Journal articles: 'Doll house'

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Grae, Tanya. "Doll, House." Prairie Schooner 92, no. 1 (2018): 135. http://dx.doi.org/10.1353/psg.2018.0041.

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Drake, David B. "Ibsen's a Doll House." Explicator 53, no. 1 (October 1994): 32–34. http://dx.doi.org/10.1080/00144940.1994.9938808.

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Johnston, Brian. "Three Stages of A Doll House." Comparative Drama 25, no. 4 (1991): 311–28. http://dx.doi.org/10.1353/cdr.1991.0015.

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Smith, Robert, Sara Nadin, and Sally Jones. "Beyond the dolls house?" Qualitative Market Research: An International Journal 22, no. 5 (November 11, 2019): 745–65. http://dx.doi.org/10.1108/qmr-01-2017-0035.

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Purpose This paper aims to examine the concepts of gendered, entrepreneurial identity and fetishism through an analysis of images of Barbie entrepreneur. It draws on the literature of entrepreneurial identity and fetishism to examine how such identity is socially constructed from childhood and how exposure to such dolls can shape and influence perceptions of entrepreneurial identity. Design/methodology/approach Using semiotic analysis the authors conduct a visual analysis of the Barbie to make observations and inferences on gendered entrepreneurial identity and fetishism from the dolls and artifacts. Findings The gendered images of Barbie dolls were influenced by societal perceptions of what an entrepreneur should look like, reflecting the fetishisation of entrepreneurship, especially for women. Mirroring and exaggerating gendered perceptions, the dolls express hyper-femininity reflected in both the physical embodiment of the doll and their adornments/accessories. This includes handbags, high-heeled shoes, short skirts, haute-couture and designer clothes. Such items and the dolls themselves become fetishised objects, making context and culture of vital importance. Research limitations/implications There are positive and negative implications in relation to how the authors might, as a society, present unrealistic gendered images and role models of entrepreneurship to children. The obvious limitation is that the methodology limits what can be said or understood, albeit the imagery mirrors socially constructed reality for the context examined. Originality/value This is original research in that no previous published studies have tackled gendered entrepreneurial identity in relation to fetishism. The value of the work lies in discussing the concepts and embeds them in the expanding conversation surrounding gendered entrepreneurial identities.

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Shafer, Yvonne. "Complexity and ambiguity in Ibsen'sa doll house." Literature in Performance 5, no. 2 (April 1985): 27–35. http://dx.doi.org/10.1080/10462938509391580.

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Vivianti, Vivianti, and Dwi Ratnawati. "IMPLEMENTASI ARDUINO NANO DAN REED SWITCH UNTUK PERMAINAN EDUKASI HAFALAN DOA ANAK USIA DINI." Refleksi Edukatika : Jurnal Ilmiah Kependidikan 10, no. 1 (December 2, 2019): 40–47. http://dx.doi.org/10.24176/re.v10i1.3682.

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This study aims to create children's learning media in the form of educational games for dollhouses for daily prayer memorization and life skills education for early childhood.The development method used in making this product is the method of research and development (R And D). The stages of development used in this study consisted of needs analysis, identification of product specifications, product development, product validation, product revisions and trials. The subjects in this study amounted to 6 with the object of daily doll house prayer research. The data collection method used was a questionnaire filled out by trustees. The data analysis technique used in this research is descriptive analysis. The final product is a doll house educational game kit that is integrated with Arduino nano and Reed switch. Products can produce daily prayer sounds and various sound effects that support children's competence in memorizing daily prayers and life skills education. Reed switches are placed in parts of the dollhouse that are set to produce sound. This educational game is presented in a package with Muslim dolls in which there are magnets. When the doll is about a Reed switch, the program on Arduino Nano will give a command to the DFPlayer mini to turn on the sound of prayer and sound effects in accordance with the role activities carried out by children.

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Aditiawarman, Mac, and Octa Deski Aryan. "The Humiliation Toward Women Asseen in Henrik Ibsen’s Doll’s House." Jurnal Ilmiah Langue and Parole 3, no. 1 (December 31, 2019): 56–71. http://dx.doi.org/10.36057/jilp.v3i1.389.

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This research is a study of Ibsen's A Doll’s House from the perspective of justice for women. The purpose of this research is to find out and explain the types of women's problems faced by female main characters, to identify and describe the struggles of the main female characters in gaining independence in their lives, and to find out the significant meaning behind the success of the main female leaders' struggles as represented in drama. Implemented to answer the objectives of this study. This study is a qualitative study described by Creswell.The object of this study is Ibsen's Doll House. This research uses Wolffrey, Robbins, and Womack's theories about men totally controlling women, without any women's rights. There is also the theory of Faqih, and Kate Millet. The formulation of the problem in this study are (1) What types of problems are faced by the main female characters in A Ibsen Doll House? (2) How did the main female character face problems for her independence at A Ibsen Doll House? (3) What is the significance behind the success of the struggle of the main female character in gaining independence in her life at A Ibsen Doll House? Here we see the social side of this drama is very distorted. It teaches us as human beings to respect each other against men and women, so that there are no gaps in marriage. In conclusion, this study aims for all people to do justice to fellow human beings, whether male or female, in order to live peacefully.

