W6 Lecture 1 Four Market Structures ContentFour Market Str.docx

W6 Lecture 1 "Four Market Structures"
Content
Four Market Structures
In Week #5: Lecture #2, we discussed that markets are most
efficient and equitable when perfectly competitive. It was also
noted that how competitive a market is determines how much
market pricing power firms in aggregate enjoy, as well as the
price elasticity of the individual firm's demand curve.
When we assess markets, we base efficiency and equity upon
whether it's a market comprised of price takers or price
searchers.
· Price takers are firms who have no market pricing power, no
product differentiation from other competitors, and the market
is perfectly competitive and efficient and equitable.
· Price searchers, on the other hand, are firms who have at least
some market pricing power, at least some product
differentiation from other competitors, and the market is
imperfectly competitive leading to losses in efficiency and
equity.
So, let's talk about price searchers now. Price searching firms
are also imperfectly competitive. Firms who produce goods with
at least some product differentiation can to a certain amount
affect market price.
There are three types of imperfect competitors: monopolistically
competitive, oligopoly, and monopoly.
With monopolistically competitive, like the perfectly
competitive firm, there are many producers, only short-run
economic profits can be attained, and products produced are
very similar but do have some relative differentiation.
Oligopolies and monopolies, on the other hand, have high
barriers to entry, and although for oligopolies there is product
differentiation but similar products from competitors, there are
too few competitors due to high barriers to entry to deny the

oligopolies long-run economic profits.
For the monopolistically competitive market structure, supply
and demand determine market equilibrium and allocation of
resources. Individual firms do have their own demand curve,
and the market demand curve is made up by adding up all the
firms' demand curves.
· The demand curve for the individual firm will have some
downward slope, and there will be a separate downward-sloping
marginal revenue curve. The optimal point where
monopolistically competitive firms produce is where marginal
costs equal marginal revenues, and then price is set from that
point up on the X-axis (horizontal axis) until it meets the
demand curve.
Any price in the short run above the competitiveprice (perfectly
competitive) where marginal costs equal marginal revenues will
result in economic profits; due to a lack of barriers to entry,
new firms will enter, shifting the demand curves of individual
firms in the market leftward, pulling price down to the ATC
(average total cost curve) back to equilibrium, thus eliminating
economic profits in the long run and normal profits existing
thereafter.
In summary, we have four market structures, with perfectly
competitive being the benchmark from which efficiency and
equity are found. The other three market structures -
monopolistically competitive, oligopoly, and monopoly - are not
fully efficient and equitable.
· Oligopoly and monopoly are the least competitive market
structures in which long-run economic profits are present due to
a downward-sloping demand curve and high barriers to entry,
while monopolistically competitive has a downward sloping
demand curve but low barriers to entry (low product
differentiation) with no long-run economic profits.
W6 Lecture 2 "Price Takers and Searchers"
Content
Price Takers and Searchers
In Week #6: Lecture #1, we discussed that markets are most

efficient and equitable when perfectly competitive. It was also
noted that how competitive a market is determines how much
market pricing power firms in aggregate enjoy, as well as the
price elasticity of the individual firm's demand curve.
· When we assess markets, we base efficiency and equity upon
whether it's a market comprised of price takers or price
searchers.
Price takers are firms who have no market pricing power, no
product differentiation from other competitors, and the market
is perfectly competitive and efficient and equitable.
Price searchers, on the other hand, are firms who have at least
some market pricing power, at least some product
differentiation from other competitors, and the market is
imperfectly competitive leading to losses in efficiency and
equity.
· Secondly, price searching firms are also imperfectly
competitive. Firms who produce goods with at least some
product differentiation can to a certain amount affect market
price. There are three types of imperfect competitors:
monopolistically competitive, oligopoly, and monopoly.
· With monopolistically competitive, like the perfectly
competitive firm, there are many producers, only short-run
economic profits can be attained, and products produced are
very similar but do have some relative differentiation.
Oligopolies and monopolies, on the other hand, have high
barriers to entry, and although for oligopolies there is product
differentiation but similar products from competitors, there are
too few competitors due to high barriers to entry to deny the
oligopolies long-run economic profits.
· What are some other characteristics of oligopolies that
differentiate them from monopolistically competitive.
Economies of scale is very high.
· Usually with oligopolies, the long-run average total cost curve
has a relatively long economies of scale section, with relatively
smaller constant returns and diseconomies sections. Collusion
and mergers tend to pervade this market structure, especially

when it becomes difficult to combat diseconomies of scale.
Monopolies, on the other hand, have no close competitors, the
market demand curve is its demand curve, and no close
substitutes exist. Pure monopolies are rare and are either
prevented or eliminated due to anti-trust laws, like the Sherman
Anti-trust Act of 1890, which break them up.
The government can regulate and allow a firm to operate as a
monopoly, but the regulated monopoly will not have pure
monopoly pricing power nor ultimate economic profits. A
regulate monopoly is called a natural monopoly, and the firm is
allowed only a fair price at which price is set at its ATC.
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Misogyny in the Movies/Literature
Name:
University Affiliation:
Date:
Following

