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early 20th century art
FEMINIST ESSAY
role of women in the 19th century
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Are women equal to men? Are they essentially the same or wholly different beings? How are women to be treated and what is their position? In 1892 when this story was written, a woman’s place was at home and she was to be submissive to her husband. Charlotte Perkins Gilman, the author, was a feminist who disagreed with this principle. Her discontentment with a woman’s role in society, their medical treatment in regards to mental disorders, and the institution of marriage are evident in her writing. The Yellow Wallpaper is a powerful example of how sexism taken to the extreme can be catastrophic. In the late nineteenth century, women were to be wives and mothers. Women and men were seen as fundamentally different creatures, created with different purposes. The husband was the provider and the head of the family, while the wife was the homemaker. Males were the more social gender because they were deemed strong enough to deal with a complicated and crooked world. Women were seen as fragile and simplistic, and therefore their most fitting role was at home. They were to be passive, kind, respectful, and virtuous. The society in which Gilman lived had a very narrowly defined idea of what a woman was supposed to be. Charlotte Perkins Gilman defied this stereotype. Although she was married twice, in neither relationship did she follow the standard role of homemaker. Born in Hartford, Connecticut in 1860, she was raised by a single mother and grew up to be an artist and art teacher. She married in 1884 and had a daughter the following year. However, after her pregnancy she sank into a deep postpartum depression and was sent to a sanitarium for women. There, the prescribed treatment of rest and isolation nearly drove her insane and ... ... middle of paper ... ...ciety, marriage, and self-image from the midst of it looking out. Because of the realness of Gilman’s narrative and the pain from which she draws it out, The Yellow Wallpaper shows the devastation of sexism in a moving and potent way. Bibliography “Charlotte Perkins Gilman." In An Introduction to Literature, 14th ed. Sylvan Barnet, William Burto, and William E. Cain, 419. New York: Person Longman, 2006. Fortin, Elaine. "Early Nineteenth Century Attitudes Toward Women and Their Roles as Represented by Literature Popular in Worcester, Massachusetts." Teach US History. http://www.teachushistory.org/detocqueville-visit-united-states/articles/early-19th-century-attitudes-toward-women-their-roles. Gilman, Charlotte P. "The Yellow Wallpaper." In An Introduction to Literature, Sylvan Barnet, William Burto, and William E. Cain, 420. New York: Person Longman, 2006.
Karpinski, Joanne B. “An Introduction to Critical Essays on Charlotte Perkins Gilman.” Short Stories for Students. Ed. Kathleen Wilson. Vol 1. Detroit: Gale, 1997. 277-293. Print
Davis, Cynthia J. “CHARLOTTE PERKINS GILMAN A Biography.” Stanford, California: Stanford University Press, 2010. Print.
Charlotte Perkins Gilman was born in Hartford, Connecticut in1860. Her father the grandson and the nephew of Henry Ward Beecher and Harriet Beecher Stowe deserted his family shortly after her birth. During her lonely childhood, she tried to establish a relationship with him. (Gilman) After becoming a tutor and a brief stint at Rhode Island School of Design, she took a job designing post cards and began to write, publishing a short newspaper article in 1883. From 1889 to 1891, she edited the Pacific Monthly in Los Angeles, and during the 1890s she toured the nation lecturing on women rights. In 1900 she married her first cousin, George Houghton Gilman, who shared many of her
The unnamed narrator finds herself trapped within a large room lined with yellow wallpaper and hidden away from all visitors by her husband-physician John. In “The Yellow Wallpaper” by Charlotte Perkins Gilman, a summer spent in the large ancestral hall to find healing through rest turns into the manic changes of her mind. The overbearing nature of her husband inspires a program designed to make her better; ironically, her mind takes a turn for the worse when she believes the wallpaper has come to life. In Janice Haney-Peritz’s “Monumental Feminism and Literature’s Ancestral House: Another Look at ‘The Yellow Wallpaper’ ”, she tells that until 1973, Gilman’s story was not seen with a feminist outlook. “The Yellow Wallpaper” was misunderstood and unappreciated when it was published. The patriarchal attitudes of men in this era often left women feeling they had no voice and were trapped in their situations. Although originally interpreted as a horror of insanity, this initial perspective misses the broad, provocative feminist movement that Gilman supported. With the changes in perspective, over time this work has come to have a voice for women and the husband-wife relationship through the theme of feminism.
