a Goblin Market, Laura is shown to "longing" for the fruit which could show the idea of addiction in consumer consumption in the economy as a whole.


A psychological perspective on A dolls house

As Nora is an example of Sigmund Freud's theory, that she regresses to her child-like habits of happiness with a voiceless marriage, which affects Nora's mental developmental growth massively because she is fixated in an adolescent state. For Nora to find her true self, she must break the illusion of happiness.


A psychological perspective on Rossetti's poetry,














]]> 2022-05-16 13:54:31 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2185757376 https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2187169577 A contemporary film noir based on the epic 19th century poem by Christina Rossetti.
Directed by Katherine Wyeth.
Written and Produced by Katherine Wyeth and Stephanie Sinclaire.]]> 2022-05-17 07:42:19 UTC https://padlet.com/rebecca_daville/7x5z6p7r506hi6u/wish/2187169577