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Templeton, Joan. "The Doll House Backlash: Criticism, Feminism, and Ibsen." PMLA 104, no. 1 (January 1989): 28. http://dx.doi.org/10.2307/462329.

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Wang, Quan. "The Image of Domino in A DOLL HOUSE." Explicator 74, no. 1 (January 2, 2016): 24–27. http://dx.doi.org/10.1080/00144940.2015.1133551.

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Wang, Quan. "The movement of the letter inA Doll House." Journal of European Studies 45, no. 3 (June 19, 2015): 173–88. http://dx.doi.org/10.1177/0047244115586924.

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Madsen, Emily. "PHIZ'S BLACK DOLL: INTEGRATING TEXT AND ETCHING INBLEAK HOUSE." Victorian Literature and Culture 41, no. 3 (September 2013): 411–33. http://dx.doi.org/10.1017/s106015031300003x.

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Three black dolls appear in the etchingsby H. K. Browne (Phiz) that accompany Charles Dickens'sBleak House(1853). They hang, strange fruit, from strings on walls and in shop windows, and their purpose as commentary on the text remains unclear because it is also initially unclear what they might represent. The dolls are never mentioned in the text of the novel, nor do they receive any substantial criticism in readings ofBleak House's illustrations. This article plumbs the archive for evidence of the dolls, and uses the resulting range of associations, from the American cotton trade to Victorian advertising techniques, to argue for a greater integration of the analysis of text and illustrations in serialized, illustrated novels such asBleak House. Material culture readings of the novel to this date have overlooked elements of the illustrations (which are themselves material objects), or have focused on illustrations as print culture, and not conversations with the written text. Examining the dolls in this context not only enrichesBleak House, but also attests to the value of observing the interplay of text and illustration, as well as text and advertising, in readings of the novel's serialized form.

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Elliott, Beverly F. "Nora's doors: Three American productions of Ibsen'sa Doll house." Text and Performance Quarterly 10, no. 3 (July 1990): 194–203. http://dx.doi.org/10.1080/10462939009365970.

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Thatcher, P. "America's Doll House: The Miniature World of Faith Bradford." Journal of Design History 26, no. 3 (March 18, 2013): 342–44. http://dx.doi.org/10.1093/jdh/ept013.

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DeVaull, Natalie Hamm. "Nora's Final Inheritance in Henrik Ibsen's A DOLL HOUSE." Explicator 70, no. 4 (October 2012): 275–78. http://dx.doi.org/10.1080/00144940.2012.727901.

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Tur, Ajar Pradika Ananta. "THE REALIZATION OF POLITENESS IN �A DOLL�S HOUSE� SCRIPT." EduLite: Journal of English Education, Literature and Culture 1, no. 2 (August 31, 2016): 115. http://dx.doi.org/10.30659/e.1.2.115-128.

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Politeness is considered to be important in the communication. When thepeople are communicating to one another, they are expected to keep thesocial relationship and do not violate another face or called as facethreatening acts (FTAs). This research investigated the realization ofpoliteness in a drama script entitled �A Doll�s House� by Henrik Ibsen. Itaims to classify the drama conversation parts into some categorizations ofpoliteness and to analyze why they differ in the context. In its nature, theresearch applied qualitative concepts. Two conversation parts in the firstact of the script were chosen to be the objects of the research. Thesequalitative data were then analyzed and categorized using Goffman�scategorizations of Face Threatening Act (FTA): FTA off record and FTA onrecord (with sub-classes: FTA on-baldly, FTA on record-with negativepoliteness, and FTA on record-with positive politeness). From the analyses,it was concluded that there were some parts belonging to FTA off recordand some belonging to the FTA on record with positive politeness. The firstdata analysis explained much about FTA off record. On the contrary, FTAon record with positive politeness was portrayed in the second analysis. Itshows that people tend to save their inter-interlocutors� face by usingindirect request, off record, as far as they understand what the speakerswant to. The on record will work if only the first one does not work.Keywords: Politeness, FTA off-record, FTA-on record

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Pittard, Christopher. "The Travelling Doll Wonder: Dickens, Secular Magic, and Bleak House." Studies in the Novel 48, no. 3 (2016): 279–300. http://dx.doi.org/10.1353/sdn.2016.0042.

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Harrison, Alexandra Murray. "Setting Up the Doll House: A Developmental Perspective on Termination." Psychoanalytic Inquiry 29, no. 2 (March 13, 2009): 174–87. http://dx.doi.org/10.1080/07351690802274918.

