Abstract This paper studies the movies "Rebel Without a Cause" and "Welcome to the Dollhouse" which portray teenagers who are struggling with gender roles and outcast status. It details the main characters and their problems with their undecided sexual identities. It compares and contrasts the qualities of the main characters in each movie. It also describes society's reaction to these characters in both cases.
From the Paper ""Big boys shouldn"t cry.? "Little girls shouldn"t get angry.? From the moment of birth, children are socialized to know exactly what the world expects of them as girls or boys. Many people, however, are unable or unwilling to fit neatly into pink or blue boxes. People who challenge gender expectations, especially teenagers, often find themselves facing rejection from peers and family. The movies Rebel Without a Cause and Welcome to the Dollhouse show teenagers struggling with gender roles and outcast status. The main characters, Jim Stark and Dawn Wiener, respectively, have some similarities: both long for acceptance and are willing to pay a high price for it, both occasionally lash out with violent, hurtful behavior, and both make dramatic gestures to attract the attention of their parents. These characters also, however, have some important differences in their in their treatment of other outcasts, in their abilities to express their own needs, and in their outcomes."
Abstract This paper compares and contrasts Virginia Woolf's "To The Lighthouse? with Henrik Ibsen's "The Dollhouse". It focuses on the marital relationships of each work's central protagonists. The paper describes how the women of these couples are subject to male domination. The author states that in both works the marriage relationships are determined by the characters' perceptions of themselves and of their spouses, as well as by the degree to which their needs are fulfilled by their spouses.
From the Paper "In Virginia Woolf's "To The Lighthouse" and Henrik Ibsen's "The Dollhouse" the texts revolve around intrafamilial relationships and focus on the marital relationship of the main characters. Perhaps because of the very different genres to which the two works belong, the marital relationships of the two couples, different types of characterization define the Ramsays and the Helmers. The Ramsays are characterized by their modes of speech, with little characterization through action, whereas the relationship of the Helmers (as characters in a play) is defined largely by their actions towards one another.
Abstract Examines adolescent development through a character from Todd Solondz's 1996 film WELCOME TO THE DOLLHOUSE. Focus is on 11-year old Dawn, and her interactions with her family, schoolmates, friends, teachers. Peer influences. Analysis of characters in various phases of personality development. Theories of Freud, Erik Erikson. Types of support families can provide children at different stages of development.
From the Paper "This paper is an examination of individual development using characters from Todd Solondz's 1996 film about adolescence, Welcome to the Dollhouse. His movie focuses on 11-year-old Dawn Weiner as she begins junior high school, but it also provides perceptive portraits of her younger sister, older brother, parents, and other teenagers at differing stages. The film gives accurate examples of individuals in various phases of personality development, facing some of the classic conflicts outlined by Freud, Erikson, and others.
Dawn Weiner is a gawky, unattractive, unpopular girl who has been nicknamed "Weinerdog" by her fellow students. She is entering junior high school, and her only real friend is the even nerdier Ralphy, a sixth-grader who is watching Dawn's progress with genuine dread. That her best..."
Abstract The author of this paper shows how in Henrik Ibsen's "A Doll's House" the home of Nora and Torvald Helmer is a microcosm of society at large and specifically, society's prevalent sexual divide. He points out that, like dolls in a dollhouse, every character is incomplete: they are fragile, have faults and are easily breakable. The paper shows how Ibsen, who considered himself a social commentator, enters the realm of realism and that the symbolism in "A Doll's House" enhances the realism.
From the Paper "The independence that Nora demonstrates towards the end of the play so shook up the establishment that the production of "A Doll's House" in Germany was not allowed in its original form. In the German version, Nora does not slam the door in Torvald's face and storm out into an uncertain future with steely determination. She takes one look at her children and her resolve melts away into uncertainty and self pity. She relents and stays home. In Sweden, social invitations came with an admonition that "A Doll's House" should not be discussed. Ibsen was incensed at this threat to the basic integrity of the play; he called such a reaction "barbaric." (Ibsen & Kildal, 1911)"
From the Paper "This paper is an examination of the 1996 film, Welcome to the Dollhouse, produced, written, and directed by Todd Solondz. The film stars Heather Matarazzo as Dawn "Weinerdog" Weiner, an awkward seventh-grader confronting the hazards and horrors of junior high school. Solondz uses a variety of effective cinematic techniques to emphasize Dawn's sense of isolation and unfairness, from a selective use of closeups to powerful music and sound cues. He keeps the film focused almost completely on Dawn, moving away from her just four times, each for a solid structural reason. The result is a powerful and entertaining portrait of the agonies of adolescence.
Dawn Weiner is a gawky, unpopular student, nicknamed "Weinerdog" (her fellow students have even spray-painted the name across the top of her locker). Her only real friend is the even..."
Abstract This paper discusses the characters of Noraand Oedipus as two people who seek a truth about themselves; however, Nora's search for the truth about her identity results in her freedom and Oedipus' search for the truth results in tragedy. The author points out that, in the end, Nora is free from society's rules, but can still live in society; whereas, Oedipus discovers he is not free at all, but is in fact condemned to a fate determined by a truth he has no control over.
