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Critical Discourse Analysis of Ibsen's Play

The document provides a critical discourse analysis of Henrik Ibsen's play "A Doll's House". It analyzes Nora's character and language using Fairclough's three dimensional framework. Nora's speech shows repetition, short sentences, excessive questions, and frequent use of her husband's name, suggesting her submissive state of mind under patriarchal norms. By the last act, her language use shifts as she rejects her husband's offers and asserts her independence from societal expectations of women.

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Mah-e-noor Khan
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67 views5 pages

Critical Discourse Analysis of Ibsen's Play

The document provides a critical discourse analysis of Henrik Ibsen's play "A Doll's House". It analyzes Nora's character and language using Fairclough's three dimensional framework. Nora's speech shows repetition, short sentences, excessive questions, and frequent use of her husband's name, suggesting her submissive state of mind under patriarchal norms. By the last act, her language use shifts as she rejects her husband's offers and asserts her independence from societal expectations of women.

Uploaded by

Mah-e-noor Khan
Copyright
© All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd

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Major Assignment Discourse Analysis

Submitted by: Mahnoor Khattak

Roll no: 18032A

Submitted to : Dr Muhammad Yousaf

Critical Discourse Analysis Of Henrik Ibsen " A Doll's House"

Abstract: 

 The essay to delineate how discourse reflects our state of mind, though the state of mind is not
overtly verbalized. The ideologies, feelings, emotions and fears that are hidden behind the veil
behind the curtain of discourse. In this article Fairclough’s “three-dimensional framework has
been applied to analyze Henrik Ibsen, “A Doll’s House”. The paper employs only one dimension
of Fairclough’s model that is descriptive. 

Introduction: 

This article endeavors to highlight how the state of mind affects our discourse that causes to
reveal what is hidden under the layer of our consciousness through conduction of critical
discourse analysis. For this aim, the researcher conducts critical discourse analysis. “Critical
Discourse Analysis (CDA” is critical method for study of linguistic structures including words
and their mutual relation in their political and social situation. “post-structuralist discourse
theory” and critical analysis, it puts emphasis on how identity, knowledge, ideology, and power
is embedded in written and oral text. There are three dimension of Firclough three dimensional
model of analyzing a discourse critically. In this article the first dimension that is description is
utilized to analyze Henrik Ibsen’s A doll’s house.
Descriptive dimension is conduction of textual analysis to reveal the discourse used in the text.
Painting the Nora’s character, Ibsen (1879) foresees the “new women” being rebellion against
patriarchal society and fighting for her rights. However, Ibsen’s solely purpose of writing this
novel was not only to contribute in the feministic movement but also to seek the right of every
individual who has his own identity, sense, thought and feelings and resultantly has equal rights
to enjoy equal privilege in the society. That is why; the present study finds Ibsen’s A Doll House
a suitable source of its study as it portrays Nora whose unexpressive fear reflects in her
discourse. She wants to enjoy equal privilege in her house and this wish of her affects her use of
words and punctuation.
RESEARCH QUESTIONS OF THE STUDY
The present research is based on the given research questions
below:
• How does discourse itself reveals whatever is hidden under the layer of our conscious
mind?
• How much a Critical Discourse Analysis (CDA) is supportive to expose the veiled
agenda of the author in the text?

