Abstract
This paper analyzes the sexism of patriarchal behaviors that were present in the historical period after World War II. It then compares this how they have changed in modern times, as portrayed within the play, "A Streetcar Named Desire," written by Tennessee Williams. The paper analyzes the roles of both men and women in the play in order to examine patriarchal dominance.

From the Paper
"A modern woman in the feminist perspective would certainly be offended at Stanley's 'lordly' patriarchal values, which would have the woman only be a servant to his domestic needs. The contrast in this scene with modernity in the roles between men and women would be defined through a feminist construct, enabling women to defy commands and overtly sexist demands that Stanley makes to Stella. In this manner, Stanley becomes the patriarchal figure that would not be tolerated in the 21st century, but within the context of the post World War II era, he is able to incite sexism and machismo in the cultural context of the returning soldiers and their behaviors toward women as objects for their servitude in the home. In this manner, the greatly contrasting choices that feminism brought in the 1970s until modern times has changed the way that women react toward sexist men, providing them with a choice to follow or reject these patriarchal behaviors that Stanley epitomizes in the play."

Tags:modernity, values, perspectives

Abstract
This paper will discuss two broad areas of inquiry: the way in which gender roles within patriarchy may oppress both genders; and the gains and loses a patriarchal culture hands out to both genders. While some of the more notorious effects of a patriarchal culture are obvious enough, the thesis here is cautious and argues that a patriarchy alone is not sufficient to explain (or subsume) all human ills.

Abstract
The paper analyzes the theme of the white supremist patriarchal hero through the pre and post World War II films of John Ford. The paper discusses how in "Drums Along the Mohawk", Gilbert is a white supremist patriarchal character that often appears to be exchanging gender roles with his wife, Lana, yet he is often the represented as the protector of his homestead, while his wife often takes domestic roles in the household.

Tags:society, anthro, history

Abstract
This paper explains that the female protagonists in Rebecca Harding Davis' 'Life in the Iron Mills" and Faulkner's "A Rose for Emily" are very different. However, the two women are markedly the prisoners of the patriarchal society that has caught them in its net. The author points out that both women focus all their energy on their male companions, being almost obsessively preoccupied with them. The paper describes both stories.

From the Paper
""Life in the Iron Mills" is the somber story of the grey, empty life of a worker in the iron mills, Hugh Wolfe. In the midst of his brutish life, he has an artistic vision: he is able to model figurines out of the waste materials left at the mill. His aspirations are thwarted nevertheless, and he dies in utter misery. His fate obviously symbolizes the terrible destiny of the working-class people, who had no perspectives outside a barren, instinctual life. The secondary character of this story, Deborah, who is Hugh's cousin, is however an even more interesting figure which perfect the realistic picture drawn by Davis."

Tags:class, somber, seclusion, haughty, rejection

Abstract
The paper analyzes "A Streetcar Named Desire" by Tennessee Williams to reveal how the roles of men and women compare and contrast from the World War II era to the present. The paper points out that by understanding the traditional American role of the male as the power center of the home, some traits that Kowalski represent are still prominent in American society. However, the paper also shows how the contrasting view of World War II patriarchal values have changed due to the nature of feminist movements that have existed since the 1970s.

Tags:race, sex, theater

Abstract
This paper examines how in Chinua Achebe's novel 'Things Fall Apart', the main character Okonkwo, believes that the measure of a man's success is based on two elements, material acquisition and growth, and physical prowess. It discusses how this is ironic for Okonkwo since his people's typical idea of success seems to be constructed of a complex, strong spiritual culture, seemingly able to deal in traditional ways with any challenge in nature and human experience. Further, the paper analyzes how it is this basic dichotomy between Okonkwo and his own culture that directly lead to the tragic fall of Okonkwo and his ultimate disgrace. Additionally, the paper examines how Okonkwo represents the patriarchal values of Igbo society.

