Abstract
A Doll’s House (1879) is the most read of Ibsen’s plays in West Africa and the most performed. As the basis for the discourse on European emancipatory feminism, the play is presently being employed by selective dramatists in West Africa to contest the misinterpretation of the West African woman by European emancipatory feminists. Nora as a character creates a symbolic canvas on which the “real” African woman as envisaged by Tracie Utoh-Ezeajugh in her adaption titled Nneora: an African doll’s house (2005) is drawn. Owusu Janet, another dramatist, faces the issues from a conservative feminist point of view with her interpretation of the play influenced by her cultural perceptions of the woman.
Highlights
For over a century, A Doll’s House (1879) has effortlessly chronicled and defined the woman
It has travelled to many cultures and undergone various modifications to adapt to the cultures in which it is performed
Transposing Nora: the West African Perspective Early female writers in Africa carried the onus of telling of and defining the African woman and motherhood
Summary
A Doll’s House (1879) has effortlessly chronicled and defined the woman. Transposing Nora: the West African Perspective Early female writers in Africa carried the onus of telling of and defining the African woman and motherhood. In the two adaptations under study, the focus on the mother trope is the point of departure from the Western and other cultural performances of A Doll’s House.
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