A Doll's House
This book is a result of an effort made by us towards making a contribution to the preservation and repair of original classic literature. In an attempt to preserve, improve and recreate the original content, we have worked towards: 1. Type-setting & Reformatting: The complete work has been re-designed via professional layout, formatting and type-setting tools to re-create the same edition with rich typography, graphics, high quality images, and table elements, giving our readers the feel of holding a 'fresh and newly' reprinted and/or revised edition, as opposed to other scanned & printed (Optical Character Recognition - OCR) reproductions. 2. Correction of imperfections: As the work was re-created from the scratch, therefore, it was vetted to rectify certain conventional norms with regard to typographical mistakes, hyphenations, punctuations, blurred images, missing content/pages, and/or other related subject matters, upon our consideration. Every attempt was made to rectify the imperfections related to omitted constructs in the original edition via other references. However, a few of such imperfections which could not be rectified due to intentional\unintentional omission of content in the original edition, were inherited and preserved from the original work to maintain the authenticity and construct, relevant to the work. We believe that this work holds historical, cultural and/or intellectual importance in the literary works community, therefore despite the oddities, we accounted the work for print as a part of our continuing effort towards preservation of literary work and our contribution towards the development of the society as a whole, driven by our beliefs. We are grateful to our readers for putting their faith in us and accepting our imperfections with regard to preservation of the historical content. HAPPY READING!
1116747947
A Doll's House
This book is a result of an effort made by us towards making a contribution to the preservation and repair of original classic literature. In an attempt to preserve, improve and recreate the original content, we have worked towards: 1. Type-setting & Reformatting: The complete work has been re-designed via professional layout, formatting and type-setting tools to re-create the same edition with rich typography, graphics, high quality images, and table elements, giving our readers the feel of holding a 'fresh and newly' reprinted and/or revised edition, as opposed to other scanned & printed (Optical Character Recognition - OCR) reproductions. 2. Correction of imperfections: As the work was re-created from the scratch, therefore, it was vetted to rectify certain conventional norms with regard to typographical mistakes, hyphenations, punctuations, blurred images, missing content/pages, and/or other related subject matters, upon our consideration. Every attempt was made to rectify the imperfections related to omitted constructs in the original edition via other references. However, a few of such imperfections which could not be rectified due to intentional\unintentional omission of content in the original edition, were inherited and preserved from the original work to maintain the authenticity and construct, relevant to the work. We believe that this work holds historical, cultural and/or intellectual importance in the literary works community, therefore despite the oddities, we accounted the work for print as a part of our continuing effort towards preservation of literary work and our contribution towards the development of the society as a whole, driven by our beliefs. We are grateful to our readers for putting their faith in us and accepting our imperfections with regard to preservation of the historical content. HAPPY READING!
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A Doll's House

A Doll's House

by Henrik Ibsen
A Doll's House

A Doll's House

by Henrik Ibsen

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Overview

This book is a result of an effort made by us towards making a contribution to the preservation and repair of original classic literature. In an attempt to preserve, improve and recreate the original content, we have worked towards: 1. Type-setting & Reformatting: The complete work has been re-designed via professional layout, formatting and type-setting tools to re-create the same edition with rich typography, graphics, high quality images, and table elements, giving our readers the feel of holding a 'fresh and newly' reprinted and/or revised edition, as opposed to other scanned & printed (Optical Character Recognition - OCR) reproductions. 2. Correction of imperfections: As the work was re-created from the scratch, therefore, it was vetted to rectify certain conventional norms with regard to typographical mistakes, hyphenations, punctuations, blurred images, missing content/pages, and/or other related subject matters, upon our consideration. Every attempt was made to rectify the imperfections related to omitted constructs in the original edition via other references. However, a few of such imperfections which could not be rectified due to intentional\unintentional omission of content in the original edition, were inherited and preserved from the original work to maintain the authenticity and construct, relevant to the work. We believe that this work holds historical, cultural and/or intellectual importance in the literary works community, therefore despite the oddities, we accounted the work for print as a part of our continuing effort towards preservation of literary work and our contribution towards the development of the society as a whole, driven by our beliefs. We are grateful to our readers for putting their faith in us and accepting our imperfections with regard to preservation of the historical content. HAPPY READING!

Product Details

ISBN-13: 9789353360443
Publisher: Lector House
Publication date: 05/06/2019
Pages: 108
Product dimensions: 6.14(w) x 9.21(h) x 0.26(d)

About the Author

"One of the most influential playwrights of his time, Henrik Ibsen was born on March 20, 1828, at a small Norwegian town of Skien.
By 1850, When Ibsen’s literary abilities had begun to show, and he was no longer satisfied to stay in a small town, he came to Christiania— a venture that would prove to be disastrous. Ibsen had brought with him his blank verse tragedy, Catilina, his first play, deemed unremarkable. When Ibsen was twenty-three, he was appointed to work in a theatre in Bergen. He also wrote plays during this time, but none of them were well-received.
In 1864, Ibsen went on a self-imposed exile, frustrated by his constant penury and his general life in Norway. In these years, he wrote a lot of plays that finally won him critical appreciation and wealth, ending his long-endured poverty— Brand (1865), Peer Gynt (1867), The League of Youth (1869). In 1877, Ibsen began to write the prose plays on which his wider reputation rests, such as A Doll’s House (1879) which is his most-performed play.
In 1881, he managed to come up with an unconventional play— Ghosts, tackling topics such as incest and venereal disease. He continued writing plays until 1900. Some of his later plays are The Lady from the Sea (1888), Hedda Gabler (1890), The Master Builder (1892), and Little Eyolf (1894). Ibsen returned to his country after more than two decades, by which time he had become a literary titan. He suffered a series of strokes in 1900, due to which he became unable to write. Henrik Ibsen breathed his last on May 23, 1906."