LITERATURE REVIEW:
Critical Discourse Analysis has always been used to conduct critical
analysis of literary or non-literary texts (Tayyab et al., 2021; Saeed et al., 2020; Javaid et al.,
2021; Iqbal et al., 2020. The foAmoli (2016) uses Fairclough’s three-dimensional approach to
critically evaluate the “Akhavan Sales’s poem, The End of the Shahname.” in order to answer the
question if these three levels proposed by Fairclough can be applicable, along with other research
questions, in a literary text of Akhavan Sales’s poem.
“A Doll’s house”, a Norwegian play written by Henrik Iben, has always been an attention of
critics and researchers. Different methods of text investigation have been applied to the play.
Joan Templeton (1989) points out the feminist element expressed by Ibsen in the play. He
clarifies that Ibsen was not least interested in women’s right nor he was about to write the novel
on feministic issue when he started writing the novel in summer 1879. But in the spring of that
year, when he faced some scandalous issue, not only his interest in women’s
right was developed but also, he started to support feministic movement passionately. Then his
approach in writing the novel turned towards the issues of women’s rights.
Balaky (2016) critically evaluates Ibsen’s novel on the feministic grounds in his paper. He
highlights how Henrik Ibsen in his play, depicts a liberal woman who rejects stereotypes and the
life designed by patriarchal society. According to Balaky (2016) Ibsen throw outs the
stereotypical representation of woman in English literature. “At first glance, A Doll’s House may
not seem very feministic, but with the progress of the plot, the play challenges con-temporary
misconceptions about women and the protagonist Nora trans-forms from a doll, a possession,
whose sole purpose is to entertain her husband, realizes her worth and individuality.
Hossain (2016) also researches on Ibsen’s play, “A Doll’s House,” “Ibsen’s Treatment of
Women”, and finds out how Ibsen portrays woman’s reaction towards her subjugation,
submission, exploitation, marginalization and her suffering. He appreciates Ibsen’s art to
foreground women’s powerful character who takes stand against whole society to find her own
identity.
Barry (2012) deals in his paper how issue of gender inequality is treated in Ibsen’s play, “A
Doll’s House”. He asserts: “Ibsen uses stereotypical gender attributes in his characterization of
Nora and Torvald throughout the body of A Doll House, and then abruptly reverses the
stereotypes in the final moments of the play to show that inner strength and weakness are
functions of being human, not functions of gender.”
Yuehua (2009) spotlights on “A Doll’s house to ensure that if man rules over woman explicitly,
woman can also challenge his power and rule through her strong ideological power. In male-
controlled society, man owns the power at social, political, and domestic level as he controls
economic.
“Henrik Ibsen’s A Doll House represents Nora Helmer, a woman who left home for self-respect.
The home is described in this literary work as a house where women are treated as dolls, lifeless
but plaything in the hands of manhood. The conjugal life depiction also illustrated the image of
women. Nora’s marriage was arranged, and the consequence was negative for her” After
reviewing the literature, it is found that many researchers have conducted their valuable
researches on Ibsen’s masterpiece, A Doll’s House, in perspective of feminism and to highlight
gender biasness towards women. The objective of current agenda is to critically evaluate the
work in the light of linguistic model of study: Fairclough’s three-dimensional framework to CDA
(Critical Discourse Analysis) in order to examine how discourse itself expresses the repressed
emotions.

DATA ANALYSIS AND DISCUSSION:

Textual Analysis Repetition:


