On occurred during Lee’s childhood. In 1931, when

On account
of A Doll’s House, both the setting of the play and the world Ibsen lived in
are the same. Ibsen composed A Doll’s House in Norway in 1879, with the play supposedly
occurring in and around the same timeframe. Set in an upper-working class home,
the play shows the significance of social class in late-nineteenth century
Norway. Introduced to the upper-white collar class himself, Ibsen comprehended
the significance of social class, as well as the desires put on its
individuals. Ibsen expressed these tribulations by implementing them as the
conflict on which the play was based, afflicting the six characters of the play
but centering on Nora and Torvald. The married couple living in a general
public where to keep your social standing, you need to submit to its strict,
and on occasion, strangling guidelines. Nora and Torvald are living
verification that upper-working class life can be comforting, in the event that
you fit into its limited edges. The supplementary historical and social context
regards “To Kill a Mockingbird”.

 

Harper Lee
was born on April 28, 1926, in Monroeville, Alabama, a drowsy residential
community comparative from various perspectives to Maycomb, the setting of ‘To
Kill a Mockingbird’. Like Atticus Finch, the father of Scout, the storyteller
and hero of ‘To Kill a Mockingbird’, Lee’s dad was an attorney. Among Lee’s
youth companions was (the future author and writer) Truman Capote, from whom
she drew motivation for the character Dill. These individual points of interest
in any case, Lee keeps up that ‘To Kill a Mockingbird’ was planned to depict
not her own particular childhood home yet rather a generic Southern town with
its ideologies and values. The book’s setting and characters are not the only
aspects of the story shaped by events that occurred during Lee’s childhood. In
1931, when Lee was five, nine young black men were accused of raping two white
women near Scottsboro, Alabama. The trial was lengthy and highly publicized,
after which five of the men were sentenced to extensive prison sentences. It
was suspected that the men were innocent and the verdict was fueled by racial
prejudice. There is no doubt that this was the inspiration for Harper lee’s
novel.

 

Part 2:

 

Ibsen
utilizes cliché gender stereotypes in his portrayal of Nora and Torvald all
through the body of A Doll House, concluding by suddenly turning around the generalizations
in the last snapshots of the play to demonstrate that internal strengths and
weaknesses are elements of being human, not elements of masculinity or femininity.

A Doll’s House uncovered the constrained role of women amid the era of its
writing and the issues that emerge from an exceptional irregularity of control
amongst males and females. Throughout the novel Nora is treated as a child.

Torvald refers to her as his ‘pet’ and his ‘property’, and alludes that she is
too irresponsible and ignorant to be trusted with money. Most characters such
as Dr. Rank and Krogstad dismiss her and even Ms. Lind a woman refers to her as
a ‘child’. While this treatment do not seem to bother Nora, she plays alongside
it, calling herself “little Nora” and promising that she could never
dream of overstepping her bounds with Torvald. However, there are signs that
she isn’t content with the constrained position she has as a lady. When
uncovering the mystery of how she acquired cash to fund the excursion to Italy,
she alludes to it as her “pride” and says it was enjoyable to be
responsible for cash, expressing it as “practically like being a man.” This
is why Nora’s proclamation that she also had “a duty to herself” shocked
audiences of the time (Ibsen 82). Not only was the patriarchal structure a
social tradition and something expected of the upper middle class, but there
were also laws that correlated with its ideology. For example, women were not
allowed to borrow money without their husbands’ consent or vote. Again, Nora
goes against the social norms when she borrows from and repays money to
Krogstad behind Torvald’s back. Perhaps the only thing about the world of the
play that differs from the world of Ibsen is that Nora’s behavior was
completely unprecedented in the 1870’s. The setting is around 1933 to 1935 in
Alabama. This in fact gives us quite a bit of information. We know that blacks
and whites were segregated. Racism among whites was normal behavior. Scout
mentions that although slavery is outlawed, the Civil War was still in the
minds of many whites. The blacks only mixed with whites as subordinates
(housekeeper…..) Atticus becomes an enlightened figure treating everybody as
a person and treating Calpurnia as family. he book’s setting and characters are
not the only aspects of the story shaped by events that occurred during Lee’s
childhood. In 1931, when Lee was five, nine young black men were accused of
raping two white women near Scottsboro, Alabama. After a series of lengthy,
highly publicized, and often bitter trials, five of the nine men were sentenced
to long prison terms. Many prominent lawyers and other American citizens saw
the sentences as spurious and motivated only by racial prejudice. It was also
suspected that the women who had accused the men were lying, and in appeal
after appeal, their claims became more dubious. There can be little doubt that
the Scottsboro Case, as the trials of the nine men came to be called, served as
a seed for the trial that stands at the heart of Lee’s novel. In 1993, Lee
penned a brief foreword to her book. In it she asks that future editions of To
Kill a Mockingbird be spared critical introductions. “Mockingbird,” she writes,
“still says what it has to say; it has managed to survive the years without
preamble.” The book remains a staple of high school and college reading lists,
beloved by millions of readers worldwide for its appealing depiction of
childhood innocence, its scathing moral condemnation of racial prejudice, and
its affirmation that human goodness can withstand the assault of evil.

