Reaching Happiness beyond Emancipation: A Study on the Human-Centric Role of Linde in A Doll’s House by Henrik Ibsen

Henrik Ibsen’s drama A Doll’s House portrays the late 19th century Norway where protagonist Nora and her eventual manifestation of Feminism are almost all the time at the centre of critical attention. But Mrs. Kristina Linde is also a character of magnanimous stature with her enthusiastic sense of belonging and heart-felt services to family and society. In this manner, the human-centric role provides Linde with satisfaction that amounts to happiness, taking her ways ahead of emancipation in a world where women’s emancipation from sufferings is still an unresolved issue. Notably, Linde’s human-centric role gains authenticity as a true means of women’s emancipation by reflecting higher knowledge which is essential for any human affair to be true and real. Thus, this paper aims at exploring how Mrs. Kristina Linde in A Doll’s House by Henrik Ibsen, being in her family and society and playing vital roles accordingly, derives happiness proving the truth that all women can be human-centric in family and society, and can have happiness going far ahead of emancipation changing the global scenario of women’s misery. The methodology of thematic analysis was followed in this research. The research may contribute in propounding human-centric family and social life as the proper means of women’s emancipation.

The Global Forest Transition is a Human Affair

Forests across the world stand at the crossroad with climate and land use changes shaping their future. Despite the demonstration of political will and global efforts, forest loss, fragmentation and land degradation continue unabated. No clear evidence exists that these initiatives are working. Why are policies designed to halt deforestation and increase restoration of forest landscapes failing? A key reason for this apparent ineffectiveness lies in the failure to recognize the agency of the stakeholders involved and the adaptive capacities of the systems we seek to steer. Landscapes do not happen. We make them. They are the result of the sum of individual actions and decisions made by all stakeholders, and the interactions between these and biophysical processes. Likewise, forest transitions are not ecological, but social and behavioral. They are a product of the way humans manage ecosystems. Decision-makers need to integrate better representations of people’s agency in their mental models. We suggest possible solution pathways to overcome this key current barrier. These involve eliciting mental models behind policy decision, changing perspectives to better understand divergent points of view and refining strategies through explicit theories of change. Games designed to represent the constraints and opportunities that exist in the landscapes can help decision makers in these task.

How to verify a theory of dialogue

In recent decades the term ‘theory’ has pervasively been used in the literature without any reflection upon the conditions of its legitimate use. The paper focuses on the issue of what makes up a theory. Constitutive components are the object-of-study and the methodology. The object of a theory has to be the minimal autonomous unit. The object ‘dialogue’ is a human affair, language used by human beings in the dialogic action game. Any approach which claims to be a theory needs to justify its hypotheses. A theory about human actions and behaviour in the end relates to anthropological insights which can eventually be verified by neuroscience. It is sociobiology which unites the different disciplines in their search for the unity of knowledge.

»Eintauchen!« Ozeanium versus Vision NEMO

"Das Ozeanium und die Vision NEMO sind zwei entgegengesetzte Vorschläge, wie sich das Meer und die Meerestiere in einem Zoo präsentieren lassen. Das Ozeanium arbeitet mit konventionellen Großaquarien, in denen echte Fische schwimmen, die Vision NEMO mit neuesten Übertragungs- und Projektionstechniken, die bewegte Fischbilder zeigen. Medien spielen in beiden Projekten eine wichtige, zunächst sehr unterschiedliche Rolle. Eines aber haben beide Projekte gemeinsam: sie gehen davon aus, dass die Medien eine exklusiv menschliche Angelegenheit sind. Mediale Prozesse im Meerestierreich kommen so nicht in den Blick. The Ozeanium and the Vision NEMO are two opposing proposals on how to present the sea and the marine life in a zoo. The Ozeanium is working with conventional large aquariums, in which real fish are swimming, while the Vision NEMO employs the latest transmission and projection techniques to show animated images of fishes. In both projects, media play an important, but also very different role. There is, however, one thing that both projects have in common: They assume that media are an exclusively human affair. Thus, medial processes in the marine animal kingdom don’t come into view. "