In recent decades feminist critics have attempted to appropriate A Doll’s House as a feminist text, but they have been met with a barrage of criticism from some critics who prefer to stress other aspects of the play. In one sense to call it a feminist play is, of course, an anachronism, since the feminist movement did not begin until the late 1960s and early 70s, but, nonetheless, Nora’s abandonment of Torvald and her children at the end of the play can still be seen as a rebellion against the prevailing patriarchal values of European society.
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