 

Part 3:

 

Along with
struggling with concepts of good and evil, Scout and Jem spend a great deal of
time trying to understand what defines and creates social strata. Scout tends
to believe that “folks are just folks”, while Jem is convinced that
social standing is related to how long people’s relatives and ancestors have
been able to write.

 

Scout
elucidates the town’s social strata quite clearly on her first day at school
when Walter Cunningham does not have lunch or lunch money. Her classmates ask
her to explain to the teacher why Walter won’t take a loaned quarter to buy
lunch, and she lectures the teacher on the Cunningham’s financial situation and
how they trade goods for services. Scout and the other children have a very
clear understanding of the social inequalities in their town, but see these
inequalities as natural and permanent. The Finch family falls rather high up in
the social hierarchy, while the Ewell family falls at the bottom. However, this
hierarchy only includes white people. Maycomb’s black population fall beneath
all white families in Maycomb, including the Ewells, whom Atticus labels as
“trash”.

 

Scout
understands this social structure, but doesn’t understand why it is so. She
believes that everyone should be treated the same, no matter what family they
are from. For instance, when she wants to spend more time with Walter
Cunningham, Aunt Alexandra objects saying no Finch girl should ever consort
with a Cunningham. Scout is frustrated by this, as she wants to be able to
choose her own friends based on her definition of what makes a good person:
morality.

 

Social
status is quite possibly the most important characterization tool in A Doll’s
House. (And this is a play with some character-building tricks up its sleeve.)
Most every character is strictly bound into the roles that society places them
in. Nora must be the dutiful housewife. Christine only knows how to be happy if
she’s fulfilling the same role. Torvald must be the dominant husband. Krogstad
struggles against the negative perception the community has of him. For the
vast majority of the characters, social status is their defining feature. It is
when the characters struggle against these roles that the play’s main conflicts
are ignited.

 

One of the
key elements to the success achieved by “To Kill a Mockingbird” is the focus on
racial issues. Racism in the context which the novel is written was not even
frowned upon, it was a social norm that was practiced by all classes of
society.  In the novel, Scout and Jem,
Scout’s older brother, are looked after by Calpurnia, their black housekeeper.

Although Scout shares her differences with Calpurnia, Calpurnia serves as a
mother-figure for the children. She’s revered and respected by Atticus, who
acknowledges that Calpurnia is educated. Yet, it is speech that separates the
black community from the white. When Scout and Jem attend Calpurnia’s church,
Scout notes that Calpurnia adopts a different speech when she communicates with
her fellow churchgoers: “That Calpurnia led a modest double life never dawned
on me. The idea that she had a separate existence outside our household was a
novel one, to say nothing of her having command of two languages” (143).