Name:
Professor’s Name:
Course Number:
Date:
Misogyny
Misogyny refers to the prejudice or contempt against
women. The societal ailment can be manifested in
numerous ways, though hard to spot. In most of the
cases, misogynists do not acknowledge that they indeed
hate women. It is typically an incognizant contempt that
men form, often resulting to psychological harm that
involves a female figure. Therefore, as regards to
the women protagonists in the “Revolutionary Road” and
“A Doll’s House”, « 11 words »
the women protagonists in the “Revolutionary Road” and
“A Doll’s House”
respectively,
April Wheeler and Nora Helmer in particular greatly
explicates « 9 words »
April Wheeler and Nora Helmer in particular, greatly
explicates
the various
effects on female protagonists. These two great artistic
works both happened in cultures of strict conformity,

intending both men and women must “play roles” in
almost all aspects of their daily lives. In the Revolutionary
Road, April Wheeler is a passionate and independent-
minded woman, but
« 46 words »
effects on female protagonists. These two great artistic
works both happened in cultures of strict conformity,
intending both men and women must “play roles” in
Road, April Wheeler is a passionate and independent-
minded woman, but
inveterate inveterately
unhappy. As a suburban lady of the house, she is « 10 words »
unhappy. As a suburban lady of the house, she is
generally
perceived miserable with her life. « 5 words » perceived
miserable with her life.
Her parents who were partygoers did not consent her
and she was brought up by her aunts in an affluent She
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setting. April
struggles and wants to fit in among neighbors who « 9 words »
struggles and wants to fit in among neighbors who
led a lifetime of excitement.
Attending to
lead a good life. On
the play, A Doll’s House, Nora Helmer « 7 words » the play, A
Doll’s House, Nora Helmer
is also
portrayed as a young woman, has three children and
married to Torvald Helmer. At the outset of the play, she
is carefree and bubbly, excited about her husband’s
promotion and Christmas. Despite the fact that she
« 36 words »

portrayed as a young woman, has three children and
married to Torvald Helmer. At the outset of the play, she
is carefree and bubbly, excited about her husband’s
was
intrigued by some maters in her household, she entirely
remains skeptical about it. « 13 words »
intrigued by some maters in her household, she entirely
remains skeptical about it.
With this overview, misogyny in these women portrayed
within both context reflects the various effects that
channeled
Both contexts reflect misogyny in women as well as the
various consequences that led
them undertake certain actions.
In both « 6 words »
them undertake certain actions.
In both
contexts, settings,
misogyny is well manifested, though as a feature that
cannot be spoken but whispered, mostly inclining at
setting off certain circumstances. In the movie and the
play, misogyny relates to the contempt against women.

They are viewed as objects to be disrespected by
showing lack of respect accompanied by a feeling of
intense disdain. In the Revolutionary Road, April Wheeler
is
« 61 words »
misogyny is well manifested, though as a feature that
cannot be spoken but whispered, mostly inclining at
setting off certain circumstances. In the movie and the
play, misogyny relates to the contempt against women.
They are viewed as objects to be disrespected by
showing lack of respect accompanied by a feeling of
intense disdain. In the Revolutionary Road, April Wheeler
is
subjected bound
to social exclusion, an indication that reflects misogyny,
particularly by the fact that she feels she does not fit into
society. Upon meeting Frank, she believes that Frank is
an intelligent man who can present her to a world less
excluding. She abandons her dream of becoming a
professional actress and marries him. She, however,
does not accord the idea of getting children till her late-
twenties but is otherwise convinced by Frank not to abort
an inadvertent pregnancy.
Conforming to A Doll’s House, Nora Helmer is also

subjected to a treacherous experience of male privilege,
an example to misogyny. At the beginning of the Play,
Tovarld Helmer, her husband views him as a spendthrift.
She is largely downtrodden and scolded by her husband
throughout the entire play. She, however, does not seem
really concerned about this and jubilantly plays along
with her husband’s pet names such as “Skylark,”
“squirrel,” “pet” and “Songbird,”. In general, her husband
to social exclusion, an indication that reflects misogyny,
society. Upon meeting Frank, she believes that Frank is
an intelligent man who can present her to a world less
excluding. She abandons her dream of becoming a
professional actress and marries him. She, however,
does not accord the idea of getting children till her late-
twenties but is otherwise convinced by Frank not to abort
an inadvertent pregnancy.
Conforming to A Doll’s House, Nora Helmer is also
subjected to a treacherous experience of male privilege,
an example to misogyny. At the beginning of the Play,
Tovarld Helmer, her husband views him as a spendthrift.
She is largely downtrodden and scolded by her husband
throughout the entire play. She, however, does not seem
really concerned about this and jubilantly plays along
with her husband’s pet names such as “Skylark,”

“squirrel,” “pet” and “Songbird,”. In general, her husband
Copyscape
seems dominant to her, controlling her and making all
sorts of treatments, like “A Doll.”
Despite this, Torvald regularly treats her or refers to her
as a child. A good example is an inclination that her
husband forbade her from eating on macaroons,
something that she frequently does anyway in spite of
her promises to her husband of total obedience to him.
The imagery of both animal and child reflect Nora’s
clearly carefree nature, innocent, and suggest that
Torvald does not perceive of her as a mature adult by the
fact that she is a woman.
On another overview, male dominance is predominately
expressed in the Revolutionary Road where Frank had
choices and options over April. From time to time, Frank
went every day to the city on the train with other men to
their “boring jobs” while April stayed at home as a
homemaker. Yet on the play, A Doll’s House, Nora is
perceived to has no formal occupation because she

