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Role of gender and feminism In the Yellow Wallpaper
Feminist interpretation in the yellow wallpaper
Feminist interpretation in the yellow wallpaper
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Are asylums meant to shelter the affected persons or to help society flee away from abnormalities that are inevitable in human life? What are the consequences of keeping a person kept captive behind these so called ‘shelters’? These questions are some of the many that are inquired in The Yellow Wallpaper by Charlotte Perkins Gilman. Within the lines of the obscure plot in this short story, the author makes it clear that the unnamed protagonist was not, in fact, insane or suffering from a definitive disease or mental malfunction. However, this ‘mental disorder’ is only a way that the narrator actively rebels against society and how patriarchy has restricted her into becoming a heap of insecure thoughts.
In the introduction of the story the unnamed narrator describes her ‘illness’ and the ‘conditions’ she faces, however through the analysis of her writing she begins to reveal the oppression that she is forced to submit to. Much of the protagonist’s oppression comes from her husband, as he does not believe she is sick at all. Because she is timid and is subdued by her spouse she believes, like the rest of society, that a male’s qualifications can automatically make him right. The narrator tends to question her husband’s view, but then covers it up with his credentials in her private journal entries, “You see he does not believe I am sick! And what can one do? If a physician of high standing, and one's own husband, assures friends and relatives that there is really nothing the matter with one but temporary nervous depression -- a slight hysterical tendency -- what is one to do?” (Gilman Wallpaper, 1) This is only the beginning of the oppression and the beginning of the narrator’s rebellion against a society controlled by men. The au...
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...nd The Yellow Wallpaper.
Works Cited
Gilman, Charlotte Perkins. "Why I Wrote 'The Yellow Wallpaper.'." The Captive Imagination: A Casebook on "The Yellow Wallpaper,". Ed. Catherine Golden. New York: Feminist Press at the City University of New York, 1992. 51-53. Rpt. in Short Story Criticism. Ed. Janet Witalec. Vol. 62. Detroit: Gale, 2003. Literature Resources from Gale. Web. 10 Feb. 2012.
Gilman, Charlotte Perkins. The Yellow Wallpaper. [New York]: Feminist, 1973. Print.
Knight, Denise D. "'I am getting angry enough to do something desperate': The Question of Female 'Madness.'." "The Yellow Wall-Paper" by Charlotte Perkins Gilman: A Dual-Text Critical Edition. Ed. Shawn St. Jean. Athens: Ohio University Press, 2006. 73-87. Rpt. in Twentieth-Century Literary Criticism. Vol. 201. Detroit: Gale, 2008. Literature Resources from Gale. Web. 10 Feb. 2012.
In Heinrich Von Kleist's The Marquise of O. and Charlotte Perkins Gilman's The Yellow Wallpaper, the female protagonist is terribly mislabeled. The inaccuracies in treatment, administered by seemingly authoritative and knowledgeable characters -- family members and a medically certified spouse, respectively -- result in tragic deterioration of the state of mind of both the Marquise and The Yellow Wallpaper's narrator. The delineation of each character's weakness is comprised of blatant references to an applied infantile image and approaching unstable mentality. In The Marquise of O, the Marquise is thrust unwillingly into the external world; in The Yellow Wallpaper, the narrator is locked away unwillingly in an interior world. Though both are persecuted because of their gender, in The Marquise of O, the Marquise is troubled by the symbolic rebirth of her womanhood; while in The Yellow Wallpaper, the narrator is troubled by the symbolic death of her womanhood.
In Gilman’s “The Yellow Wallpaper”, the narrator’s setting in an environment similar to that of a prison helps represent the narrator’s powerlessness over herself and her medical care. In her description of the room, the narrator states, “the windows are barred for little children, and there are rings and things in the walls” (Gilman), in addition to mentioning a gate at the top of the steps and a “great immovable bed” (Gilman). However, this unsettling description is eerily similar to that of a jail
Wagner-Martin, Linda. "The Yellow Wallpaper." Reference Guide to Short Fiction. Ed. Noelle Watson. Detroit: St. James Press, 1994. 981- 982.
Wagner-Martin, Linda. "The Yellow Wallpaper." Reference Guide to Short Fiction. Ed. Noelle Watson. Detroit: St. James Press, 1994. 981- 982.
The concept how woman are treated in modern times have changed drastically compared to woman who lived in the conservative period. That period was the time where the perception of individuals in general dealt with countless restraints. The women were the ones who were affected the most because these values had strongly influenced them. Woman behaved in a way how their husband’s wanted because they were living their lives by the controlled ways of the man. The story of “The Yellow Wallpaper” by Charlotte Perkins Gilman and the story of “The Awakening” by Kate Chopin are two stories that show accurately the way how women were treated at that time; exactly Edna and the other women. I want to discuss that the main characters of these two stories; Edna and the other women’s liberty were interdicted by their husbands. Finally, the way how both stories end; Edna’s suicide, and the other women’s insanity; demonstrates their inability to escape from the unhappy reality. None of them found the real strength, to outdo the restriction and effects of society, to attain their independence and freedom that they continuously wanted to achieve.