Kessler, Carol Parley. "Charlotte Perkins Gilman 1860 -1935." Modem American Women Writers. Ed. Elaine Showalter, et al. New York: Charles Scribner’s Sons, 1991. 155 -169.
“The Yellow Wallpaper” was a groundbreaking piece for its time. It not only expressed feministic views through the defiance of a male but also discussed mental illness and the inefficacy of medical treatment at the time. This fictional piece questioned and challenged the submissive role forced upon women of the 19th century and disclosed some of the mental struggles one might go through during this time of questing. Gilman shows however that even in the most horrific struggle to overcome male dominance, it is possible. She herself escapes which again shows a feminist empowerment to end the
As a child Charlotte attended school for a total of four years, which was not an uncommon amount of schooling for girls in her class, or declassed, position. She went to seven different schools, her formal education ending when she was fifteen. In spite of her family’s problems, however, Gilman enjoyed a rich intellectual environment. Through her father, she had family ties to the famous Beecher clan, including clergyman Henry Ward Beecher, writers Harriet Beecher Stowe and Catherine Beecher, and suffragist Isabella Beecher Hooker.SIMON. Gilman learned to read before she was five and in her tee...
Gillman, Charlotte Perkins. “The Yellow Wallpaper.” Legacies: Fiction, Poetry, Drama, Nonfiction. 4th ed. Eds. Jan Zlotnick Schmidt, Lynne Crockett, and Carley Rees Bagarad. Boltin: Wadsworth Cengage Learning, 2009. 672-683. Print.
Women have struggled for decades to carve out their place in society, but before they could do that they were tasked with standing their ground in their own marriages. Charlotte Perkins Gilman is a journalist, feminist and women’s rights activist who used her writing to shed light on women’s unequal status in the institution of marriage. In Gilman’s time it was a social norm that women were concerned only with the domestic trappings of the marriage, while the husband took the active role. In Gilman’s most famous short story “The Yellow Wallpaper”, Gilman uses a captivating plot, the symbolism of some frustrating wallpaper, and an overall theme of the importance of self expression to articulate the sometimes harmful aspects of a woman’s place
Wohlpart, Jim. American Literature Research and Analysis Web Site. “Charlotte Perkins Gilman, “The Yellow Wallpaper.”” 1997. Florida Gulf Coast University
The short story "The Yellow Wallpaper" by Charlotte Perkins Gilman perfectly portrays and embodies the suppression of late nineteenth-century married women in a male-dominated society which resulted in a whole class of people plagued by the severe mental ramifications of this defective structure. The plot greatly aligns with a personal experience the author (Gilman) had in which the constraint of her freedoms following the advice of her doctor drove her near the edge of madness, nearly making "The Yellow Wallpaper" a personal account of these events. During this period in the nineteenth-century women held very few legal rights and were actively expected to take on the role of homemaker and were often bombarded by oppressive gender stereotypes,
The two common threads that connect Charlotte Perkins Gilman and the narrator in her story are depression/postpartum depression, and entrapment within their roles as of women. Specifically, Gilman and the narrator are trying to escape the function society has placed on them. First, after fulfilling their expected duties as wife and mother, both Gilman and the narrator become depressed after the birth of their child. It is this depression that leads them to the infamous rest cure...
Charlotte Perkins Gilman was born feminist theorist in the mid eighteenth century. She focused largely on the gender inequalities within society. She shared views with other famous theorists and implemented their ideas in her own beliefs. Many of these beliefs and ideas are seen in today’s society. Topics like gender inequality, are often discussed today and woman are still fighting for equal pay.
Gilman, Charlotte Perkins. "Essay date 1935." Twentieth-Century Litirary Criticism 9. Ed. Dennis Poupond. Detroit: Gale Research, 1983. 316-317
Gilman, Charlotte P. "The Yellow Wallpaper." Literature for Composition. New York: Longman, 2011. 746-56. Print. Ser. 2.