cannot be given the opportunity to be employed. She is
constantly reminded by her husband that women were
allowed to work only if they were widowed or unmarried.
In the play, Nora is only permitted to do light work such
as embroidery, crochet.
Contrary to these aspects of misogyny, we can perceive
women hostility in Revolutionary Road. After the opening
night of the theatre, April and Frank had an awful fight
while on their way back home, a fight that managed to
make their affair even less friendly. In an attempt to
regain his lost state of being a man and draw his
attention away from his problems, Frank committed
adultery with a young and naïve woman, Maureen. The
context in this overview explicates women hostility by the
fact that they are harshly treated as well as the idea of
adultery that Frank engaged. On the play, A Doll’s House,
it can be ascertained that Nora was a total subject to
hostility. Upon Torvald opening his letterbox, he calls her
a liar and a hypocrite to an extent of complaining that
Nora has ruined his happiness.
Torvald further declares that Nora will be discontinued
upon raising their children. As a result, the protagonist in
the play does not easily submit to the status quo. When
Torvald further learns of the debt and eventually fails to
forgive her till he is certain that his reputation is indeed

safe, Nora becomes fully aware that her apprehension of
herself, her marriage, her husband and the society at
large was all wrong. She then gives consent that she
cannot for more time be happy in her marriage and life,
and finally resolves at leaving both her husband and her
home in search of purpose, a sense of self and a chance
be cognizant about the world.
In addition to the misogynistic environment between the
two contexts, the contemplate against women can be
further perceived through sexual objectification. In the
Revolutionary Road, sexual objectification is attended by
the fact that April has two children and having the third
one on the way before her alternative to aborting, which
led to undesirable consequences. To April’s horror and
despair, she found out that she was indeed pregnant
with her third child and this factor greatly ruined all her
dreams and hopes. However, on the play, A Doll’s House,
« 1183 words »
seems dominant to her, controlling her and making all
sorts of treatments, like “A Doll.”
Despite this, Torvald regularly treats her or refers to her
as a child. A good example is an inclination that her
husband forbade her from eating on macaroons,
something that she frequently does anyway in spite of
her promises to her husband of total obedience to him.

The imagery of both animal and child reflect Nora’s
clearly carefree nature, innocent, and suggest that
Torvald does not perceive of her as a mature adult by the
expressed in the Revolutionary Road where Frank had
choices and options over April. From time to time, Frank
went every day to the city on the train with other men to
their “boring jobs” while April stayed at home as a
homemaker. Yet on the play, A Doll’s House, Nora is
perceived to has no formal occupation because she
cannot be given the opportunity to be employed. She is
constantly reminded by her husband that women were
allowed to work only if they were widowed or unmarried.
In the play, Nora is only permitted to do light work such
as embroidery, crochet.
Contrary to these aspects of misogyny, we can perceive
women hostility in Revolutionary Road. After the opening
night of the theatre, April and Frank had an awful fight
while on their way back home, a fight that managed to
make their affair even less friendly. In an attempt to
regain his lost state of being a man and draw his
attention away from his problems, Frank committed
adultery with a young and naïve woman, Maureen. The
context in this overview explicates women hostility by the

fact that they are harshly treated as well as the idea of
adultery that Frank engaged. On the play, A Doll’s House,
it can be ascertained that Nora was a total subject to
hostility. Upon Torvald opening his letterbox, he calls her
a liar and a hypocrite to an extent of complaining that
Nora has ruined his happiness. Torvald further declares
that Nora will be discontinued upon raising their
children. As a result, the protagonist in the play does not
easily submit to the status quo. When Torvald further
learns of the debt and eventually fails to forgive her till
he is certain that his reputation is indeed safe, Nora
becomes fully aware that her apprehension of herself,
her marriage, her husband and the society at large was
all wrong. She then gives consent that she cannot for
more time be happy in her marriage and life, and finally
resolves at leaving both her husband and her home in
search of purpose, a sense of self and a chance be
cognizant about the world.
In addition to the misogynistic environment between the
two contexts, the contemplate against women can be
further perceived through sexual objectification. In the
Revolutionary Road, sexual objectification is attended by
the fact that April has two children and having the third
one on the way before her alternative to aborting, which
led to undesirable consequences. To April’s horror and

despair, she found out that she was indeed pregnant
with her third child and this factor greatly ruined all her
dreams and hopes. However, on the play, A Doll’s House,
Copyscape
things were not baffling. Nora had three children with
her husband and during his lifetime, tendered and cared
for his family. He even had to intervene in her husband’s
illness and secure a loan which was bound by secrets.
Though she had good intentions of keeping this a secret,
the consequences that followed his choices led him to an
abrasive relationship.
By this means, i think that these protagonists, both
caught by their cultures’ misogyny trump over the
cultural attitudes and got doomed by it respectively.
Attending to the Revolutionary Road, the main
protagonist, April Wheeler was doomed by the culture’s
misogyny. Following his crumpled dream of moving to
Europe, where she could ideally change her status quo by
eventually resorting to working, sparing Frank all the time
he needed to figure out what he could do.
The hurt was intense and April crashed. Similarly, to