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Brooks, Daniel J. "Infection: The Motivating Factor Behind Nora's Flight in A DOLL HOUSE." Explicator 71, no. 1 (January 2013): 14–17. http://dx.doi.org/10.1080/00144940.2012.758614.

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Tufts, Carol Strongin. "Recasting A Doll House: Narcissism As Character Motivation in Ibsen's Play." Comparative Drama 20, no. 2 (1986): 140–59. http://dx.doi.org/10.1353/cdr.1986.0016.

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Cima, Gay Gibson. "A Doll House: Based on the Play by Henrik Ibsen (review)." Theatre Journal 51, no. 4 (1999): 476–77. http://dx.doi.org/10.1353/tj.1999.0077.

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Nuraida, Nuraida. "The Discrimination Of Women As Seen In Hendrick Ibsen’s A Doll House." Jurnal Ilmiah Langue and Parole 1, no. 1 (June 23, 2017): 54–67. http://dx.doi.org/10.36057/jilp.v1i1.7.

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Problems in this thesis is about women, because of discrimination against women, there were resistance can be seen from the main character in the play A Doll's House and his struggle to obtain equality between women and men. Because women do not have to live forever under the pressure of men and not women may not work forever and forever no woman should take care of the children and her husband, like the main character Nora who willingly broke the law for the sake of getting the equality between men and women. This research method is a method of data collection, data analysis methods while the author does a systematic procedure with an understanding of the drama. Engineering data collection using the technique of qualitativ in finding relevant data with subject and author data analysis techniques using structural engineering by way of analyzing the drama based on the elements that shape it. In analyzing this drama author using psychology approach discusses the human personality which is the theory of Sigmund Freud includes the id, ego, superego man. Research results from the play A Doll House, the authors have found that the presence of the Suppression of freedom 1) inside the Doll House, 2) the existence of discrimination on the main character Nora in a doll's House, 3) as well as the struggle to be free from discrimination that had befallen him.

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Jian, Sun. "Ibsen and Peking Women's High Normal University." Nordlit, no. 34 (February 16, 2015): 63. http://dx.doi.org/10.7557/13.3353.

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This article aims at exploring the great influence of Ibsen and especially his play A Doll House on the young Chinese girls studying at Peking Women’s High Normal University established for the first time in China at the beginning of the 20th century to educate girls.In its short history, the girls at the university were exposed widely to the progressive ideas and literature from the West. Ibsen, the most popular writer at that time, inspired the girls tremendously whose performance of A Doll House aroused a heated debate among the well-known scholars on such important issues as women’s rights, women’s liberation, new culture, art and literature.Consequently there appeared at the university first group of modern Chinese women writers who picked up their pens and wrote about themselves and about women in China, describing themselves as “Chinese Noras”.

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Andersen, Kim. "A Doll House. Based on the Play by Henrik Ibsen. CD-ROM." Rocky Mountain Review of Language and Literature 53, no. 2 (1999): 93. http://dx.doi.org/10.2307/1348213.

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Lee, Josephine. "TeachingA Doll House, Rachel, andMarisol: Domestic Ideals, Possessive Individuals, and Modern Drama." Modern Drama 50, no. 4 (December 2007): 620–37. http://dx.doi.org/10.3138/md.50.4.620.

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Ismail, Hidaya Ibrahim Hashim, and Hala Salih Mohammed Nur. "Heredity a Revisited Theme in Henrik Ibsen’s ‘A Doll House’ & ‘Ghosts’." Journal of English Language and Literature 11, no. 2 (April 30, 2019): 1109–14. http://dx.doi.org/10.17722/jell.v11i2.411.

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The aim of this paper is mainly focused through the quotation ‘sins of the father are visited upon the son’ the researchers used the critical analytical method to highlight the theme of heredity in Ibsen selected plays. The analysis of the theme showed that the heredity is not only portrayed in the plays but it has traces from his personal life. The fear of becoming like his father very much influences the theme of heredity in the plays. The paper also attempts to link the inheritance theme to the Ibsen’s life. The researchers focused on the Naturalism movement as ground for the reading of the influence it had on the author and its clear significance into the following events of the plays. Light is shed upon the saying ‘sins of the father’s’ for its clear relation to Oswald state.

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Nur, Hala Salih Mohammed. "Heredity a Revisited Theme in Henrik Ibsen’s ‘A Doll House’ & ‘Ghosts’." Journal of English Language and Literature 11, no. 2 (June 9, 2019): 1109. http://dx.doi.org/10.17722/jell.v11i2.457.

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Mardi, Tiara, and Surya Perdana. "Analisis Postur Kerja pada Pembuatan Rumah Boneka dengan Metode Rapid Entire Body Assessment." STRING (Satuan Tulisan Riset dan Inovasi Teknologi) 3, no. 2 (December 6, 2018): 107. http://dx.doi.org/10.30998/string.v3i2.2761.

