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Abstract
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Delving deeply into the core of the exploration of Henrik Ibsen’s three selected plays, namely A Doll’s House, Ghosts, and Hedda Gabler through the theoretical framework of Lacanian psychoanalysis, this study eandevours flat-out to hold such Lacanian concepts as Desire, Lack and Objet Petit a (to cite a few) in these works to a meticulous scrutiny. In A Doll’s House, the fanatical penchant for autonomy and self-realisation in Nora leads her into such non-conformity that indiscreetly challenges the societal norms of the time and divulges the web of diverse complexities of the concept of Desire and Objet Petit a within an unremittingly restrictive patriarchal society. In Ghosts, the characters grapple with the repressed desires and the infuriatingly haunting effects and ramifications of past traumas. The concepts of the Symbolic order, the Unconscious and Desire, pivotal to Lacanian theory, elucidates the calamitous consequences of overlooking one’s desires and dwelling in denial. Hedda Gabler, a magnum opus of psychological drama, exemplifies the intricate interplay of desire and power. Hedda’s pursuit of the unattainable, epitomized by the Objet Petit a, culminates in manipulation, ruin and eventually in eye-bulging tragedy and melancholy. Lacan’s notion of lack and the incessant search for fulfilment via objects of desire resonate acutely in Hedda’s character. By offering a glimpse into the rich but unfathomable tapestry of psychological depth and thematic complexity manifest in Ibsen’s works when construed through the psychoanalytic lens of Jacques Lacan, this study presents itself as indispensable.
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