Frank, April she slept with her old admirer, Shep
Campbell, as an attempt to get through her sorrow. April
eventually died in a hospital due to an unsuccessful
attempt of self-abortion. Frank then learned that April
really never loved him, from the last note she left before
dying. Frank would never be in a position to recover from
this, compelling him to abandon his own children who
lived with his elder brother.
On the other hand, Nora managed to trump over the
culture’s misogyny in the play A Doll’s House. As
perceived through the paper, upon her husband opening
the letterbox, he throws insults to Nora, to whom she
perceives this as unpleasantly stern. Torvald complains
that Nora has ruined his life after calling her a liar and a
hypocrite, eventually declaring that she will not be in
apposition to raise their children.
However, at a subsequent time upon Helene bringing
him another letter, Torvald discovers that Krogstad, who
faced dismissal has delivered Nora’s contract which
typically contains the forged signature. Torvald, who is
extremely joyful attempts to dismiss his insults, but the
harsh words had triggered Nora’s senses. She then
declares to her husband that in spite of their 8 years of
marriage, both of them do not quite understand each
other. Nora asserts, that Torvald has over time taken her

as a “doll” to be admired and played with. She leaves
Torvald, declaring that she ought to “make sense of
[her]self and everything around her”.
Indeed, the misogyny in these women that are portrayed
channeled them undertake certain actions. The
interiorized impacts of misogyny on women in both
cultures is largely reflected issues with the outcome of
the event as relative to the individuals. With the content
of female objectification that is ingrained deeply in the
minds of women during their shaping period, the
pressure of maintaining a pleasing appearance to men is
often ineluctable (
things were not baffling. Nora had three children with
her husband and during his lifetime, tendered and cared
for his family. He even had to intervene in her husband’s
illness and secure a loan which was bound by secrets.
Though she had good intentions of keeping this a secret,
the consequences that followed his choices led him to an
abrasive relationship.
By this means, i think that these protagonists, both
caught by their cultures’ misogyny trump over the
cultural attitudes and got doomed by it respectively.
Attending to the Revolutionary Road, the main
protagonist, April Wheeler was doomed by the culture’s

misogyny. Following his crumpled dream of moving to
Europe, where she could ideally change her status quo by
eventually resorting to working, sparing Frank all the time
he needed to figure out what he could do. The hurt was
intense and April crashed. Similarly, to Frank, April she
slept with her old admirer, Shep Campbell, as an attempt
to get through her sorrow. April eventually died in a
hospital due to an unsuccessful attempt of self-abortion.
Frank then learned that April really never loved him, from
the last note she left before dying. Frank would never be
in a position to recover from this, compelling him to
abandon his own children who lived with his elder
brother.
On the other hand, Nora managed to trump over the
culture’s misogyny in the play A Doll’s House. As
perceived through the paper, upon her husband opening
the letterbox, he throws insults to Nora, to whom she
perceives this as unpleasantly stern. Torvald complains
that Nora has ruined his life after calling her a liar and a
apposition to raise their children. However, at a
subsequent time upon Helene bringing him another
letter, Torvald discovers that Krogstad, who faced
dismissal has delivered Nora’s contract which typically
contains the forged signature. Torvald, who is extremely

joyful attempts to dismiss his insults, but the harsh
words had triggered Nora’s senses. She then declares to
her husband that in spite of their 8 years of marriage,
both of them do not quite understand each other. Nora
asserts, that Torvald has over time taken her as a “doll” to
be admired and played with. She leaves Torvald,
declaring that she ought to “make sense of [her]self and
everything around her”.
Indeed, the misogyny in these women that are portrayed
channeled them undertake certain actions. The
interiorized impacts of misogyny on women in both
cultures is largely reflected issues with the outcome of
the event as relative to the individuals. With the content
of female objectification that is ingrained deeply in the
minds of women during their shaping period, the
pressure of maintaining a pleasing appearance to men is
often ineluctable.
Shaw, 2017).
Copyscape

References
Works Cited
Yates, R. (2010). Revolutionary Road. « 5 words » YATES, R.
(2010). Revolutionary Road.
Garland, P., Hampton, C., Elkins, H., Bloom, C., Hopkins,
A., Richardson, R., Elliott, D., ... Ibsen, H. (2013).
https://nls.ldls.org.uk/welcome.html?
ark:/81055/vdc_100049002851.0x000001. Törnqvist,
Egil. Ibsen:
A doll's house. « 3 words » A Doll's House.
United States: Sheba Blake Publishing.
Shaw, D. (2017). Movies with meaning: Existentialism
through film.
Ibsen, H., In Rem, T., Dawkin, D., & Skuggevik, E. (2016). A
doll's house and other plays.
Cambridge: Cambridge Univ. Press, 1995. Print.
Ackley, Katherine A. Misogyny in Literature: An Essay
Collection. New York u.a: Garland, 1992. Print.
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Misogyny in the MoviesLiterature 1Misogyny in the
MoviesLiterature Name University
Affiliation Date Misogyny in the MoviesLiterature 2Misogyny

in the MoviesLiterature
Following the women protagonists in the Revolutionary Road
and A Dolls House, April
Wheeler and Nora Helmer in particular greatly explicates the
effects on female protagonists. These two great artistic works
both happened in
cultures of strict conformity, intending both men and women
must play roles in
Road, April Wheeler is
a passionate and independent-minded woman, but
inveterate
generally
perceived miserable with her life.
Her parents who were partygoers did not consent her and she
was brought up by her
aunts in an affluent setting. April
led a lifetime of excitement.
Attending to the
play, A Dolls House, Nora Helmer
portrayed as a young woman, has three children and married to
Torvald Helmer.
At the outset of the play, she is carefree and bubbly, excited
about her husbands

