Sadeq Rahimi has noted a common relationship between the uncanny and direct or metaphorical visual references, which he explains in terms of basic processes of ego development, specifically as developed by Jacques Lacan 's theory of the mirror stage . Rahimi presents a wide range of evidence from various contexts to demonstrate how uncanny experiences are typically associated with themes and metaphors of vision, blindness, mirrors and other optical tropes. He also presents historical evidence showing strong presence of ocular and specular themes and associations in the literary and psychological tradition out of which the notion of ‘the uncanny’ emerged. According to Rahimi, instances of the uncanny like doppelgangers , ghosts , Déjà vu , alter egos , self-alienations and split personhoods, phantoms, twins , living dolls, etc. share two important features: that they are closely tied with visual tropes, and that they are variations on the theme of doubling of the ego. 
By the end of Act Three, both Nora and Mrs. Linde have entered new phases in their lives. Nora has chosen to abandon her children and her husband because she wants independence from her roles as mother and wife. In contrast, Mrs. Linde has chosen to abandon her independence to marry Krogstad and take care of his family. She likes having people depend on her, and independence does not seem to fulfill her. Despite their apparent opposition, both Nora’s and Mrs. Linde’s decisions allow them to fulfill their respective personal desires. They have both chosen their own fates, freely and without male influence. Ibsen seems to feel that the nature of their choices is not as important as the fact that both women make the choices themselves.