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PT. X is a company engaged in the manufacture of the doll house. Its various daily production processes in each work station are performed on the floor by squatting for long hours. There are seven work stations, namely pattern making, pattern cutting, pattern assembly, caulking, sanding, painting and accessory installation. The study aims to know the risk level of working posture of operators and to suggest improvements to very risky work stations. The method used in this research is Rapid Entire Body Assessment (REBA) based on nordic questionaire on pains suffered in the back, waist, hip, right hand and foot. From the results of the collection and processing of the data, the risk of injury in an actual working system based on REBA score shows a high risk level, with the highest risk level is in caulking working station of 9 for the left side and 8 for the right side. Further, the suggested working system improvement using a chair and table results in a decrease in the risk of injury with low REBA score, the average of which is 5 for all improved work stations. It shows that the suggested working system improvement is really necessary to reduce the work risks during the doll house production.

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Dubost. "Wilder as a Playwright-in-the-Making: Adapting A Doll' House." Thornton Wilder Journal 1, no. 1 (2020): 81. http://dx.doi.org/10.5325/thorntonwilderj.1.1.0081.

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Wang, Quan. "Before Marriage, Within Marriage, and After Marriage—Kristine Linde in A DOLL HOUSE." Explicator 74, no. 2 (April 2, 2016): 69–73. http://dx.doi.org/10.1080/00144940.2016.1169494.

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Kolbuszewska, Zofia. "The Nutshell Studies of Unexplained Death, Doll-house Homicides, Foster Families, and the Subversion of Domesticity in CSI: Las Vegas." Kultura Popularna 4, no. 54 (May 7, 2018): 50–59. http://dx.doi.org/10.5604/01.3001.0011.6719.

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The article explores similarities and divergencies in how The Nutshell Studies of Unexplained Death, doll-house style dioramas built by Frances Glessner Lee in the 1930s and 1940s in order to train homicide detectives, and miniature crime scenes crafted by a protagonist of the season 7 of the TV show CSI: Las Vegas modelled on them, figure female frustration connected with the traditional shape of family and domesticity. The dioramas reveal and simultaneously contain the foundational Derridean darkness underlying the concept of domesticity.

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Islam, A. B. M. SHAFIQUL, and Israt Jahan Shuchi. "Nora’s Metamorphosis from A Doll Child into A Reasonable Human Being." Rainbow: Journal of Literature, Linguistics and Cultural Studies 9, no. 2 (October 23, 2020): 125–36. http://dx.doi.org/10.15294/rainbow.v9i2.39969.

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Henrik Ibsen is deemed to be one of the major Norwegian playwrights of the late 19th century whose famous play A Doll’s House manifests a wide variety of social and individual concerns, some of which transcend times and ages and thus become all-time contemporary. This paper mainly focuses on one such concern of an individual- Nora Helmar’s quest of self-identity- which gets unfolded through many other interrelated social issues that altogether result in her complete transformation. This study identifies how Nora who we notice at the beginning of the play as a naïve and submissive woman, changes herself into an outspoken, autonomous and unyielding human being towards the end of the play. It also attempts to highlight Nora’s numerous struggles against the patriarchal hegemony of the society and outlines how these struggles contribute to developing in her a sense of progressive self-awakening which eventually shapes her self-identity as an independent woman, the ultimate destination of her journey of self-discovery. This study finally explores the underlying forces both from within and outside the family working as catalysts behind making Nora a metamorphosed one.

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김현정 and 정대현. "The Effect of Structured Doll-House Play Activity on the Spontaneous Speaking of Disabled Young Children." Korean Journal of Physical, Multiple, & Health Disabilities 49, no. ll (January 2007): 39–58. http://dx.doi.org/10.20971/kcpmd.2007.49..39.

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Kim, Dabin, and Gyoengseon Min. "A Facet of Geumgwan gaya society through their Clay Dolls." Yeongnam Archaeological Society, no. 84 (May 30, 2019): 31–58. http://dx.doi.org/10.47417/yar.2019.84.31.

