The term "social criticism" refers to a type of condemnation that reveals the reasons for malicious conditions in a society considered deeply flawed. Indeed, Ibsen and Osborne, in their respective plays A Doll's House and Look Back in Anger, use theater as a means of expressing their opinions about the imperfections of their societies and the crippling effects that these defects will inevitably cause. The plays' corresponding protagonists, Jimmy Porter and Nora Helmer, are presented as "realistic human individuals" through the literary genre of social realism which, as George Shi aptly put it, exposes the "ugly realities of contemporary life" . Say no to plagiarism. Get a tailor-made essay on "Why violent video games should not be banned"?Get the original essayNora is presented as the embodiment of a 19th-century Norwegian wife, "an angel in the house", enslaved by the marriage in order to adhere to it obediently. to the needs of her husband and children, while being trapped in a chauvinistic family. The title "A Doll's House" acts as a metaphor for Nora's confinement and lack of humanitarian rights within the patriarchal society of 1870s Norway. The social critique is effectively conveyed through Nora's treatment as “a doll”, “a child” and a “silly little girl”, and is further reinforced by the diminutive and misogynistic comparison “just like a woman”. Yet the dramatic climax of Nora's "door slam" taints her title as a "realistic human individual", as her ephiphanic moment of anagnorisis could be considered too bold and unrealistic for the masculine sphere of 1870s Norway On the other hand, the statement that Jimmy Porter is "little more than a mouthpiece for the playwright's protest against society" can only be considered totally and irrevocably unfair. Jimmy's raw passion which "permeated British culture in thousands of ways" (Aleks Sierz) illustrates him as a "realistic human individual". effectively conveying the social critique of 1950s Britain, in complete contrast to Nora's atypical actions. On the other hand, it could be argued that Ibsen effectively conveys the social critique of the discriminatory treatment of women in A Doll's House, through the initial introduction of Nora in the first act. Because of Nora's lack of autonomy, she is forced to embody the facade of a metaphorically "brained" woman, and the alliterative, onomatopoeic, and sensory details of her "happy hum" suggest her forced pretension. Ibsen effectively presents Nora as a "realistic human person" because women were expected to be socially, politically, and economically dependent on men. Additionally, Ibsen uses Nora to convey social criticism, as he reveals that Nora was situated in an "exclusively male society with laws written by men and with lawyers and judges who judge female conduct from the male perspective." . Nora was very trapped by society's cruel misogyny, because like other women, she was seen as having no reason or logic. It was for this reason that women were not granted the right to a university education until three years after the first performance of A Doll's House in 1879. Ibsen shows Nora's estrangement from the possibilities of the outside world, as she is confined to “Helmer’s apartment” throughout her life. the whole room. This domesticated setting, along with the liberal use of the visual metaphor “doors,” symbolizes Nora’s complete lack of autonomy. Thus, the representationIbsen's somewhat flawed depiction of Nora as a "realistic human individual" in the patriarchal society of 19th-century Norway is nonetheless an effective demonstration of social criticism. Similarly, Osborne immediately reveals his social critique in Look Back in Anger through the seedy setting. of the couple’s simplistic and isolated “studio”. The oppressive environment, reinforced by the "smoke-filled room", creates a stifling atmosphere ripe for conflict, while the smoke also serves as a symbol of Jimmy's inability to seek clarity and contentment within the class divisions of the 1950s Although there are three windows mentioned in the description of the "Midland Apartment", they turn out to be a metaphor for Jimmy and Alison's inertia, as they simply don't work. Instead of serving as an outlet for exposure to the elements, two windows are "covered by a large oak dressing table", while the other "overlooks the landing", revealing Osborne's critique of the immobility of the British working class of the 1950s. Jimmy and Alison are simply "locked" in an attic, revealing a complementary social critique of the ignorance of the upper strata of society towards the working class. Members of the latter are treated as if they constitute a total humiliation. Moreover, Osborne's stage directions cleverly present Jimmy's paradoxical nature as a "realistic human individual" through repetitive oxymorons, "a disconcerting mixture of sincerity and joyful mischief...of tenderness and unbridled cruelty." . Thus, Jimmy must be more than just a “writer’s spokesperson,” as Osborne strives to reveal social realism and criticism through his personalized characterization. The play was in fact the crucible in which the idea of ​​the "Angry Young Men" was formed: a group of British playwrights and novelists, mostly working and middle class, who became known in the 1950s for their disillusionment with British culture. Like Osborne himself, Jimmy was a member of the "non-U intelligentsia" who possessed a powerful intellect, as demonstrated by the metaphor of the "newspaper jungle" and the repetitive references to TS Eliot, who, ironically, was the author of “The Wasteland”. In this poem, TS Eliot reveals how he survived "without ever living, nor dying", an idea that simply echoes Jimmy's cyclical existence. Furthermore, Osborne divulges a social critique on the indolence of 1950s Britain, through Jimmy's deep desire for a "little ordinary human enthusiasm", which he reveals through his powerful but disjointed monologues. A sense of nihilism is created due to the social critique of Jimmy's position in the oppressed classes of society, as like Nora he is ultimately limited by his identity, making him a victim of post-war torpor . However, it could also be argued that Osborne's initial description of Jimmy highlights his ambiguity, presenting him as "nothing more than a spokesperson". Thus, he is simply an antithesis character, somewhat true to reality but lacking the credibility necessary to be declared a social realist in all respects. In contrast, Ibsen's portrayal of Nora presents her simply as a "spokesperson" for his views, not as a largely but not completely realistic human individual, like Jimmy. Nora's stubborn feelings, extraordinary courage, and climatic confrontation provided Ibsen with a platform from which he could criticize the ills of 19th-century Norway, although not necessarily in a socially realistic way. Ibsen's social criticism can be seen through the projection of.