Patriarchy refers to a social system in which men categorically hold more power than women. They occupy positions of power in society and their actions and decisions have more authority than those of women. Patriarchy is rooted in the institutions of society and the ways we interact with each other, even today. Feminism has accelerated dramatically over the past century, as advocates for gender equality have fought for change and the advancement of women's rights. Patriarchy is strongly represented in English literature, which reflects the reality of people in the period in which those works were produced. This article will focus on the plays A Doll's House and A Streetcar Named Desire, both of which feature extensive representations of patriarchal ideology. These plays are primarily about the relationships between two men and their wives, in the context of the society in which they live. The stories are separated by many decades: Henrik Ibsen wrote A Doll's House in 1879 in Norway, while Tennessee Williams wrote A Streetcar Named Desire. in New Orleans, 1947. Although separated by time and culture, patriarchal ideology is represented through the strong and dominant male characters, Torvald Helmer and Stanley Kowalski, their submissive and objectified wives, Nora and Stella, and the dramatic conclusions of both stories about social expectations for men and women. This article will examine the similarities between these stories, these characters, and the world around them, and show how a deeply entrenched patriarchy can influence continued belief in those ideals. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Patriarchal ideology is strongly represented through the use of strong, domineering male characters in both A Doll's House and A Streetcar Named Desire in very similar ways. Torvald Helmer and Stanley Kowalski are presented in a way that emphasizes their masculinity, power, and physical and social strength. In A Doll's House, Torvald has recently been appointed bank manager, a high-ranking position that seems suited to his strong character. Throughout the play Torvald keeps himself busy with work and the importance of his position is emphasized repeatedly. He is regarded with respect by other members of the community, and this is very evident in his manner and interactions with others. In the opening scene of the play, we see the first interaction between him and Nora, whom he calls his "little squirrel", "little lark", and "little spendthrift". During this conversation, it is clear that Torvald views his wife the same way he would view a child: helpless, impulsive, and dependent on him for guidance, money, and protection. He admonishes her for eating sweets and spending money carelessly, even though she wasn't actually careless with the money he gave her. In A Streetcar Named Desire, Stanley's character is presented as very macho, aggressive and domineering. It is described as animalistic in more than one place. In the first scene Stanley enters, and “the animal joy in his being is implicit in all his movements and attitudes.” He is portrayed as having a commanding presence, both with women and men. It is clear from the way he is described that Stanley objectifies women: “She evaluates them at a glance, stark images flashing through his mind and determining the way he smiles at them.” Both Torvald and Stanley control their wives, although in different ways. Torvald's control appears to be in the form of financial support and in his role as provider, with his wifeas a housewife. Stanley also supports his wife financially, but unlike Torvald, he is prone to fits of rage and is implied to hit his wife. In general he shows a lack of respect for women and uses violence to express himself and his point of view. This is demonstrated by the use of coercion and violence to control women and the pervasiveness of patriarchal ideology, since men structurally hold more power. Women are expected to be passive, while men are expected to be the decision makers and always get what they want. Patriarchy creates a culture in which gender norms perpetuate expectations of male dominance and female subordination. The plays continue to present similarities in terms of patriarchal ideology through the submissive and objectified wives of the two male characters, Nora Helmer and Stella Kowalski. In most interactions with her husband until the end of the show, Nora is portrayed as seemingly silly, impulsive, and childish. Torvald constantly belittles her, which she accepts without protest. It soon becomes apparent to the reader that Nora is not as foolish as her husband would like her to believe, and is actually quite intelligent and resourceful. In the first act, Nora reveals to her old friend Christine that she has incurred debts at a time when Torvald was unable to work, and she is eager to pay off this debt. She describes wanting to be “free from worries; being able to play and run wild with the children, being able to keep the house beautiful and have everything just the way Torvald likes it." Through this statement, we can see that his idea of ​​freedom is in line with patriarchal ideals instead of reflecting wishes and desires that have to do with one's independence. She understands that her position in society and in marriage is to be insubordinate to men and her husband. In A Streetcar Named Desire, Stella is repressed by her husband through his anger, belligerence and violence. She runs after him constantly, trying to get him to behave appropriately in multiple situations. In Act I, Scene II, Stella tries to calm her husband when he becomes increasingly agitated, convinced that Blanche is lying about the state of the family plantation. Stella calmly admonishes him, trying to silence him and even calls him an idiot. At first, Stella appears to be more authoritative than Nora, as she argues with Stanley and constantly criticizes his behavior. She also briefly leaves in scene three after he hits her, seeking refuge at a neighbor's house. But when Stanley calls her “sky-shattering violence” from the street, she silently returns to him. The next day, when questioned by Blanche, Stella calmly denies that her husband's violence is a problem in their marriage and tells Blanche that Stanley's actions were not serious and that "when men drink and play poker, anything can happen". Stella's denial of the power imbalance in her marriage reflects the patriarchal ideals of the times, similar to Nora's understanding of her position and opportunities as inferior to those of her husband. Both stories are brought to dramatic conclusions in the context of patriarchy, society and society. expectations for men and women, albeit in very different ways. In A Streetcar Named Desire, Stella goes into labor and is admitted to hospital overnight, leaving Stanley at home alone with Blanche. Tensions between the two have increased over the summer, as neither loves or respects the other. At the end of a heated exchange between the two, Stanley gets the better of Blanche and rapes her. The act of rape in this case can be perceived as a manifestation of ideals,.