OCR English Literature Paper 1

AO1 (Question 2 a - 25%, Question 2 b - 50%, Question 7 to 12 - 12.5%)

Excellent and consistently detailed understanding of text and question with consistently well-structured, coherent and detailed argument consistently developed. Consistently fluent and accurate writing in appropriate register with critical concepts and terminology used accurately.

AO2 (Question 2 a - 75%, Question 2 b - 0%, Questions 7 to 12 - 0%)

Well-developed and consistently detailed discussion of effects (including dramatic effects) of language, form and structure. Excellent and consistently effective use of analytical methods. Consistently effective use of quotations and references to text, critically addressed, blended into discussion.

AO3 (Question 2 a - 0%, Question 2 b - 0%, Question 7 to 12 - 50%)

Consistently developed and consistently detailed understanding of the significance and influence of the contexts in which literary texts are written, as appropriate to the question. Consistently developed and consistently detailed understanding of the significance and influence of the contexts in which literary texts are received, as appropriate to the question.

AO4 (Question 2a - 0%, Question 2b - 0%, Question 7 to 12 - 25%)

Excellent and consistently detailed comparative analysis of relationships between texts.

AO5 (Question 2 a - 0%, Question 2 b - 50%, Question 7 to 12 - 12.5%)

Judgement consistently informed by exploration of different interpretations of the text. Judgement consistently informed by changing critical views of the text over time.

Act 1, Scene 2 : “O that this too too sullied flesh would melt, thaw, and resolve itself into a dew”

This is the first the audience hears from Hamlet properly - and at this point, he is not influenced by his ‘antic disposition’. He is represented as genuinely suicidal after Old Hamlet’s death - but does not wish to be active in his death, he would rather die passively. He is also seen to be witty, making a pun on death (“a dew” - > “adieu”)

Act 1, Scene 3 : “Alas, my lord, I have been so affrighted”

Ophelia is initially presented as a damsel in distress - she has no agency as a women to protect herself from Hamlet’s advantages. She may be more concerned about Hamlet’s ‘antic disposition’ at his point, and perhaps does not see this as a direct attack at her (unlike Act 3, Scene 1).

Act 1, Scene 4 : “Something is rotten in the state of Denmark”

This line highlights the sense of unease felt by the ordinary Danes outside of the court of Elsinore (Marcellus, Horatio, and the Gravedigger are the only non-court men we see in the play, really). The guards are aware of preparations for an imminent war, but have little knowledge about it, and very little knowledge explaining why Claudius has taken power, not Hamlet (who is old enough to rule). This extended metaphor of corruption is picked up throughout the play.

Act 1, Scene 5 : “The serpent that did sting thy father’s life now wears his crown”

Claudius is referred to with the metaphor of a ‘serpent’, perhaps referring to the garden of Eden, where Adam and Eve’s hope for Heaven were revoked by the temptation of the snake. Not only is Claudius serpentine (and so sly, deceitful), but he is also devilish (as the serpent from Eden is representative of the Devil). This is the revelation of Claudius’ crimes to the audience, who so far have only seen him as a charismatic ruler and struggling step-father.

Act 2, Scene 2 : “Though this be madness, yet there is method in’t”

Polonius begins to suspect that Hamlet’s madness may be deliberately antagonistic - yet still continues to be patient with Hamlet’s erratic behaviour. Hamlet is constantly being surveyed in Elsinore - further linking to the notion that “Denmark is a prison”.

Act 2, Scene 2 : “The spirit that I have seen may be the devil”

Hamlet is wary to revenge his father, as he cannot be certain that the ghost’s motives are good - the ghost could be a devilish spirit sent to create chaos across Denmark. As Hamlet has already proposed ‘The Mousetrap’ to the First Player, he has likely already doubted the ghost and come up with a solution, and so Hamlet may just be a tad dramatic at this point, and making excuses for his inaction.

Act 3, Scene 1 : “To be, or not to be, that is the question”

This could be performed as a soliloquy or as a monologue - it is not clear whether Hamlet is aware of Polonius, Claudius, or Ophelia until the end of the speech. As a result, this could be seen as genuinely philosophical, or as his ‘antic disposition’ working to present himself as mad.