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Clay Dolls, which means a doll made of earth, was excavated from the Silla area, mainly in Gyeongju. Accordingly, research on clay figurines in Silla has been carried out actively and it would not be too much to say that it was mostly Silla’s clay figurines which have been mostly studied so far. The study of clay figurines of Gaya has been relatively slow, probably due to the fact that the cases of excavations are very limited. Recently, various types of clay figurines have been excavated from the presumed royal palace site of Geumgwan Gaya under the excavation and investigation by the National Research Institute of Cultural Heritage. Earlier in Gimhae, a variety of clay figurines, including character clay figurines, were excavated in an excavation to create a site for a hanok living experience center. Based on these new data, this paper tries to infer the different characters, roles and significance of clay figurines in Gaya society, by studying various kinds of clay figurines excavated from Geumgwan Gaya territory. Bonghwang-dong, which is believed to be the center of Geumgwan Gaya, is a complex of relics including living facilities, hospitality facilities, trading facilities, workshop sites and earthen fortresses. Various clay figurines were excavated at the main sites of Bonghwang-dong s historical site, from which that the people of Gaya used clay dolls to perform ceremonial acts there can be inferred. In Bonghwang-dong sites other than the presumed royal palace ruins, horse shaped clay dolls and the clay dolls resemble utensils used in rituals are usually found. human figured clay dolls, animal figured clay dolls, house figured clay dolls have been excavated around the presumed royal palace ruins within Bonghwang-dong site which differentiates this region from the rest of the site. Along with the presumed royal palace ruins, there is a tendency of various clay figurines being found in the other ruin in the hanok living experience center with multiple purpose relics. In conclusion, there is a possibility that clay dolls had been used to wish for the well-being of the family members by the ruling group, or the well-being of the community at importance areas like the presumed royal palace ruins and the hanok living experience center ruins. This kind of tendency is found in many ruins around the Ancient Gimhae Bay(Gogimhae-Man), which leads to an assertion that various rituals and ceremonial acts had been carried out using clay dolls throughout that area.

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Akter, Saima. "Re-reading Henrik Ibsen’s A Doll’s House: A Modern Feminist Perspective." International Journal of English and Comparative Literary Studies 2, no. 3 (April 22, 2021): 79–87. http://dx.doi.org/10.47631/ijecls.v2i3.219.

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This article aims to present a re-reading of Henrik Ibsen’s A Doll’s House from a feminist perspective. Ibsen’s play is a pioneering feminist play, and he is credited for creating the first real feminist character in the history of theatre. The central female characters are analyzed, and the article also addresses the attitude of society towards women and how they struggle to prove themselves. Feminist literary criticism and feminism constitute the conceptual framework of the paper. In this play, Nora Helmer is under the illusion that her married life is perfect and that she owns what she deserves. Torvald, her husband calls her a ‘twittering lark’, ‘squirrel’, ‘song-bird’, and she is pleased with it. However, her illusion shatters when she faces the reality of finding herself being treated like a doll. As soon as she realizes that there exists an individual self of her, she revolts. She leaves the house, challenging the social institutions which contribute to women’s subjugation. Nora protests against the ill-treatment towards her by society for her willingness to get her right back, for her self-respect, and for finding herself.

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Eslmieh, Razieh. "THE DEVELOPMENT OF SOCIAL IDENTITY STRATUM IN HENRIK IBSEN’S A DOLL HOUSE: A NEW PERSPECTIVE TO IDENTITY." PEOPLE: International Journal of Social Sciences 3, no. 3 (December 27, 2017): 890–910. http://dx.doi.org/10.20319/pijss.2017.33.890910.

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Urban, David V. "Nora’s Ironic Longing for Christlike Love: Self-Sacrifice, Self-Love, and the “Religion of Torvald” in Ibsen’s A Doll House." Religions 11, no. 7 (June 28, 2020): 318. http://dx.doi.org/10.3390/rel11070318.

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This essay argues that in Ibsen’s A Doll House, both Nora and her husband, Torvald Helmer, exhibit a “religion of Torvald” characterized by their respective devotion to Torvald himself. However, while Torvald’s devotion to himself is characterized by self-love and self-centeredness, Nora’s “religion of Torvald” is based on her expectation that Torvald will exhibit the Christlike office of bearing Nora’s sins by proclaiming himself guilty of her crime of forgery, thus rendering her blameless. After Torvald shatters Nora’s expectations by reacting with abuse and cowardice to the news of Nora’s forgery and Krogstad’s consequent blackmail, Nora loses her previous faith in Torvald and instead exhibits a preoccupation with her own self that, ironically enough, imitates the self-love of the “religion of Torvald” that Torvald has practiced all along.

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Flores-Silva, Dolores. "La escritura y Puerto Rico." Connotas. Revista de crítica y teoría literarias, no. 03 (December 2, 2004): 301–14. http://dx.doi.org/10.36798/critlit.v0i03.263.

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Rosario Ferré pertenece a la generación de escritores puertorriqueños que surge en la década de los setenta. La ideología de estos escritores se basa, primordialmente, en el acercamiento a la sociedad de una manera más política y plantean un esquema trascendental para el pensamiento colectivo. Rosario Ferré, por ejemplo, se ocupa del conflicto social interno que ocasiona la fragmentación de la sociedad latinoamericana. Entre sus principales publicaciones, varias hechas en México, se encuentran los siguientes títulos: Sitio a Eros, La mona que le pisaron la cola, Maldito amor, El acomodador: Una lectura fantástica de Felisberto Hernández, El árbol y sus sombras, Sonatinas, The Youngest Doll, Memorias de Ponce, La batalla de las vírgenes, El coloquio de las perras, Antología Personal, The House on the Lagoon, Eccentric Neighborhoods y Vuelo de cisne.