Table of Contents

Acknowledgements
Introduction
Henrik Ibsen and A Doll’s House: A Brief Chronology
A Note on the Text

A Doll’s House

A Note on Nora’s Final Exit

Appendix A: Contemporary Adaptations, Sequels, and Parodies
  • 1. From a letter from Ibsen to a Danish newspaper regarding the ending of the play (17 February 1880)
  • 2. Ibsen’s alternative ending (1880)
  • 3. From Henry Arthur Jones and Henry Herman, Breaking a Butterfly (1882)
  • 4. From August Strindberg, “A Doll’s House” (1884)
  • 5. From Walter Besant, “The Doll’s House—and After,” The English Illustrated Magazine (October 1890)
  • 6. From Ednah Dow Cheney, Nora’s Return: A Sequel to The Doll’s House (1890)
  • 7. From Israel Zangwill and Eleanor Marx-Aveling, “A Doll’s House Repaired,” Time (March 1891)
  • 8. From F. Anstey, “Nora; or, The Bird-Cage,” Mr Punch’s Pocket Ibsen (1893)
Appendix B: William Archer and A Doll’s House
  • 1. From Archer’s review of the first performance in England of A Doll’s House, Dramatic Review (4 April 1885)
  • 2. From a letter to Charles Archer (13 June 1889)
  • 3. From “Ibsen and English Criticism,” Fortnightly Review (July 1889)
  • 4. From William Archer, The Theatrical “World” for 1893 (1894)
  • 5. From The Collected Works of Henrik Ibsen (1906)
Appendix C: Bernard Shaw and A Doll’s House
  • 1. On A Doll’s House, Penny Illustrated Paper (1 June 1889)
  • 2. From Shaw’s review of A Doll’s House, Manchester Guardian (8 June 1889)
  • 3. From a letter to William Archer (11 June 1889)
  • 4. From “Still after the Doll’s House,” Time (February 1890)
  • 5. From The Quintessence of Ibsenism (1891)
  • 6. From “A Doll’s House Again,” Saturday Review (15 May 1897)
  • 7. From “The Technical Novelty in Ibsen’s Plays,” The Quintessence of Ibsenism (1913)
Appendix D: The Critics
  • 1. In London
    • a. From The Era (28 March 1885)
    • b. From The Times (8 June 1889)
    • c. From The Globe (8 June 1889)
    • d. From The Daily Telegraph (8 June 1889)
    • e. From The Pall Mall Gazette (8 June 1889)
    • f. From The Spectator (21 June 1889)
    • g. From Clement Scott, “A Doll’s House,” The Theatre (1 July 1889)
  • 2. In America
    • a. From The Courier-Journal [Louisville, Kentucky] (8 December 1883)
    • b. From The New York Times (27 September 1889)
    • c. From The Boston Globe (31 October 1889)
    • d. From The [New York] Sun (22 December 1889)
    • e. From The New York Times (22 December 1889)
    • f. From The [New York] Evening World (23 December 1889)
    • g. From The [New York] Sun (16 February 1894)
    • h. From The [New York] Evening World (7 June 1895)
  • 3. In Montreal and Sydney
    • a. From The [Montreal] Gazette (18 February 1890)
    • b. From The Sydney Morning Herald (19 July 1890)
Appendix E: Feminism
  • 1. Henrik Ibsen, “Notes for the Tragedy of Modern Times” (19 October 1878)
  • 2. From Henrietta Frances Lord, preface to her translation of A Doll’s House (1882)
  • 3. From August Strindberg, preface to Getting Married (1884)
  • 4. From Havelock Ellis, The New Spirit (1890)
  • 5. From Ellen Battelle Dietrick, “The Doll’s House—T’Other Side,” Women’s Penny Paper (15 and 22 March 1890)
  • 6. From Annie Nathan Meyer, “Ibsen’s Attitude Towards Woman,” The Critic [New York] (22 March 1890)
  • 7. From Max Nordau, Degeneration (1895)
  • 8. From Ibsen’s speech to the Norwegian Women’s Rights League (26 May 1898)
  • 9. From Louie Bennett, “Ibsen as a Pioneer of the Woman Movement,” The Westminster Review (March 1910)
Appendix F: Acting Nora
  • 1. From “Nora Helmer off for the Antipodes: An Interview with Miss Janet Achurch,” The Pall Mall Gazette (5 July 1889)
  • 2. From “Ethel Barrymore on Nora Helmer” (6 May 1905)
  • 3. Alla Nazimova, “Ibsen’s Women,” The Independent (17 October 1907)
  • 4. From Elizabeth Robins, Ibsen and the Actress (1928)
  • 5. From Liv Ullmann, Changing (1976)

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