Act 3, Scene 1 : “Thus conscience does make cowards of us all”

The abstract noun ‘conscience’ could mean reflection (Hamlet’s excessive philosophy does make him cowardly at times - could Act 3, Scene 3 be cowardly?) or it could mean moral mistakes (which Hamlet is famously afraid of making). Either way, this further highlights Hamlet’s procrastination, but contrasts other characters in the play (“us all”), such as Claudius, who is cowardly but still decisive.

Act 3, Scene 1 : “I did love you once” […] “I loved you not”

Hamlet’s feelings for Ophelia are uncertain - here the verb “love” could have two interpretations of either being romantic or sexual. This could suggest that they had a sexual relationship, but Hamlet never truly loved Ophelia. His deception here is both childish and unreasonable, perhaps less of an antic disposition and more true madness.

Act 3, Scene 1 : “O, what a noble mind is here o’erthrown”

Ophelia is genuinely upset at Hamlet’s descent into madness, she truly believes that Hamlet once loved her, and she cannot understand what has caused this rapid transformation. Despite this, she internalises his criticisms (“most deject and wretched”).

Act 3, Scene 2 : “I will speak daggers to her, but use none”

Hamlet’s pre-meditation suggests that he is certainly angry enough to act out violently against Gertrude, but in accordance to the Ghost’s words, he should not hurt her. His killing of Polonius could be interpreted to be displaced rage towards his mother.

Act 3, Scene 3 : “O my offence is rank, it smells to heaven”

Claudius’ soliloquy is the closest the audience gets to ‘sympathising’ with him (hence why it so swiftly followed by Hamlet’s soliloquy). As he is not performing, the audience has to assume his admissions are genuine.

Act 3, Scene 3 : “When he is fit and season’d for his passage? No!”

Hamlet wants to ensure his revenge is complete - if Hamlet murders Claudius whilst praying, Claudius gets an immediate free pass to Heaven. This isn’t good enough for Hamlet - especially seeing as Old Hamlet was not given his rightful spot in Heaven.

Act 3, Scene 3 : “My words fly up, my thoughts remain below: words without thought never to Heaven go”

The dramatic irony of Hamlet postponing murder to prevent Claudius’ salvation just for Claudius to be unable to pray highlights Hamlet’s hamartia of procrastination. This irony also emphasises the theme of appearance versus reality, as it is the appearance of praying that ultimately prolongs Claudius’ life - but also reaffirms the importance of sincerity, as Claudius cannot save himself without sincere prayer.

Act 3, Scene 4 : “Hamlet, thou hast thy father much offended” “Mother, you have my father much offended”

Hamlet responds to Gertrude much more formally, using the formal 2nd person pronoun ‘you’ in place of Gertrude’s informal ‘thou’. Hamlet’s choice also could imply that he is talking as a plural - that both Gertrude and Claudius have offended Old Hamlet. His mirroring of Gertrude’s utterances and stress pattern is inherently mocking and much more vicious in comparison to Gertrude’s gentle urging.

Act 3, Scene 4 : “My two schoolfellows, whom I will trust as I will adders fang’d”

Referring to Rosencrantz and Guildenstern as “schoolfellows” is slightly ironic, as their childhood innocence and loyalty has been lost to the bribery of Claudius. The adder metaphor relates to the snake in the garden of Eden - but the adder specifically is small and venomous, perhaps a nod towards their morals in their duty to kill Hamlet.

Act 4, Scene 4 : “O, from this time forth: my thoughts be bloody or be nothing worth!”

This could present two things: the beginning of Hamlet’s maturity in the falling action (leading to a successful, revengeful denouement), or a dramatically ironic reference to Act 1, Scene 5, where he practically says the same thing… (“And you, my sinews, grow not instant old, but bear me stiffly up”)

Act 4, Scene 5 : “He is dead and gone. At his head a grass-green turf, at his heels a stone.”

Polonius’ death has turned Ophelia’s life upside down, which is accentuated by the metaphor of Polonius’ body being laid to rest upside down, with his feet at the headstone. Ophelia is placed into the same situation as Hamlet (with the unrighteous murder of a father), but as a woman, she cannot take revenge without being considered as mad.

Act 4, Scene 7 : “To cut his throat i’ the church”

Laertes will risk eternal damnation to accomplish his revenge on Hamlet. This further presents Laertes as a literary foil of Hamlet - emphasising both Hamlet’s procrastination in Act 3, Scene 3 and his moralistic reflections. Yes - Laertes may be a better tragic hero, but Hamlet’s philosophy allows him to maintain his moral ‘high ground’ over Claudius.