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Brinkley, Vickie M., and J. Allen Watson. "Effects of Microworld Training Experience on Sorting Tasks by Young Children." Journal of Educational Technology Systems 16, no. 4 (June 1988): 349–64. http://dx.doi.org/10.2190/rtcd-nqux-ck3l-h3mw.

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The effects of microworld microcomputer training on sorting behaviors of 124 two-and three-year-old male and female day care children were studied. Subjects were divided into two age groups (mean ages were 2.5 and 3.0 years) and then into three treatment groups (microworld, real world, and combination) and a control group (no intervention). All treatment groups received one and one-half training hours on an inside/outside a house sorting task using ten familiar, age-appropriate objects. All subjects were pretested and posttested. To assess learning transfer, the posttest included objects on which the children were both trained and untrained. Findings from a 2 × 4 ANCOVA showed a significant age group difference on posttest objects for which children were not trained ( p = .0317) and a near significant trend on objects for which the children were trained ( p = .0654). Three-year-olds learned better than two-year-olds ( p = .0001), with learning increasing over time. One-third of the three-year-olds manipulated the computer and task independently. The abstract microcomputer task was shown to be no more difficult for young children than was the concrete doll house task.

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Lee, Josephine. "Teaching A Doll House, Rachel, and Marisol: Domestic Ideals, Possessive Individuals, and Modern Drama." Modern Drama 50, no. 4 (2007): 620–37. http://dx.doi.org/10.1353/mdr.0.0007.

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Viik, Tõnu. "Falling in love with robots: a phenomenological study of experiencing technological alterities." Paladyn, Journal of Behavioral Robotics 11, no. 1 (February 18, 2020): 52–65. http://dx.doi.org/10.1515/pjbr-2020-0005.

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AbstractIs it possible for human beings to establish romantic relationships with robots? What kind of otherness, or alterity, will be construed in the process of falling in love with a robot? Can a robotic companion mean more than being a tool for house-work, a caretaker, an aid of self-gratification, or a sex-doll? Phenomenological analysis of love experience suggests that romantic feelings necessarily include experiencing the alterity of the partner as an affective subjectivity that freely, willingly, and passionately commits to its partner. The romantic commitment is expected to stem from the sentient inner selves of the lovers, which is one of the features that robots are lacking. Thus the artificial alterity might disengage our romantic aspirations, and, as argued by many, will make them morally inferior to intraspecies love affairs. The current analysis will restrain from ethical considerations, however, and will focus on whether robots can in principle elicit human feelings of love.

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Beehler, Brianna. "The Doll’s Gift." Nineteenth-Century Literature 75, no. 1 (June 2020): 24–49. http://dx.doi.org/10.1525/ncl.2020.75.1.24.

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Brianna Beehler, “The Doll’s Gift: Ventriloquizing Bleak House” (pp. 24–49) This essay offers a new reading of the split narrative in Charles Dickens’s Bleak House (1852–53). Previous critics of the novel’s split narrative have primarily focused on the unequal knowledge and authority positions of the all-knowing third-person narrator and the unknowing first-person narrator, Esther Summerson. This division, however, does not fully account for the apparent slips and narrative exchanges between the two narrators, in which one narrator takes on the voice or knowledge position of the other. This essay takes up Robert Newsom’s suggestion that the only way to explain these “slips” is to conclude that Esther Summerson writes not only her own narration, but also that of the third-person narrator. However, the essay further argues that Esther uses the third-person narration to ventriloquize the voice of her mother, Lady Dedlock, in an effort to provide herself with the emotional support otherwise denied her. Readers may better understand Esther’s ventriloquism of the third-person narration by tracing how it mirrors her early daily ritual with her doll, in which she assumed both narrative positions at once. Object relations and gift theory further show how this dialogue creates a bond between the two narrations. Thus, characters and family structures that appear in the third-person narration and that may appear distant from Esther are actually her meditations on alternative maternal and familial relationships.

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Isomaa, Saija. "Suffering Daughters and Wives. Sentimental Themes in Finnish and Nordic Realism." Nordlit 14, no. 1 (October 1, 2010): 15. http://dx.doi.org/10.7557/13.1048.