In Charlotte Perkins Gilman's "The Yellow Wallpaper," a nervous wife, an overprotective husband, and a large, dank room covered in musty wallpaper all play important parts in driving the wife insane. The husband's smothering attention, combined with the isolated environment, incites the nervous nature of the wife, causing her to plunge into insanity to the point she sees herself in the wallpaper. The author's masterful use of not only the setting (of both time and place), but also of first person point of view, allows the reader to participate in the woman's growing insanity.
“The Yellow Wallpaper” is the story of a woman descending into psychosis in a creepy tale which depicts the harm of an old therapy called “rest cure.” This therapy was used to treat women who had “slight hysterical tendencies” and depression, and basically it consisted of the inhibition of the mental processes. The label “slight hysterical tendency” indicates that it is not seen as a very important issue, and it is taken rather lightly. It is also ironic because her illness is obviously not “slight” by any means, especially towards the end when the images painted of her are reminiscent of a psychotic, maniacal person, while she aggressively tears off wallpaper and confuses the real world with her alternative world she has fabricated that includes a woman trapped in the wallpaper. The narrator of this story grows obsessed with the wallpaper in her room because her husband minimizes her exposure to the outside world and maximizes her rest. Academic essayists such as Susan M. Gilbert, Susan Gubar, and Elaine Showalter have a feminist reading of the story, however, this is not the most important reading. The author experienced the turmoil of the rest cure personally, which means that the story is most likely a comment on the great mistreatment of depression, hysteria and mental disorders in general. Despite the claims of Gilbert, Gubar, and Showalter that “The Yellow Wallpaper” is solely feminist propaganda, their analysis is often unnecessarily deep and their claims are often unwarranted, resulting in an inaccurate description of a story that is most importantly about the general mistreatment of psychosis and the descent into insanity regardless of gender.
In the story, “The Yellow Wallpaper,” the role of a woman in society is one of domestic duties. Jeenie, the protagonist’s sister-in-law, is a great example of this. The protagonist is forbidden, by her husband, to “work” until she is well again, so Jeenie steps in and assumes her domestic identity of a woman and wife. The protagonist calls her “a perfect and enthusiastic housekeeper” and says she “hopes for no better profession” (Gilman 343). Jeenie clearly has no aspirations outside the confines of her domestic role. The protagonist herself worries she is letting her husband, John, down by not fulfilling her domestic duties. She says “it does weigh on me so not to do my duty in any way” (Gilman 342). Besides the domestic role, which she is unable to fulfill, the protagonist plays the helpless, fragile, role of a woman where she is deemed incapable of thinking for herself and is reduced to acting more or les...
Gilman, Charlotte. “The Yellow Wallpaper.” Literature a World of Writing: Stories, Poems, Plays, and Essays. Ed. David Pike, and Ana Acosta. New York: Longman, 2011. 543-51. Print.
...ver been written to show why so many woman go crazy, especially farmers' wives, who live lonely, monotonous lives. A husband of the kind described that he could not account for his wife's having gone insane – 'for,' said he, "to my certain knowledge she has hardly left her kitchen and bedroom in 30 years" (60). Critic Sharon Felton says, "Even if we should remove every legal and political discrimination against women; even if we should accept their true dignity and power as a sex; so long as their universal business is private housework they remain, industrially, at the level of private domestic land labor and economically a non productive, dependent class . The wonder is not that so many women break down, but so few" (273). Critic Sharon Felton "Even if we should remove every legal and political discrimination against women; even if we should accept their true dignity and power as a sex; so long as their universal business is private housework they remain, industrially, at the level of private domestic hand labor and economically a non productive, dependent class ….The wonder is not that so many women break down, but so few."(273)
Ford, Karen. “The Yellow Wallpaper and Women’s Discourse.” Tulsa Studies in Women’s Literature 4.2 (1985): 309-14. JSTOR. Web. 6 April 2011.
Wohlpart, Jim. American Literature Research and Analysis Web Site. “Charlotte Perkins Gilman, “The Yellow Wallpaper.”” 1997. Florida Gulf Coast University
Gilman, Charlotte Perkins. "The Yellow Wallpaper." The Norton Introduction To Literature. Eds. Jerome Beaty and J. Paul Hunter. 7th Ed. New York, Norton, 1998. 2: 630-642.
In Charlotte Perkins Gillman’s short story “The Yellow Wallpaper”, the author takes the reader through the terrors of a woman’s psychosis. The story convey to understatements pertaining to feminism and individuality that at the time was only idealized. Gillman illustrates her chronological descent into insanity. The narrators husband John, who is also her physician diagnosed her with “nervous depression” and therefore ordered her to isolate until she recuperates. She is not only deprived of outside contact but also of her passion to write, since it could deteriorate her condition. The central conflict of the story is person versus society; the healthy part of her, in touch with herself clashing with her internalized thoughts of her society’s expectations. In a feminist point of view the central idea pertains to the social confinement that woman undergo due to their society.
Wagner-Martin, Linda. "The Yellow Wallpaper." Reference Guide to Short Fiction. Ed. Noelle Watson. Detroit: St. James Press, 1994. 981- 982.