Act 4, Scene 7 : “When down her weedy trophies and herself fell in the weeping brook”

Ophelia’s ‘coronet weeds’ may have symbolised a crown she may have worn if she had become Hamlet’s bride - despite her being mad, this - accompanied with the speculation she may have committed suicide - could suggest that Hamlet is responsible for her death. The use of pathetic fallacy in the ‘weeping brook’ demonstrates a final turning point for the play - there is no hope for a comedic ending for these characters, they are damned to a tragedy.

Act 5, Scene 1 : “I hoped thou shouldst have been Hamlet’s wife”

Ophelia, even in death, is only referred to through her relation to others. Gertrude is not upset that her death is a waste of a hopeful life, but a waste of Hamlet’s time, as Hamlet would now have to re-court another woman before marrying. However, Gertrude does use the informal pronoun ‘thou’ rather than ‘you’ - usually used only within families - perhaps suggesting that Ophelia was like a daughter to her.

Act 5, Scene 2 : “Since no man knows aught of what he leaves, what is’t to leave betimes? Let be.”

There are two interpretations of what here - leaving legacy, or leaving life - both of which he was originally very concerned about (upholding Old Hamlet’s legacy, and the time of which he would die). Hamlet changes from wishing for death, to simply accepting death. He now possesses a Stoic indifference to fortune and death, similar to what he praised Horatio for earlier in the play. This could also be seen as a late answer to his ‘To Be or Not to Be’ soliloquy.

Act 5, Scene 2 : “I will, my lord; I pray you, pardon me.”

Gertrude’s defiance could be interpreted in two ways: either she is addressing Claudius, or she is addressing God. If she is addressing Claudius, she could be seen as standing in subtle unity with Hamlet in defying Claudius, or simply already drunk and unaware of the seriousness of the situation. If she is addressing God, she may be aware that the cup is poisoned, and is asking for a more eternal forgiveness from suicide. She may know of Claudius’ motives to kill Hamlet in this duel, and does not want to watch her only child die.

Act 5, Scene 2 : “Here thou incestuous, murderous, damned Dane, drink off this potion”

Hamlet decides that Claudius dying is not enough, he must suffer. Despite being hit with the poisoned sabre, Hamlet forces him to drink the poison that killed Gertrude. Hamlet is aware he will be damned to Hell for his revenge and murders, so at this point, he has nothing to loose by extracting satisfaction from Claudius’ murder. Similarly, Claudius has already been outed as committing treason, so he has no reason to fight Hamlet here.

Hamlet Interpretation : 17th Century Revenge Tragedies

Typically featuring a protagonist seeking vengeance for a wrongful act, Hamlet was widely viewed as a revenge tragedy

Hamlet Interpretation : 17th Century Political

During the Elizabethan and Jacobean eras, themes of usurpation, regicide, and the moral responsibilities of the nobility resonated with audience members of this time.

Hamlet Interpretation : 17th Century Stoicism

Until Act 5, Scene 2, Hamlet is explicitly non-stoic - he is very emotional when enduring hardship. However, he changes to ‘Let be’, overcoming his indecisiveness and fear of the unknown. This could be interpreted as Shakespeare encouraging his audiences to be stoic in order to complete their duties - as it is only in stoicism that Hamlet is able to accomplish revenge.

Hamlet Interpretation : 18th Century Romanticism and Psychology

This interpretation often highlighted the existential and moral dilemmas of Hamlet. His alienation and existentiality were seen as reflections of the fascination with individualism and psyche, and his struggles were seen to influence his behaviour.

Hamlet Interpretation : 18th Century Romanticism and Nature

Interpretations often drew connections between Hamlet’s mind and the (super)natural elements of the play. His soliloquies were seen as moments of unity with nature.

Hamlet Interpretation : 20th Century Freudian

Hamlet’s conflict arises from his unresolved Oedipal feelings, leading to his indecision and psychological turmoil. His repressed desires create a sense of guilt and conflict, causing him to struggle with the moral implications of revenge.

Hamlet Interpretation : 21st Century New Historicist and Contextual Understanding

Critics following this lens often explore how themes relate to the political climate of Shakespeare’s time. Often focuses on how the play reflects concerns on the succession of the monarchy.

Hamlet Interpretation : 21st Century New Historicist and Dominant Ideologies

The play can be seen as subverting expectations by challenging the status quo, subverting authority, and questioning established norms.