Repetition in Nora’s speech is observed throughout the play. But in the last act, act III, it has
become more exclusive. The last act presents the most critical period of Nora’s life.
“NORA: Oh, please, please, Torvald, only one hour more.”
The word Please is repeated twice.
“NORA (still struggling with him in the doorway). No, no, no; I won't go in! I want to go
upstairs again; I don't want to leave so early!”. The words of negation are repeated five times.
“NORA: Yes, yes, yes. I know all your thoughts are with me.” The word, yes is repeated thrice
in a single sentence.
Interrogative Questions
“NORA. Aren't you very tired, Torvald?”
“Nora. Nor sleepy?”
“NORA. Was he? I had no chance of speaking to him.”
She makes excessive use of interrogative sentences. It seems to propose that she has no right at
home. She is submissive enjoying no right even to think independently. It also indicates that she
is unaware of her surroundings. She is never allowed to be aware of what is right and wrong. For
everything, she has to question. It also suggests her confused ans scatterd state of mind.
Short and Incomplete Sentences:
“NORA: And------?”
“NORA. Nor sleepy?”
“The letter! Oh no, no, Torvald!”
“NORA. So, he is.”
“NORA (she steps nearer him). Torvald-----?”
“NORA. And I!”
Nora utters short and often incomplete sentences. It seems that she feels no energy and has no
courage to speak before Torvald who has given no freedom to her. It clarifies the role of both
genders; one is dominating ruling over the other passive creature and other is forced to submit
before that dominating creature.
Calling Her Husband with His Name in Every Second Sentence:
Nora calls her husband by his name fifteen times before the scene when he opens the letter in Act
III. Some of the utterances are given below for evidence
“NORA: Oh, please, please, Torvald, only one hour more.”
“NORA: The letter! Oh no, no, Torvald!”
“NORA: (her arms around his neck). Torvald! goodnight, good-night.”
“NORA: ………. Oh no, no, no, not yet. Torvald, goodbye—! good-bye, my little ones—!”
“NORA. Oh, Torvald, you'll be sorry someday you didn't let me stop, if only for one-half hour.”
“NORA. Aren't you very tired, Torvald?” “The letter! Oh no, no, Torvald!”
“NORA (step nearer him). Torvald-----?”
Use of No and Nothing
Last scene, Act III (pp. 79-80):
“Helmer: May I write to you?”
“NORA: No – never. You must not do that. Helmer: But at least let me send you.”
“NORA: Nothing – nothing –“
“Helmer: Let me help you if you are in want.”
“NORA: No. I can receive nothing from a stranger.”
In the last part of Act III, again gaps, pauses and repetition are detected. Being a woman, she
takes time to think and take the decision. In the above extract, the use of “No” and “nothing”
suggests that nothing is left behind. There is nothing left to think about. First society teaches her
that women have no place in male-dominating society. Women are nothing but a doll in their
fathers’ and husbands’ hands. But now she replies to society that she needs nothing fromman, nor
she wants to get anything from man. Now she is an independent having no desire related to man
and his things.
The silences and gaps seem to suggest that in the contemporary society where a woman has no
right except duties regarding her home, her kids and her husband, Nora takes time to take such a
bold step rejecting Helmer’s every offer. Along with her struggle to free herself from every duty
regarding her husband, children and home, she also declares that women are far different from
men as she exposes that she will often miss and think of all of them even after getting separated
with them. On the other hand, a man living with his family, his wife and his children never think
about them except about his only self. Nora, again and again, repeats the words of negation to
muster her courage to leave his house, to persuade herself to say goodbye to male dominating
society and to re-assert her will to find her own identity and not to deviate her thoughts.
Coclusion:
After analyzing the Henrik Ibsen’s play, “A Doll’s House”, it becomes quite clear that the
analysis of the research proves how much Critical Discourse Analysis (CDA) is supportive to
expose the veiled agenda of the author in the text and how Nora’s dialogues become the
reflection of her mind.

REFERENCES
Amir, M.A & Mehmood, A. (2017). Critical discourse analysis of Tariq Ali’s novel, the stone
woman: a corpus driven study. International Journal of English Linguistics, 8(1). Retrieved from
[Link]/journal/[Link]/ijel/article/download/69100/40796 Amoli, F. A. (2016). The
effect of Fairclough’s approach in Iranian literacy texts: Critical discourse analysis perspective.
Mediterranean Journal of Social Sciences, 7(4). DOI:10.5901/mjss.2016.v7n4p658. Retrieved
from [Link]
The_Effect_of_Fairclough's_Approach_in_Iranian_Literacy_Texts_Cr
itical_Discourse_Analysis_Perspective Azam, A. (2014). Victorian women and literature: a short
survey. International Journal of English and Education, 3(3). Retrieved from
[Link] Barry, D. (2012). Examining
gender in a doll house. English Capstone Candy Henry. Balaky, S. H. (2016). A feminist analysis
of Henrik Ibsen's a doll's house. International Journal of Philosophy, 6. doi:
10.18491/[Link] Dijk, Teun A. van. (1995). Aims of critical discourse analysis. Japnees
Discourse, 1, 17-27. Retrieved from [Link]
%20Discours e%[Link] Fairclough, N. (1989). Critical discourse analysis: the critical
study of language (1st ed.). New York, Longman Group Limited. Retrieved from
[Link]
[Link] Hossain, M. A. (2016). Ibsen’s treatment of women. Journal of
Socialomics. Retrieved from DISCOURSE AND STATE OF MIND: A CRITICAL
DISCOURSE ANALYSIS OF IBSE

Common questions

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Ibsen uses character development, dialogue, and narrative structure to critique societal attitudes towards women’s rights. Nora’s journey from subservience to self-realization highlights the constraints imposed on women by patriarchal structures . The play’s progression showcases Nora’s transformation from a passive housewife to an assertive individual questioning her societal roles. Ibsen’s use of reversing gender stereotypes at the play’s climax underscores his critique of gender inequality and his advocacy for women's autonomy .