Although Scout and Jem struggle with the idea that Calpurnia speaks two
different languages, Scout respects Calpurnia for mastering both languages
since she asks to visit Calpurnia at her home.

 

Para 4:

The texts
that have been analyzed have have contrasting literary devices, this can be
ascribed to the fact that “To Kill a Mockingbird” was written as a novel with
the intent to be read and “A Dolls House” a play with the intent to be watched
and acted out. Thus the way in which they express the literary devices have
different effects and evoke emotions differently within their respective
audiences. Ibsen incorporates both inner and outer conflict in “A Doll’s
House” with a specific end goal to propel the story and keep the crowd
intrigued and locked in. Outer clashes amongst Nora and Torvald, or Nora and
Krogstad, assist the plot and help make an enthralling play that all the more
nearly takes after the contentions we look in every day life. Interior clashes,
similar to Torvald’s negating want for Nora to be held and wild, or Nora’s
choice about whether to reveal to her significant other about her crime, help
us to all the more profoundly comprehend individual thought processes, values,
and feelings.

 

 

 

 

Ibsen utilizes foreshadowing in the play to create
sensational tension. Nora’s dialogue frequently hints the reader into her
future activities and choices, yet without giving up any mystery. In like
manner, from the earliest starting point, Torvald’s discourse is deliberately
built to foretell his reactions to getting some answers concerning Nora’s
trickery and crime.

Lee’s
utilization of foreshadowing is another device which is an effective literary
device. The utilization of this enables the reader to have some understanding
into the character’s perspective. An example of this is when Atticus shoots the
diseased dog at gunpoint. This scene foreshadows various things. To start with,
the fear that the dog adds into the area foretells the fear that surrounds Tom,
how many people react to him and the negroes in the community. The vast
majority keep their distance from the dog and regularly maintained a distance
from the black community as well. Furthermore, it hints to the destiny of Tom
and his trial. The dog is circling and afterward shot similarly as Tom as he
ends up shot being shot in jail. The final example of this device is the way
that Atticus would not generally like to shoot the dog as it was not something
he preferred doing but rather he took the responsibility upon himself. Also, he
isn’t required to battle prejudice in representing Tom yet he takes
responsibility for that as well. Another case of hinting is when Scout and Jem
start to discover gifts left for them in a tree opening. The youngsters are thrilled
however careful. This hints the connection between Scout and Boo Radley, the
town recluse and how something at first alarming or uneasy can transform into
something great.

 

The
respective titles of each novel hold a large significance in the understanding
of each text while also highlighting the underlying symbolism that each play
would like to push. As the play was initially composed in Norwegian, a few
scholars claim the title is “A Doll’s House” while some regard it as
“A Doll House”. The primary title suggests the doll has ownership
over the house, the second is to a greater extent an engaging measure of the
house itself. Numerous researchers contend it is the second since every one of
the characters are some what doll like. Other’s state just Nora is genuinely
doll-like and express that it is her being possessive over her home, getting a
handle on for one piece longer until the point that she can’t take it any
longer and takes off. Similarly, the title of “To Kill a Mockingbird” is the
most obvious use of symbolism.  “To
kill a mocking bird is a sin, but to allow it to be killed is even worse.”
When she gets an air riffle as a gift, Scout is told to allow the mockingbirds
to sit unbothered for they represent pose no threat. Lee uses the mockingbird
as an image of immaculateness and honesty. Tom Robinson is a black male blamed
for raping Mayella Ewell, a youthful white female. Albeit all proof focuses to
Mayella’s dad, Robert Ewell, as the culprit, the jury chooses that Tom is
liable basically on the grounds that he is dark. For this situation, Tom is the
mockingbird; shot down despite the fact that he has done no damage. Consequently,
the utilization of imagery in the tiles of every novel makes it abundantly
clear to the reader that the titles have double implications and the intention
of the gathering of audiences to feature the respective agendas that they were
scrutinizing in the novels they published.