Hamlet Interpretation : 21st Century Feminist

The dominance of male characters and the lack of female agency in the play are seen as reflections of gender inequality. Gertrude is often used as a pawn as she tries to maintain political power, and Ophelia is seen as a vulnerable woman dictated by the patriarchy.

Hamlet Interpretation : 21st Century Postcolonial

Examines how Hamlet reflect the cultural and political dynamics of Shakespeare’s time and the impact of colonialism on literature. Often explores themes of resistance and subversion: Hamlet’s quest for justice against a corrupt court can be seen as a form of resistance.

Hamlet Literary Techniques : Prose

Typically used comically, by those who are lower-class (the grave-digger), mad (Hamlet and Ophelia), or deceitful (Claudius and Polonius)

Hamlet Literary Techniques : Verse

Typically used seriously, by those who are upper-class (Claudius)

Hamlet Literary Techniques : Soliloquy

A genuine vocal admission - can be treated as the character’s view of the truth. Used to isolate the speaking character and allow the audience to sympathise with them (Hamlet and Claudius in Act 3 Scene 3)

Hamlet Literary Techniques : Monologue

A performance - can sometimes be truthful, but it depends on the on-stage audience. If it is a monologue to a loyal friend (Hamlet to Horatio), it can typically be considered to be truthful. If it is to a group of ‘lower’ people (Claudius to the Court), it may not be truthful.

Hamlet Literary Techniques : Dramatic Irony

Creates a sense of unease and foreboding - the revelation of information is an anticipated catharsis for the audience. Also links to the continuous theme of surveillance - the audience feels out of place with this information.

Hamlet Literary Techniques : Foreshadowing

Reinforces the atmosphere of uncertainty and deception.

Hamlet Literary Techniques : Structure of the Extract

Does the extract build anticipation or create dramatic irony? How does this affect the audience’s understanding of the plot and characters?

Hamlet Form Techniques : Form

Hamlet is a tragedy play - tragedy conventions are prevalent throughout the play.

Hamlet Form Techniques : ‘A Tragic Hero’ Convention

Hamlet is a noble character with a hamartia (his indecision and overthinking) that leads to his downfall.

Hamlet Form Techniques : Supernatural Convention

The ghost of Old Hamlet adds complexity to the play, as it is another layer of consideration that influences Hamlet’s hamartia.

Hamlet Form Techniques : External and Internal Conflicts Convention

Hamlet experiences many external conflicts (killing Polonius, the duel), but his internal conflicts expressed through his soliloquys are often reflective of contemporaneous doubts and anxieties.

Hamlet Form Techniques : Fatal Resolution Convention

The play ends with all the nobility and some of the court of Elsinore dead, creating a tragic end.

Hamlet Structure Techniques : Exposition

The characters, setting and basic conflict of the play are introduced.

Hamlet Structure Techniques : Rising Action

Encounters a series of challenges and complications that build tension. Hamlet’s complication is the truthfulness of the Ghost, which causes him to present the microcosmic play.

Hamlet Structure Techniques : Climax

The turning point of the play, the moment оf greatest tension and the point at which the protagonist makes a crucial decision. Hamlet’s decision to not kill Claudius in Act 3 Scene 3 is the main turning point.

Hamlet Structure Techniques : Falling Action

The consequences of thе protagonist's decision at the climax unfold - including Polonius’ and Ophelia’s deaths.

Hamlet Structure Techniques : Denouement

Thе rеsolution of thе play, whеrе thе cеntral conflict is rеsolvеd and thе charactеrs' fatеs arе rеvеаlеd. Unfortunately for Hamlet, the fate is death.

Hamlet Structure Techniques : Dialogue

Does one character speak more or over another? How does this present their relationship and characteristics?

A Doll’s House : Et Dukkehjem

Suggests that all characters entering the Helmer House are dolls (though ‘A Doll’s House’ reflects Torvald’s possessive nature over Nora). The generic determiner ‘a’ could also reflect how this oppression is reality across Norway

A Doll’s House : “Hide the Christmas Tree carefully, Helen”

The play begins with an imperative, showcasing Nora’s capabilities. It also immediately highlights the theme of secrecy and the woman’s role in curating a ‘perfect’ domestic environment (link to Nora’s debt)

A Doll’s House : “My little lark”, “My spendthrift”, “Little featherhead”

Torvald’s nicknames are inherently patronising and ignorant of Nora’s intelligence. This could reflect how Norwegian women were legally minors all their lives (unless widowed), and only gained an education in the fine arts if they were upper-class. (Link possessives to Torvald owning the Doll’s House)

A Doll’s House : “No one said it was I who borrowed the money. I could have gotten it in some other way.”