intrigued by some maters in her household, she entirely remains
skeptical about it.
With this overview, misogyny in these women portrayed
within both context reflects the various effects that channeled
them undertake
certain actions.
In both contexts, misogyny is well
manifested, though as a feature that cannot be spoken but
whispered, mostly
inclining at setting off certain circumstances. In the movie and
the play,
misogyny relates to the contempt against women. They are
viewed as objects to
be disrespected by showing lack of respect accompanied by a
feeling of intense
disdain. In the Revolutionary
Misogyny in the MoviesLiterature 3Road, April Wheeler is
subjected to
social exclusion, an indication that reflects misogyny,
particularly by the fact that
she feels she does not fit into society. Upon meeting Frank, she
believes that
Frank is an intelligent man who can present her to a world less
excluding. She
abandons her dream of becoming a professional actress and
marries him. She,
however, does not accord the idea of getting children till her

late-twenties but is
otherwise convinced by Frank not to abort an inadvertent
pregnancy.
Conforming to A Dolls House, Nora Helmer is also subjected to
a treacherous
experience of male privilege, an example to misogyny. At the
beginning of the
Play, Tovarld Helmer, her husband views him as a spendthrift.
She is largely
downtrodden and scolded by her husband throughout the entire
play. She,
however, does not seem really concerned about this and
jubilantly plays along
with her husbands pet names such as Skylark, squirrel, pet and
Songbird,. In
general, her husband seems dominant to her, controlling her and
making all sorts
of treatments, like A Doll. Despite this, Torvald regularly treats
her or refers to
her as a child. A good example is an inclination that her
husband forbade her
from eating on macaroons, something that she frequently does
anyway in spite
of her promises to her husband of total obedience to him. The
imagery of both
animal and child reflect Noras clearly carefree nature, innocent,
and suggest that
Torvald does not perceive of her as a mature adult by the fact
that she is a

woman. On another overview, male dominance is predominately
expressed in the
Revolutionary Road where Frank had choices and options over
April. From time
to time, Frank went every day to the city on the train with other
men to their
boring jobs while April stayed at home as a
Misogyny in the MoviesLiterature 4homemaker.
Yet on the play, A Dolls House, Nora is perceived to has no
formal occupation
because she cannot be given the opportunity to be employed.
She is constantly
reminded by her husband that women were allowed to work only
if they were
widowed or unmarried. In the play, Nora is only permitted to do
light work such
L ast name1Name Professors Name Course Number Date
Misogyny Misogyny refers
to the prejudice or contempt against women. The societal
ailment can be manifested
in numerous ways, though hard to spot. In most of the cases,
misogynists do not
acknowledge that they indeed hate women. It is typically an
incognizant contempt that
men form, often resulting to psychological harm that involves a
female figure.
Therefore, as regards to the women protagonists in the
Revolutionary Road and A

Dolls House respectively, April Wheeler and Nora Helmer in
particular, greatly
explicates various
effects on female protagonists. These two great artistic works
both happened in
cultures of strict conformity, intending both men and women
must play roles in
Road, April Wheeler is
a passionate and independent-minded woman, but
inveterately
perceived miserable with her life.
She
lead a good life. On the
play, A Dolls House, Nora Helmer
is also
portrayed as a young woman, has three children and married to
Torvald Helmer.
At the outset of the play, she is carefree and bubbly, excited
about her husbands
was intrigued by some maters in her household, she entirely
remains skeptical about
it. Both contexts reflect misogyny in women as well as the
various consequences that

led them undertake certain actions. Lastname2In both settings,
misogyny is well
manifested, though as a feature that cannot be spoken but
whispered, mostly
inclining at setting off certain circumstances. In the movie and
the play,
viewed as objects to
be disrespected by showing lack of respect accompanied by a
feeling of intense
Road, April Wheeler is bound to
social exclusion, an indication that reflects misogyny,
particularly by the fact that
she feels she does not fit into society. Upon meeting Frank, she
believes that
Frank is an intelligent man who can present her to a world less
excluding. She
marries him. She,
however, does not accord the idea of getting children till her
late-twenties but is
otherwise convinced by Frank not to abort an inadvertent
pregnancy.
Conforming to A Dolls House, Nora Helmer is also subjected to
a treacherous
experience of male privilege, an example to misogyny. At the
beginning of the
Play, Tovarld Helmer, her husband views him as a spendthrift.

She is largely
downtrodden and scolded by her husband throughout the entire
play. She,
however, does not seem really concerned about this and
jubilantly plays along
with her husbands pet names such as Skylark, squirrel, pet and
Songbird,. In
general, her husband seems dominant to her, controlling her and
making all sorts
of treatments, like A Doll. Despite this, Torvald regularly treats
her or refers to
her as a child. A good example is an inclination that her
husband forbade her
from eating on macaroons, something that she frequently does
anyway in spite
of her promises to her husband of total obedience to him. The
Lastname3imagery of both
animal and child reflect Noras clearly carefree nature, innocent,
and suggest that
Torvald does not perceive of her as a mature adult by the fact
that she is a
woman. On another overview, male dominance is predominately
expressed in the
Revolutionary Road where Frank had choices and options over
April. From time
to time, Frank went every day to the city on the train with other
men to their
boring jobs while April stayed at home as a
homemaker.