From the Paper
"Okonkwo was a man driven by with success. This manifested itself in many materialistic ways. First, he started out with nothing since he inherited nothing from his debt ridden father. He was forced to borrow seeds from a wealthy man. This was something he hated doing, but realised it was completely necessary become the man whom he wanted to be. "I began to fend for myself at an age when most people still suck at their mothers' breasts. If you give me some yam seeds I shall not fail you." (Achebe 1996:16). Here we can see that Okonkwo started adulthood, in fact supporting his family, at a very early age. He began to cultivate his farm before many of the other townspeople. "

Tags:Igbo, Nwoye, caves

Abstract
This paper discusses the gender roles of women in the films "Red River" and "My Darling Clementine". The paper describes the ways in which the films show some strengths that woman are capable of, but directors Ford and Hawks never really present these women in a serious manner. The paper suggests that the patriarchal domination of the male roles in these films always seem to make laughing stock out of women, as the few women with any kind of power are diminished.

From the Paper
"Film Studies: Understanding the Patriarchal Domination of Women in the Western Genre In this film study, the role of women within a patriarchal pioneering society is portrayed within the films My Darling Clementine (1946) and Red River (1948). By evaluating the historical background of the old west through cinema, women are often portrayed as submissive to the gun slinging and often more aggressive male roles in these films. By analyzing the way that the women characters are filmed in these westerns, one can realize how misogynistic the overall plot and character construction is presented through their actions and behaviors. In essence, the patriarchal construct of diminishing the power of women is evident within these two films. The role of many westerns in the 1940s reflect the growing family values that America chose to adopt in Hollywood after World War II."

Tags:westerns, feminist, ford

Abstract
This paper explains that, in the play "The Taming of the Shrew" by Shakespeare, the message of morality is presented through the patriarchal traditions of family, which also are represented in the modern family as depicted in the contemporary film "Ten Things I Hate about You". The author points out that both fathers are seemingly absent to uphold their authority due to the nature of their professions. The paper assumes that this lack of fatherly presence in the family unit is what makes both Katherine and Bianca choose their own suitors whether it is for dating or marriage.

From the Paper
"This drama analysis compares the play "The Taming of the Shrew" by William Shakespeare and the film "Ten Things I Hate About You" by Gil Junger. In the play "The Taming of the Shrew" by Shakespeare, the message of morality is presented through the patriarchal traditions of family. Through the overwhelming power of Baptista to preserve Bianca's marriage status below her sister Katherine, the film "Ten Things I Hate About You" relates a similar set of moral principles in the patriarchal traditions within modern families."

Tags:shrew, morality, love

Abstract
This paper provides a review of the related literature to show how there are three aspects that have contributed to the historic incidence of violence in the Middle East. It looks at how the reasons include the competition for scarce resources; a highly patriarchal social framework that disenfranchises women and encourages violence as a legitimate and acceptable practice; and inter- and intra-religious differences.

Outline:
Review and Discussion
Competition for Scarce Resources
Highly Patriarchal Social Framework
Inter- and Intra-Religious Differences
Conclusion

From the Paper
"The Middle East features the mixed blessing of having religious sites that are common to the three major faiths in the region, Christianity, Islam and Judaism. Jerusalem in particular remains a mish-mash of legalities and religious niceties that have thus far allowed all three faiths to co-exist, but tensions remain high and everyone suspects everyone else of trying to preempt their historic claims on every square inch of soil. In this explosive environment, history will likely continue to repeat itself as one faith fights to assert its rights over scarce land based on biblical claims and religious interpretations. According to Blanche (2005), "The emergence of a Shiite-dominated government in Iraq is causing deep unease in the Arab world, which for centuries has been ruled by the majority Sunnis. "

Tags:Islam, Judaism, Jerusalem, women, violence

Abstract
This paper explains that the human collective shadow is traits, which represent the collective experience of people's alter egos or darker sides that become the collective cultural shadow. The author points out that the archetypal, which is the antithesis of the collective shadow, is the way in which the collective culture tends to perceive itself without being aware of the dark shadow. The paper describes the archetypal of Western culture and the ways it has changed over time.

Table of Contents:
Introduction
The Collective Shadow
The Archetype

From the Paper
"It is from these unrealistic archetypal images that, during the 1960s, the darker shadow side of American culture began to clash with. The result was the counter cultural revolution of the 1960s, wherein young people went to seemingly great extremes to look and behave opposite the archetypal image, which soon became known as "the establishment." At a point in American history, during the years of the Vietnam Conflict, it would have served Americans well to have found a way to blend the archetypal with the new; but that did not occur. "

Tags:psychopathic, alter egos, disenfranchised patriarchal, counter cultural revolution