Nora’s fraudulence and deception highlight the secrecy needed if women were to have agency. This is emphasised further as it was illegal for women to obtain a loan without their husband’s permission (Link to Ibsen’s own experiences with Laura Kieler)

A Doll’s House : “Oh well, I suppose you can look a bit higher if you want to”

Nora’s tolerance of Dr Rank’s advances could portray both parties as disloyal and deceitful. (Link to fallen women - Nora would be shunned for infidelity, but Dr Rank would keep his prestige)

A Doll’s House : “Have you thought what people will say?”

For a contemporaneous audience, Nora’s escape would be seen as a betrayal of motherhood and marriage. An action like this would ruin both her and Torvald’s reputation.

A Doll’s House : “Pops the bag of macaroons in her pocket and wipes her mouth”

Nora feels the need to hide her indulgence from Torvald, and the verbs “pops” and “wipes” may suggest that this is a common occurrence - to the point where her secrecy is second-nature.

A Doll’s House : “I won’t let this happiness slip through my fingers”

Krogstad and Ms Linde’s relationship serves as a literary foil to the Helmer marriage, emphasising the lack of communication and true connection that Nora has with Torvald. Emphasised by the fact that both are almost exclusively referred to by their surnames - they are very distant from the Helmers. (Link to arranged marriages, which were common in upper-class Norway)

A Doll’s House : “I believe that I am first and foremost a human being”

Nora’s desire for independence and agency surpasses her desire to be a ‘wife’ and ‘mother’. Up until this point, she is only seen through to who she cares for, not who she is. (Link to Ibsen as a humanist)

A Doll’s House : “How he [a guilty man] must wear a mask even in the presence of those who are dearest to him”

The dramatic irony of Nora wearing a ‘Angel of the House’ mask around Torvald as he berates her about masking intentions reflects the excessive distance Nora must go to maintain her secret. (Link to the Tarantella dance and Neapolitan outfit)

A Doll’s House : “But it was great fun, though, sitting there and earning money. It was almost like being a man”

Nora presents herself to be the ideal 19th Century Norwegian wife - motherly, submissive, and childish. However, her true identity as a woman with financial agency subverts gender roles - reaffirmed by her scandalous escape.

A Doll’s House : “She who was my joy and pride - a hypocrite, a liar - worse, worse - a criminal!”

Despite her continued selflessness (e.g., her well-intentioned fraudulence, distancing herself from her children), Torvald still only sees Nora as selfish, for stealing money and leaving her family. (Link to Laura Kieler)

A Doll’s House : “Corrupt my little children - ! Poison my home!”

Torvald insists that one corrupted individual can corrupt an entire society, and in doing so, makes Nora fear the influence she has on her children. Ironically, it could be argued that it is society’s strict expectations and gender roles that ‘corrupt’ Nora, rather than the other way around.

Echo : “Yet come to me in dreams, that I may live”

The speaker appears to feel betrayed by their lover’s death, as they have lost all joy in living without them. Still, they do not reciprocate this betrayal, instead attempting to reconcile with them and reform. (Link to omnibenevolence)

Echo : “Whose wakening should have been in Paradise”

The speaker desires to meet with their dead lover, hoping for their return to the living world, but progressing to wishing that they themself will die- effectively highlighting the extremities and danger of desire.

Soeur Louise de la Misericorde : “Now dust and dying embers mock my fire”

The speaker is betrayed by her lover (Louis XIV), yet blames herself for aging, perhaps due to beauty standards ‘lost’ in age. (Link to difference in standards for Victorian men and women - there are no ‘fallen men’)

Souer Louise de la Misericorde : “Oh vanity of vanities, desire”

The superlative noun phrase depicts desire not only as excessively prideful, but also vain, futile, and empty. When Souer Louise inevitably stops profiting from desire, she realises the moral implications, and her lack of religion. (Link to Rossetti’s work with fallen women)

Souer Louise de la Misericorde : “I have desired, and I have been desired”

By revealing her secret of her desire - to either the listener or God (or accepting it herself), she is allowed freedom from her past to continue her life without the secret burdening her.