Yet on the play, A Dolls House, Nora is perceived to has no
formal occupation
She is constantly
reminded by her husband that women were allowed to work only
if they were
widowed or unmarried. In the play, Nora is only permitted to do
light work such
as embroidery, crochet. Contrary to these aspects of misogyny,
we can perceive
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as embroidery, crochet. Contrary to these aspects of misogyny,
we can perceive
women hostility in Revolutionary Road. After the opening night
of the theatre,
April and Frank had an awful fight while on their way back
home, a fight that
managed to make their affair even less friendly. In an attempt to
regain his lost
state of being a man and draw his attention away from his
problems, Frank

committed adultery with a young and nave woman, Maureen.
The context in this
overview explicates women hostility by the fact that they are
harshly treated as
well as the idea of adultery that Frank engaged. On the play, A
Dolls House, it can
be ascertained that Nora was a total subject to hostility. Upon
Torvald opening
his letterbox, he calls her a liar and a hypocrite to an extent of
complaining that
Nora has ruined his happiness. Torvald further declares that
Nora will be
discontinued upon raising their children. As a result, the
protagonist in the play
does not easily submit to the status quo. When Torvald further
learns of the debt
and eventually fails to forgive her till he is certain that his
reputation is indeed
safe, Nora becomes fully aware that her
apprehension of
herself, her marriage, her husband and the society at large was
all wrong. She
then gives consent that she cannot for more time be happy in
her marriage and
life, and finally resolves at leaving both her husband and her
home in search of
purpose, a sense of self and a chance be cognizant about the
world.

Misogyny in the MoviesLiterature 5In
addition to the misogynistic environment between the two
contexts, the
contemplate against women can be further perceived through
sexual
objectification. In the Revolutionary Road, sexual
objectification is attended by
the fact that April has two children and having the third one on
the way before
her alternative to aborting, which led to undesirable
consequences. To Aprils
horror and despair, she found out that she was indeed pregnant
with her third
child and this factor greatly ruined all her dreams and hopes.
However, on the
play, A Dolls House, things were not baffling. Nora had three
children with her
husband and during his lifetime, tendered and cared for his
family. He even had
to intervene in her husbands illness and secure a loan which was
bound by
secrets. Though she had good intentions of keeping this a
secret, the
consequences that followed his choices led him to an abrasive
relationship. By
this means, i think that these protagonists, both caught by their
cultures
misogyny trump over the cultural attitudes and got doomed by it
respectively.
Attending to the

Revolutionary Road, the main protagonist, April Wheeler was
doomed by the
cultures misogyny. Following his crumpled dream of moving to
Europe, where
she could ideally change her status quo by eventually resorting
to working,
sparing Frank all the time he needed to figure out what he could
do. The hurt
was intense and April crashed. Similarly, to Frank, April she
slept with her old
admirer, Shep Campbell, as an attempt to get through her
sorrow. April
eventually
died in a
hospital due to an unsuccessful attempt of self-abortion. Frank
then learned that
April really never loved him, from the last note she left before
dying. Frank would
never be in a position to recover from this, compelling him to
abandon his own
children who lived with his elder brother.
Misogyny in the MoviesLiterature 6On the other
hand, Nora managed to trump over the cultures misogyny in the
play A Dolls
House. As perceived through the paper, upon her husband
opening the letterbox,
he throws insults to Nora, to whom she perceives this as
unpleasantly stern.
Torvald complains that Nora has ruined his life after calling her

a liar and a
apposition to raise their
children. However, at a subsequent time upon Helene bringing
him another letter,
Torvald discovers that Krogstad, who faced dismissal has
delivered Noras
contract which typically contains the forged signature. Torvald,
who is extremely
joyful attempts to dismiss his insults, but the harsh words had
triggered Noras
senses. She then declares to her husband that in spite of their 8
years of
marriage, both of them do not quite understand each other. Nora
asserts, that
Torvald has over time taken her as a doll to be admired and
played with. She
leaves Torvald, declaring that she ought to make sense of
[herelf and everything
around her. Indeed, the misogyny in these women that are
portrayed
them undertake
certain actions.
women hostility in Revolutionary Road. After the opening night
of the theatre,
April and Frank had an awful fight while on their way back
home, a fight that
managed to make their affair even less friendly. In an attempt to

regain his lost
state of being a man and draw his attention away from his
problems, Frank
committed adultery with a young and nave woman, Maureen.
The context in this
overview explicates women hostility by the fact that they are
harshly treated as
well as the idea of adultery that Frank engaged. On the play, A
Dolls House, it can
be ascertained that Nora was a total subject to hostility. Upon
Torvald opening
his letterbox, he calls her a liar and a hypocrite to an extent of
complaining that
Nora has ruined his happiness. Torvald further declares that
Nora will be
discontinued upon raising their children. As a result, the
protagonist in the play
does not easily submit to the status quo. When Torvald further
learns of the debt
and eventually fails to forgive her till he is certain that his
reputation is indeed
safe, Nora becomes fully aware that her
Lastname4apprehension of
herself, her marriage, her husband and the society at large was
all wrong. She
then gives consent that she cannot for more time be happy in
her marriage and
life, and finally resolves at leaving both her husband and her
home in search of

purpose, a sense of self and a chance be cognizant about the
world.
In
addition to the misogynistic environment between the two
contexts, the
contemplate against women can be further perceived through
sexual
objectification. In the Revolutionary Road, sexual
objectification is attended by
the fact that April has two children and having the third one on
the way before
her alternative to aborting, which led to undesirable
consequences. To Aprils
horror and despair, she found out that she was indeed pregnant
with her third
child and this factor greatly ruined all her dreams and hopes.
However, on the
play, A Dolls House, things were not baffling. Nora had three
children with her
husband and during his lifetime, tendered and cared for his
family. He even had
to intervene in her husbands illness and secure a loan which was
bound by
secrets. Though she had good intentions of keeping this a
secret, the
consequences that followed his choices led him to an abrasive
relationship. By
this means, i think that these protagonists, both caught by their
cultures
misogyny trump over the cultural attitudes and got doomed by it

