In “Space and Reference in Drama,” Michael Issacharoff argues that diegetic space is offstage space and mimetic space is onstage space. Issacharoff argues that “dramatic tension is often contingent on the antinomy between the visible space represented and the invisible space described” (Issacharoff 211). This dramatic tension between mimetic and diegetic space promulgates the conflict of Henrik Ibsen's play A Doll's House. The visible and invisible space in this drama are antinomian; the mimetic represents the domination of women and the diegetic that of men. Nora Torvald has no idea of ​​the male world, of diegetic space. Torvald Helmer appears in mimetic space, but does not operate primarily in it and cannot understand the female world. This inability causes mimetic and diegetic space to collide. Ibsen uses semiotic systems, including fence symbols and character roles, to intensify this conflict that develops between mimetic and diegetic space. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay It could be argued that diegetics and mimetics are not representative of male and female space. Torvald, Doctor Rank and Nils Krogstad all appear on stage. These men, however, do not work in mimetic space. Torvald's office is off-stage. Krogstad only discusses his work with Nora to manipulate her and influence Torvald not to fire him. Torvald ignores Nora's request not to fire Krogstaff; Torvald will not discuss business with a woman. Men can be present in women's space, but they cannot play the roles that belong to the space. Referring to the mimetic space, Torvald says, “now the place will only be bearable for a mother” (Ibsen 26). A mother is a female role; therefore, this quote highlights the femininity of mimetic space. Torvald says this to Mrs. Linde, which could lead to the argument that women are not trapped in mimetic space. Mrs. Linde is a woman, and Torvald's comment suggests that he does not expect her to “endure” a mimetic space. Torvald hired Mrs. Linde as a secretary, so she doesn't work in the diegetic space? While Ms. Linde may seem welcome in the male-dominated diegetic space, she is still just a secretary. In the diegetic space, society prevents Mrs. Linde from achieving the same amount of power as men. Both men and women can be present in both the diegetic and mimetic space, however women are more dominant in the mimetic space and men are more powerful in the diegetic space. For this reason, mimetic space represents femininity and diegetic space represents masculinity. Due to the inequality of the sexes within each individual hemisphere (diegetic or mimetic), the two spaces collide. Ibsen develops the conflict between mimetic and diegetic space (the feminine and the masculine) using "semiotic systems", which are sign systems. According to Issacharoff, all semiotic systems must have “a mode of operation,” “a domain of validity,” “a limited number of signs,” and “a relationship between signs, which gives them a distinct function” (Issacharoff 220). The “mode of operation” refers to the “sensory channel through which the system works” – for example, visual or auditory. The «field of validity» is «that in which the system is mandatory and must be recognized or respected» (220). The “relationship between signs” refers to “how the system works” (220). In A Doll's House, fence symbols and character roles function as.