Goblin Market : “While to this day no grass will grow where she lies low”

Laura’s betrayal of God leaves her physically ill - and the cautionary anecdote of Jeanie suggests that apostasy can lead to death. Salvation can only be found through reforming a relationship with God. (Link to Rossetti’s work with fallen women)

Goblin Market : “Their offers should not charm us, their evil gifts would harm us”

Despite knowing that the goblin’s fruits are oxymoronic ‘evil gifts’, Laura is easily tempted to eat them. Desire and ignorance could be seen as inherently linked - and could also present desire as sinful and unholy.. (Link to Victorian religion, and the Garden of Eden)

Winter, My Secret : “Perhaps there’s none: Suppose there is no secret after all”

The speaker uses their secret to gain influential power over the listener, as they have something the listener wants : knowledge. If the speaker is female, it could represent the lack of power held by women, but how women worked for power. (Link to the suffrage movement - but how Rossetti dismissed this, reflected in the lack of power given to the listener).

No, Thank You, John : “I never said I loved you, John”

The female speaker holds influential power over John (a generic name - any/all men?) as she holds the conversational floor and denies contributions. She prioritises herself over John, as there are many other ‘John’s for her to choose, if this John does not meet her requirements. (Link to Rossetti’s rejection of three men for not sharing her beliefs)

From The Antique : “I should be nothing, while all the rest would wake and weary and fall asleep”

The speaker has a lot of existential despair- she wishes not to be a woman, and whilst being a man would be better, she thinks that not existing at all would be best. Her identity and an individual is drowned out by society around her. The regular ABCB rhyme scheme shows the dullness of female life.

Ibsen Context : Laura Kieler

A friend of Ibsen’s (whom he nicknamed ‘skylark’) whose husband contracted TB and needed to be sent to a warmer climate to survive. She committed a forgery to do so and was sent to a mental asylum.

Ibsen Context : Fall From Affluence

Ibsen’s family became bankrupt, forcing them to move from their grand house to a dilapidated summer house, where they hid their poverty out of disgrace.

Ibsen Context : Realism

A Doll’s House can be considered a realist play as it focuses on character’s motives and interactions. The play is dialogue driven (the only action is the party that happens off-stage)

Ibsen Context : Naturalism

The play is set in a domestic sphere and the stage direction emulate this being set in a single room. The characters speak in prosaic dialogue rather than verse, mimicking real speech.

Ibsen Context : Yuletide

The play is set over Yuletide, with the season representing the death of an old year and the birth of a new one. Similarly, Nora’s new life begins on Boxing Day, leaving her old life behind with the old year.

Ibsen Context : Humanism

Ibsen considered himself to be a humanist (not feminist), emphasising the potential and agency of human beings

A Doll’s House Interpretation : 19th Century Progressive

The play was often praised for its accurate description of family dynamics, with one critic claiming that “there are thousands of such doll-homes”. They see the resolution as hopeful for Nora, rather than detrimental.

A Doll’s House Interpretations : 19th Century Traditional

The play was criticised Nora’s character as unrealistic, as she sheds her maternal nature, which was seen as an integral part of womanhood. The play was also perceived as anti-marriage.

A Doll’s House Interpretation : Feminism

This interpretation might see Nora’s escape as her gaining of agency in a patriarchal society - a model for contemporaneous women to follow. However, it could also be seen as reflecting the never ending struggle faced by women - even with the agency of freedom, Nora is still legally a minor.

A Doll’s House Interpretation : 20th Century Jung

Nora could be (loosely) seen as an example of the Electra complex - she is attracted to her father (seen in her compassion to her father in death), and has a sense of rivalry with her mother to be the best mother as possible (by removing herself from her children). She also experiences penis envy as she enjoys taking on a traditional male role in working and economising.

A Doll’s House Interpretation : New Historicist and Contextual Understanding

Critics following this lens often explore how themes relate to the political climate of Ibsen’s time. Often focuses on the rise of humanism and feminism, and how the play reflects these views.

A Doll’s House Interpretation : New Historicist and Dominant Ideologies

The play can be seen as subverting expectations by challenging the status quo, subverting authority, and questioning established norms.

A Doll’s House Interpretations : Postcolonial

Often explores themes of resistance and subversion: Nora’s quest for agency against an imposing husband can be seen as a form of resistance.