respectively.
Attending to the
doomed by the
cultures misogyny. Following his crumpled dream of moving to
Europe, where
she could ideally change her status quo by eventually resorting
to working,
sparing Frank all the time he needed to figure out what he could
do. The hurt
was intense and April crashed. Similarly, to Frank, April she
slept with her old
sorrow. April
eventually
Lastname5died in a
then learned that
April really never loved him, from the last note she left before
dying. Frank would
never be in a position to recover from this, compelling him to
abandon his own
children who lived with his elder brother.
On the other
hand, Nora managed to trump over the cultures misogyny in the
play A Dolls
House. As perceived through the paper, upon her husband
opening the letterbox,

he throws insults to Nora, to whom she perceives this as
unpleasantly stern.
Torvald complains that Nora has ruined his life after calling her
a liar and a
apposition to raise their
children. However, at a subsequent time upon Helene bringing
him another letter,
Torvald discovers that Krogstad, who faced dismissal has
delivered Noras
contract which typically contains the forged signature. Torvald,
who is extremely
joyful attempts to dismiss his insults, but the harsh words had
triggered Noras
senses. She then declares to her husband that in spite of their 8
years of
marriage, both of them do not quite understand each other. Nora
asserts, that
Torvald has over time taken her as a doll to be admired and
played with. She
leaves Torvald, declaring that she ought to make sense of
[herelf and everything
around her. Indeed, the misogyny in these women that are
portrayed
them undertake
certain actions.
1
6

18
2
8
12
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6
18
2
8
12
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The interiorized impacts of misogyny on women in both
cultures is largely
reflected issues with the outcome of the event as relative to the
individuals. With
the content of female objectification that is ingrained deeply in

the
minds of women during their shaping period, the pressure of
maintaining a
pleasing appearance to men is often ineluctable
(Shaw, 2017). Misogyny in the MoviesLiterature 7References
Yates,
R. (2010). Revolutionary Road.
Garland, P., Hampton, C., Elkins, H., Bloom, C., Hopkins, A.,
Richardson, R., Elliott, D.,
... Ibsen, H. (2013). A doll's house. United States Sheba Blake
Publishing. Shaw, D.
(2017). Movies with meaning Existentialism through film.
Ibsen, H., In Rem, T., Dawkin,
D., Skuggevik, E. (2016). A doll's house and other plays.
The interiorized impacts of misogyny on women in both
cultures is largely
reflected issues with the outcome of the event as relative to the
individuals. With
the content of female objectification that is ingrained deeply in
Lastname6the
minds of women during their shaping period, the pressure of
maintaining a
pleasing appearance to men is often ineluctable
. Works Cited YATES,
R. (2010). Revolutionary Road.
httpsnls.ldls.org.ukwelcome.htmlark81055vdc100049002851.0x

000001. Trnqvist, Egil.
Ibsen A Doll's House. Cambridge Cambridge Univ. Press, 1995.
Print. Ackley,
Katherine A. Misogyny in Literature An Essay Collection. New
York u.a Garland, 1992.
Print.
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Name:
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Date:
!2
Following the women protagonists in the “Revolutionary Road”
and “A Doll’s House”,
April Wheeler and Nora Helmer in particular greatly explicates
the effects on female
protagonists. These two great artistic works both happened in
cultures of strict conformity,
intending both men and women must “play roles” in almost all

aspects of their daily lives. In the
Revolutionary Road, April Wheeler is a passionate and
independent-minded woman, but
inveterate unhappy. As a suburban lady of the house, she is
generally perceived miserable with
her life. Her parents who were partygoers did not consent her
and she was brought up by her
aunts in an affluent setting. April struggles and wants to fit in
among neighbors who led a
lifetime of excitement.
Attending to the play, A Doll’s House, Nora Helmer portrayed
as a young woman, has
three children and married to Torvald Helmer. At the outset of
the play, she is carefree and
bubbly, excited about her husband’s promotion and Christmas.
Despite the fact that she intrigued
by some maters in her household, she entirely remains skeptical
about it. With this overview,
misogyny in these women portrayed within both context reflects
the various effects that
channeled them undertake certain actions.
In both contexts, misogyny is well manifested, though as a
feature that cannot be spoken

but whispered, mostly inclining at setting off certain
circumstances. In the movie and the play,
viewed as objects to be disrespected
by showing lack of respect accompanied by a feeling of intense
!3
Road, April Wheeler is subjected to social exclusion, an
indication that reflects misogyny,
society. Upon meeting Frank, she
believes that Frank is an intelligent man who can present her to
a world less excluding. She
marries him. She, however, does not
accord the idea of getting children till her late-twenties but is
otherwise convinced by Frank not
to abort an inadvertent pregnancy.
Conforming to A Doll’s House, Nora Helmer is also subjected
to a treacherous experience
of male privilege, an example to misogyny. At the beginning of
the Play, Tovarld Helmer, her

