在著名的女权主义作品《阁楼上的疯女人》(The Madwoman In The Attic, 1979年)中，吉尔伯特和古巴尔提到了在传统霸权文化中，作者身份和父权制之间存在着漫长的联系(事实上，笔是一种男性生殖器的象征)。这种越轨行为最终激发了娜拉对父权权威的反抗，父权权威定义了她受丈夫支配的道德准则和公法。正如琼·坦普尔顿所指出的，“格兰维尔-贝克的文章《易卜生的到来》的诙谐标题，暗示了“末日的到来”，完美地描述了玩偶之家对英国维多利亚时代思想的启示作用。易卜生被指责不仅主张破坏家庭，也主张破坏道德本身，而且主张一种不信神的双性同体;女人拒绝顺从，就是拒绝做女人。中国英语学习网的确，虽然奥古斯特·斯特林堡等评论家认为诺拉不像女人，但几年后，弗洛伊德的批评却认为她不正常。因此，易卜生，通过诺拉，经常被指责反对19世纪的道德价值观，以及遵循“两个领域”哲学的婚姻的神圣性;将婚姻理想定义为建立在从属妻子基础上的权威。尽管1892年易卜生的戏剧《大师建造者》的出版受到的审查比《玩偶之家》和《包法利夫人》要少，但这部戏剧无疑对19世纪的性别理想和婚姻制度提出了质疑。在第二幕中，19世纪易卜生观众的传统道德价值观是通过性别来强化的:“Solness:在《英雄史诗》中，你会了解到航行到遥远国度的维京人……索尔内斯:-把他们囚禁起来……对他们表现得就像——像最坏的巨魔。希尔达:……我想那一定很令人兴奋……被带走了”(第399-400页)。正如佩尔所观察到的,“而诺拉的计划后,她向她的洋娃娃关上大门的房子重新思考“什么是写在书”,在监工,(希尔达Wangel)和Solness…代表他们的关系的的男人和心甘情愿地征服女人的传奇(维京),这表明易卜生看到典型的性别角色是深深确实悲剧镌刻在现代想象力”。中国英语学习网这样的讽刺，挑战了性别理想的合法性，使易卜生的中产阶级听众感到不安;反对既定的秩序被认为是极其不道德的。
In their well-known feminist text, The Madwoman in the Attic (1979), Gilbert and Gubar reference a long history of association between authorship and patriarchy in traditional hegemonic culture (indeed, the pen acts as a phallic symbol). This transgressive act eventually inspires Nora to reject patriarchal authority, that which defines the moral codes and public laws to which she is subjected by her husband. As Joan Templeton notes, ‘The witty title of Granville-Baker’s essay “The Coming of Ibsen”, suggesting the “coming of doom,” perfectly characterizes the apocalyptic effect of A Doll’s House on the English Victorian mind. Ibsen was accused of not merely advocating the destruction of the family, and with it, morality itself, but a kind of godless androgyny; women, in refusing to be compliant, were refusing to be women’. Indeed, whilst critics such as August Strindberg viewed Nora as unwomanly, years later, Freudian criticism considered her abnormal. Thus, Ibsen, through Nora, was frequently accused of opposing nineteenth-century moral values, as well as the sanctity of marriage, which followed the ‘two spheres’ philosophy; an authority which defines the ideal of marriage as based on the subordinate wife.Whilst the publication of Ibsen’s 1892 play The Master Builder faced less censorship than both A Doll’s House and Madame Bovary, the drama certainly questions nineteenth-century gender ideals and the institution of marriage. In act two, the conventional moral values of Ibsen’s nineteenth-century audience are enforced through reference to gender: ‘Solness: In the sagas you learn about Vikings who sailed to distant lands…Hilda: And captured women. Solness: – and kept them captive…and behaved with them like the – like the worst of trolls. Hilda: …I think that must have been thrilling…To be carried off’ (pp. 399-400). As Penny Farfan observes, ‘whereas Nora’s plan after she slams the door on her doll’s house is to rethink “what’s written in books”, in The Master Builder, (Hilda Wangel) and Solness…represent their relationship in terms of the marauding men and willingly conquered women of the (Viking) sagas, suggesting that Ibsen saw archetypal gender roles as being deeply and indeed tragically inscribed in the modern imagination’. Such irony, challenging the legitimacy of gender ideals, troubled Ibsen’s bourgeois audience; opposing established order was considered profoundly immoral.