"nervous disorder" and her treatment at the hands of the men in her life drives her to a complete mental break. The reader learns that not only is Jane's physician husband treating her, but his treatments are also supported by Jane's brother—also a doctor. 

The reader sees how Jane's husband's behavior reflects a woman's place in society—for his understanding of the world is law:

John laughs at me, of course, but one expects that in marriage.

John is practical in the extreme. He has no patience with faith, an intense horror of superstition, and he scoffs openly at any talk of things not to be felt and seen and put down in figures.

Jane's sister-in-law (Jennie), by behaving submissively toward her brother with regard to Jane's treatment (isolation from others, the inability to see her baby, prohibition against writing), demonstrates not only Jennie's acceptance of her place in society, but further promotes Jane's precarious grip on her mental stability, and the powerlessness of her position within the family and, in a greater sense, society.

In Chopin's "The Story of an Hour," we see family members once more depicting the social role of women. When Louise Mallard (the protagonist) loses (or so she believes) her husband in a railway accident, she is overcome by grief. However, behind closed doors the reader learns that Louise's life has been far from ideal. She has felt a prisoner of her husband, though he has always been kind.

There would be no powerful will bending hers in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow-creature.

She has been cared for, but has not been allowed a freedom of will or thought, reflective of the limitations of the society of which she is a part.

Chopin wrote this story in 1894. It was a time when women were fighting for the right to vote. Like Gilman, Chopin found society's expectations and freedoms restrictive:

While the suffrage movement sought reform, mainstream Victorian culture regarded the self-sacrificing wife, dependent on her husband and devoted to her children, as the ideal of femininity.

The theme of dependency is seen in Louise's sister Josephine. Josephine cannot understand why her sister would want to be alone following the news of Brentley's death. Society has taught its women that they are dependent on the male-dominated conventions of society not only in being subservient, but also in control exerted over them in terms of their thinking and even—in this case—their acceptable form of mourning.

Josephine was kneeling before the closed door with her lips to the keyhole, imploring for admission. "Louise, open the door! I beg; open the door--you will make yourself ill. What are you doing, Louise? For heaven's sake open the door."

Josephine conveys society's belief that a woman in Louise's position would be unable to handle the duress of such a situation—that she must be completely dependent upon others to survive.

In both of these powerful short stories, the reader is left with a sense of oppression and domination carried out against each story's female protagonist, not only by society but also by family members.

Additional Source:

http://www.enotes.com/topics/story-hour/in-depth#in-depth-historical-context

Both of these women are repressed in their marriages; the narrator in "The Yellow Wallpaper" is micro-managed by a well-meaning but overbearing husband.  He treats her like a child who is incapable of making decisions on her own; he disregards any opinions that she expresses; he makes fun of her whims and makes her feel guilty for any expression of unhappiness or complaint.  Louise Mallard's husband in "The Story of an Hour" doesn't seem to be so bad, although there is a hint that he had exercised authority over her; Louise thinks after his death that "there would be no powerful will bending hers in that blind persistence with which men and women believe they ahve a right to impose a private will upon a fellow-creature."  So, she did feel oppressed by him; Chopin even describes her as having a face "whose lines bespoke repression."

So, both women are repressed in their marriages, and not happy; however, they don't want to face up to their unhappiness.  The narrator of "The Yellow Wallpaper" constantly makes excuses for her husband, chastises herself for not being happier, and makes resolutions to "do better".  Louise Mallard fights of the happiness after her husband's death:  "She was beginning to recognize this thing that was approaching to possess her, and she was striving to beat it back with her will."  She tries to fight off the realization that she will be much happier without her husband.

Both women are also afflicted; Louise with heart troubles, and the narrator of "The Yellow Wallpaper" with a "slight hysterical tendency" and nervousness, that eventually spirals out of control.  Both women are overwhelmed by their afflictions in the end, either through death or by mental incapability.  Both women also demonstrate the sad reality of unhappiness in marriage, and the impact that it can have in one's life-a rather taboo subject of the day and age.

I hope that helps!