Ibsen challenges gender roles by portraying Nora as a woman who gradually rejects patriarchal stereotypes. Initially depicted as a submissive 'doll' for her husband’s entertainment, Nora’s character evolves to question her constrained life. By the end of the play, she defies societal norms by asserting her individuality and leaving her family to find herself . Ibsen subverts contemporary gender norms by illustrating that inner strength is not tethered to gender, evidenced by Nora’s ultimate decision to seek independence, thus critiquing the notion of women's subservience .

Fairclough’s framework is utilized to dissect the text of "A Doll's House" through descriptive analysis, focusing on linguistic structures that reveal the underlying themes of power, identity, and ideology . This approach helps identify how language expresses the repressed thoughts and societal commentary inherent in the text. By examining Nora’s speech patterns and interactions, the analysis exposes Ibsen's commentary on gender roles and individual identity in a patriarchal society, showing how discourse reflects conscious and subconscious states .

Nora’s journey in "A Doll’s House" explores self-identity through her transformation from dependency to independence. Initially portrayed within the confines of her roles as wife and mother, Nora's realization of her own desires and potential signifies a quest for self-identity beyond societal impositions. The play's conclusion, where she leaves her family to discover her identity, exemplifies self-realization and challenges traditional gender narratives by asserting that personal identity is not defined by one's societal role but by individual choice .

Ibsen uses repetition, interrogative sentences, and short, incomplete sentences in Nora’s dialogue to reveal her psychological state. In critical moments, such as Act III, Nora's frequent use of terms like "please" and "no" illustrates her desperation and struggle for autonomy under patriarchal oppression . The repetition signifies her intense emotional state and helplessness, while her many questions to Torvald underscore her lack of agency and awareness in the domestic realm . Ibsen’s choice of linguistic elements, such as the strategic use of gaps and repeated negations, reflects Nora's internal conflict and growing realization of her lack of power .

Language in "A Doll's House" reflects power dynamics through Nora’s dialogue, which is marked by repetition and interrogative forms illustrating her subordinate position . Her repeated use of Torvald’s name signifies a plea for attention and validation from him, emphasizing her dependence . Through Nora’s fragmented speech, Ibsen illustrates the power imbalance and her lack of self-agency, highlighting patriarchal dominance . Her eventual shift in language to assert independence illustrates the reversal of these dynamics as she claims her identity .

The descriptive dimension of Fairclough's model focuses on the textual analysis of linguistic features to reveal underlying themes. In "A Doll's House," this approach highlights how Nora’s speech patterns represent her repressed emotions and societal roles . By scrutinizing aspects such as repetition and sentence structure, the analysis unveils the power dynamics, gender inequalities, and personal struggles depicted in the play, thereby illustrating Ibsen's critique of societal norms and the potential for individual liberation .

Nora’s transformation from a docile housewife to an assertive individual reflects Ibsen’s critique of the restrictive societal roles for women. Initially portrayed as a 'plaything', she embodies traditional female stereotypes. Her evolution into an independent woman defying societal expectations conveys a critical message about women’s potential for self-realization and empowerment . This metamorphosis emphasizes the need for gender equality and critiques the limitations imposed by patriarchal norms, suggesting that true self-worth transcends gender roles .

Despite Ibsen's initial hesitance to focus specifically on feminism, "A Doll's House" integrates feminist themes through its portrayal of Nora's quest for autonomy and individuality. The play challenges societal norms by depicting a woman's struggle for self-discovery and freedom from oppressive domestic roles . Ibsen’s social commentary emerges organically as he narrates Nora’s journey from subservience to emancipation, thereby championing women's rights and individual identity beyond preconceived gender roles, even if his original intent was broader societal critique .

Nora uses negation and silence as expressions of resistance, highlighting her struggle against societal norms. Her repeated use of "no" and "nothing" in dialogues with Torvald underscores her refusal to conform to expected subservience and her emerging self-awareness . Silence and pauses in her conversations suggest contemplation and the courage required to reject her imposed domestic role. These linguistic choices symbolize her internal conflict and decision to assert control over her life by ultimately challenging societal expectations and patriarchal domination .

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