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This article examines sentimental themes and scenarios in Nordic nineteenthcentury literature, focusing on Finnish realism. The main claim of the article is that the treatment of the Woman Question in Nordic literature is thematically connected to French sentimentalism that depicted upper-class women caught in the conflict between personal freedom and familial duties. Typical scenarios were family barrier to marriage and love triangle, in which an unhappily married woman fell in love with another man. French sentimental social novels took a stance on the position of women. Similar themes and scenarios can be found in Nordic nineteenth-century novels and plays. The ‘daughter novel’ tradition from Fredrika Bremer’s The President’s Daughters (1834) to Minna Canth’s Hanna (1886) depict the sufferings of upper-class girls in patriarchal family and society. A Doll’s House (1879) by Henrik Ibsen centers on the theme of conflicting duties, depicting the moral awakening of a doll-like wife, and Papin rouva (1893, ‘The Wife of a Clergyman’) by Juhani Aho concentrates on the sufferings and moral considerations of the unhappily married Elli. The article suggests that the sentimentalist legacy informs the Nordic nineteenth-century literature and should be taken into account in the scholarship.

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Templeton, Joan. "Ibsen and Feminism - Reply." Publications of the Modern Language Association of America 104, no. 3 (May 1989): 361–62. http://dx.doi.org/10.1632/s0030812900137332.

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Having weathered many a “barbaric outrage,” as he called the first rewriting of A Doll House, Ibsen doubtless did not turn over in his grave at the news that in 1989 another angry man is crusading to make Nora relove Torvald. Still, his eyes must have sparkled with their celebrated mischief to see his defenseless spirit forced into the same holy procession with a Catholic poet, a saint, and a pope, all four of them solemnly decrying feminism as they hymn “the moral dignity of womankind.” And if the inventor of this happy, ahistorical quartet thinks that on the subject of women he can place with impunity the great Italian poet alongside the father of the Church, I suggest that he read Joan Ferrante's Woman as Image in Medieval Literature and then take a look at De Civitate Dei, where, in what Elaine Pagels has called “the politics of paradise,” Augustine makes Genesis the proof of God's “placing divine sanction upon the social, legal, and economic machinery of male domination” (Adam, Eve, and the Serpent), the demeaning doctrine that John Paul ii, the fourth member of this motley unit, would continue to force on the world's women. The “moral dignity of womankind” indeed.

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Gürdallı, Huriye, and Mine Keten. "Barbie Bebek Evlerindeki İç Mekân Tasarımının Toplumsal Rollerin Gelişimi Üzerindeki Etkisi / The Effect on the Development of Social Roles of the Interior Design of Barbie Doll House." Journal of History Culture and Art Research 8, no. 1 (April 1, 2019): 436. http://dx.doi.org/10.7596/taksad.v8i1.2017.

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AbstractThe most influential learning method, games, starts in the childhood and toys, which is the tool of games are qualified as the start of a journey that teaches social roles and life itself. Aside the fact that it contributes to the development of children in a unique way, it is the most in natural learning habitat for the child. To provide children with a happy life with the help of toys is the main condition for a child to prepare for future with strong steps. It was also observed that girls generally play with toys like kitchen sets and babies. At this point, it is non striking that Barbie and Barbie homes are the most favored toys of 20th century. But, are these toys, which are bought frequently by parents for their children as innocent as they seen? This paper aimes to make critics and examinations towards babies’ homes which also be done for Barbie, and sort out the women’s roles in society and culture, which they indigenized. In the scope of this study literature review had been done. Homes changes are recognized in process and, new and commercial films had been observed. This article studies the influence of interior design of the Barbie houses that were put on to the market right after the first Barbie to the girls’, thus our women’s, subconscious, their position in the society and culture and their perception with an interdisciplinary perspective.ÖzÇocuklukta başlayan ve en etkili öğrenme şekli olan oyun ve onun aracı olan oyuncak, toplumsal rolleri ve hayatı öğreten yolculuğun bir başlangıcı olarak nitelendirilmektedir. Oyun, çocuğun en doğal öğrenme ortamı olduğu gibi gelişimine eşi bulunmaz katkılar sağlamaktadır. Oyun aracılığıyla, çocuğa mutlu bir yaşantı sağlamak, çocuğun geleceğe emin adımlarla hazırlanabilmesinin birincil şartıdır. Oyunun basit aracı olarak kullanılan oyuncaklar tüketim kültürü ve toplumun sosyo-kültürel yapısı ile doğrudan bağlantılıdır. Bu yapıda cinsiyet oyuncak kullanımında ya da tüketiminde belirleyici faktörlerden biri olmaktadır. Kız çocuklar genellikle bebekler ve mutfak setleriyle, erkek çocukların ise arabalar ve inşaat araçlarıyla oynamayı sevdiği toplumdaki yaygın kanıdır. Bu çalışmada, Barbie bebeklere yönelik yapılan incelemelerin ve eleştirilerin evleri için de yapılarak, kadınların toplum içerisinde benimsedikleri role olan etkisinin ortaya çıkarılması hedeflenmiştir. Barbie bebek evleri, cinsiyet-mekân ilişkisinin toplumsal rollerin gelişmesi üzerinden okunmasına imkan vermesi açısından seçilmiştir. Mekansal elemanların seçimi ve organizasyonu açısından da cinsiyete dayalı toplumsal rollerin alan sınırları yeniden üretilerek sunulmaktadır. Barbie bebek evlerinin ortaya çıktıkları ilk günden bugüne, süreç içerisinde geçirdikleri değişimler gözlemlenirken dönemin yayın organlarında yayımlanan haberler incelenmiş ve reklam filmeri izlenmiştir. Çalışma yedi Barbie evinin seçilmesiyle sınırlandırılmış ve bu oyuncakların iç mekân tasarımları üzerinden kız çocuklarının, dolayısı ile kadınların toplum içerisindeki konumu ve algılanış biçimine olan etkisi araştırılmıştır.