husband views him as a spendthrift. She is largely downtrodden
and scolded by her husband
throughout the entire play. She, however, does not seem really
concerned about this and
jubilantly plays along with her husband’s pet names such as
“Skylark,” “squirrel,” “pet” and
“Songbird,”. In general, her husband seems dominant to her,
controlling her and making all sorts
of treatments, like “A Doll.”
Despite this, Torvald regularly treats her or refers to her as a
child. A good example is an
inclination that her husband forbade her from eating on
macaroons, something that she
frequently does anyway in spite of her promises to her husband
of total obedience to him. The
imagery of both animal and child reflect Nora’s clearly carefree
nature, innocent, and suggest
that Torvald does not perceive of her as a mature adult by the
expressed in the Revolutionary
Road where Frank had choices and options over April. From
time to time, Frank went every day

to the city on the train with other men to their “boring jobs”
while April stayed at home as a
!4
homemaker. Yet on the play, A Doll’s House, Nora is perceived
to has no formal occupation
She is constantly reminded by her
husband that women were allowed to work only if they were
widowed or unmarried. In the play,
Nora is only permitted to do light work such as embroidery,
crochet.
Contrary to these aspects of misogyny, we can perceive women
hostility in Revolutionary
Road. After the opening night of the theatre, April and Frank
had an awful fight while on their
way back home, a fight that managed to make their affair even
less friendly. In an attempt to
regain his lost state of being a man and draw his attention away
from his problems, Frank
committed adultery with a young and naïve woman, Maureen.
The context in this overview
explicates women hostility by the fact that they are harshly

treated as well as the idea of adultery
that Frank engaged. On the play, A Doll’s House, it can be
ascertained that Nora was a total
subject to hostility. Upon Torvald opening his letterbox, he
calls her a liar and a hypocrite to an
extent of complaining that Nora has ruined his happiness.
Torvald further declares that Nora will be discontinued upon
raising their children. As a
result, the protagonist in the play does not easily submit to the
status quo. When Torvald further
learns of the debt and eventually fails to forgive her till he is
certain that his reputation is indeed
safe, Nora becomes fully aware that her apprehension of herself,
her marriage, her husband and
the society at large was all wrong. She then gives consent that
she cannot for more time be happy
in her marriage and life, and finally resolves at leaving both her
husband and her home in search
of purpose, a sense of self and a chance be cognizant about the
world.
!5

In addition to the misogynistic environment between the two
contexts, the contemplate
against women can be further perceived through sexual
objectification. In the Revolutionary
Road, sexual objectification is attended by the fact that April
has two children and having the
third one on the way before her alternative to aborting, which
led to undesirable consequences.
To April’s horror and despair, she found out that she was indeed
pregnant with her third child and
this factor greatly ruined all her dreams and hopes. However, on
the play, A Doll’s House, things
were not baffling. Nora had three children with her husband and
during his lifetime, tendered and
cared for his family. He even had to intervene in her husband’s
illness and secure a loan which
was bound by secrets. Though she had good intentions of
keeping this a secret, the consequences
that followed his choices led him to an abrasive relationship.
By this means, i think that these protagonists, both caught by
their cultures’ misogyny
trump over the cultural attitudes and got doomed by it
respectively. Attending to the

doomed by the culture’s
misogyny. Following his crumpled dream of moving to Europe,
where she could ideally change
her status quo by eventually resorting to working, sparing Frank
all the time he needed to figure
out what he could do.
The hurt was intense and April crashed. Similarly, to Frank,
April she slept with her old
sorrow. April eventually died in a
then learned that April really
never loved him, from the last note she left before dying. Frank
would never be in a position to
recover from this, compelling him to abandon his own children
who lived with his elder brother.
!6
On the other hand, Nora managed to trump over the culture’s
misogyny in the play A
Doll’s House. As perceived through the paper, upon her
husband opening the letterbox, he throws

insults to Nora, to whom she perceives this as unpleasantly
stern. Torvald complains that Nora
has ruined his life after calling her a liar and a hypocrite,
eventually declaring that she will not be
in apposition to raise their children.
However, at a subsequent time upon Helene bringing him
another letter, Torvald
discovers that Krogstad, who faced dismissal has delivered
Nora’s contract which typically
contains the forged signature. Torvald, who is extremely joyful
attempts to dismiss his insults,
but the harsh words had triggered Nora’s senses. She then
declares to her husband that in spite of
their 8 years of marriage, both of them do not quite understand
each other. Nora asserts, that
Torvald has over time taken her as a “doll” to be admired and
played with. She leaves Torvald,
declaring that she ought to “make sense of [her]self and
everything around her”.
Indeed, the misogyny in these women that are portrayed within
both context reflects the
various effects that channeled them undertake certain actions.
The interiorized impacts of
misogyny on women in both cultures is largely reflected issues

with the outcome of the event as
relative to the individuals. With the content of female
objectification that is ingrained deeply in
the minds of women during their shaping period, the pressure of
maintaining a pleasing
appearance to men is often ineluctable (Shaw, 2017).
!7
References
Yates, R. (2010). Revolutionary Road.
Garland, P., Hampton, C., Elkins, H., Bloom, C., Hopkins, A.,
Richardson, R., Elliott,
D., ... Ibsen, H. (2013). A doll's house. United States: Sheba
Blake Publishing.
Shaw, D. (2017). Movies with meaning: Existentialism through
film.
Ibsen, H., In Rem, T., Dawkin, D., & Skuggevik, E. (2016). A
doll's house and other
plays.

A Doll House Link: https://drive.google.com/drive/folders/
1Jak3RhOdZ4gBQDmDqBWNOkJQQyd4v6dO?usp=sharing
https://drive.google.com/drive/folders/1Jak3RhOdZ4gBQDmDq
BWNOkJQQyd4v6dO?usp=sharing

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