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Deborah Stevenson. "House of Dolls (review)." Bulletin of the Center for Children's Books 63, no. 11 (2010): 471–72. http://dx.doi.org/10.1353/bcc.0.1947.

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Zamierowski, David S. "Embedded “Extra” Scenario Material—Babushka Doll or Trojan Horse?" Clinical Simulation in Nursing 12, no. 11 (November 2016): 473–74. http://dx.doi.org/10.1016/j.ecns.2016.07.003.

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Tallandini, Maria A. "Aggressive behavior in children's dolls' house play." Aggressive Behavior 30, no. 6 (November 2004): 504–19. http://dx.doi.org/10.1002/ab.20059.

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Radam, Assist Inst Halima Ismail. "Feminism in Heneric Ibsen’s A Dolls' House." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 221, no. 1 (November 6, 2018): 149–62. http://dx.doi.org/10.36473/ujhss.v221i1.420.

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This paper investigates the role of women and their right in Henrik Ibsen's A Doll's House (1879). Ibsen, one of the world's greatest dramatists, is considered as the father of modern drama, and as one of the great supporters of women. He never calls himself a feminist, and he is more a humanist. There are indeed plenty of feminist tendencies in his plays, based on Simone de Beauvoir’s System of marriage, stressing on individuality of women and fighting for their freedom, in addition protesting to all restrictions in society. Under the impact of Ibsen's ideology, individuality and humanity are the most important social issues which are developed in his works. All social instructions and conventions are the enemy of every individual because they restrict the characters' personal identity and their freedom. In particular, Ibsen expands this outlook on the women's position whose individual and freedom are taken by masculine society . Ibsen protests against the position of women in a masculine society which is unfair and under the hegemony of male – dominated powers.

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Weckwerth, W. "Playing with Dolls and Houses." Theater 34, no. 3 (January 1, 2004): 134–42. http://dx.doi.org/10.1215/01610775-34-3-134.

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Klok, Janke. "Ibsen in Dutch theatres and the sustainability of Nora." Nordlit, no. 34 (May 5, 2015): 445. http://dx.doi.org/10.7557/13.3450.

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In this article I reflect on Ibsen's laborious road to the Dutch stages to display the reciprocal influence between innovating theatre plays and the process of a modernizing society. In doing this I take into account insights from translation theory and the thinking on cultural mediation, whereby cultural transmission is seen as a way of interacting: the receiving culture’s receptivity towards new ideas and new forms is crucial for the space available for innovative literature from abroad. Tracking Ibsen on the Dutch stages shows a wavelike movement. Research into the reception of Ibsen supports the claim by the Dutch author Ina Boudier-Bakker (1875-1966) who used the late first staging of Ibsen's A Doll's House (1889) to illustrate the Amsterdam and Dutch conservatism with regard to gender roles and avant-garde art. Prior to 1890 the Netherlands lagged behind other European countries. With the Dutch production of A Doll’s House a new era arrives.After a flying start and a growing appreciation for Ibsen as a social reformer, particularly concerning entrenched (gender) conventions, Dutch critics in the period 1930-1970, do not seem to be able to place Ibsen’s plays. A qualitative analysis of the revival by way of the jubilee performance Ghosts in 1956, shows that Dutch audiences hold off a contemporary debate by focusing on geographical and ethnographical distance. It indicates that in the fifties this audience was intellectually and artistically conservative. Tracking Ibsen on the stages after 1970 shows us the current multicultural society; it shows us a renewed interest in his female characters, which culminates with Nora. It shows us an increasing number of women directors in Dutch theatres, also in advanced theatre school performances. Present-day Dutch theatres and their audiences seem to be mostly interested in Ibsen’s theatre women, be it his female characters or the relatively new phenomenon of women directing his plays. Their experiments with his texts are highly appreciated and show a renewed interest in public debate, re-establishing the discussion that was aroused in the first period of staging Ibsen in the Netherlands. The experiments with Ibsen’s “old” female characters by his “new” women directors form a most important ingredient of his modernity and sustainability, both where content (feminism = noraism) and where form are concerned. It is these women who confirm Ibsen’s position as an author of today’s world.

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Journal articles on the topic 'Doll house'

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