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The Yellow Wallpaper, the female protagonist is described as having “typical nervous depression—hysterical tendency” a euphemism to explain the woman’s behavior that is in conflict with the patriarchal view (Gilman, 1892). The Yellow Wallpaper is an example of how mental illness has long been utilized as a plot device to explain the actions of the femme fatale that do not conform to the patriarchal or societal views. Femme fatales are characterized as a woman who tempts men into dangerous and usually destructive circumstances (Snyder, 2001).
Femme fatales are perceived as a threat to the patriarchal view and represent societal harms (Id).
In contrast the homme fatale, the male version of the femme fatale and just as dangerous and
destructive,
…show more content…
The Diagnostic and Statistical Manual aids the perception of non-normal feminine behaviors by labeling women who display extravagant feminine qualities with a mental disorder such as the nervous depression from The
Yellow Wallpaper (Id). Females that do not conform to traditional roles of femininity are labeled as having a defective personality and mentally ill (Id). The femme fatale is cured by personifying more traditional feminine roles (Id). Homme fatales in contrast as the dominant patriarch of society do not have disorders specifically for non-conformance of traditional masculine roles.
Femme fatales are sexually appealing to men until the defective personality is revealed
(Id). A femme fatale with the defective personality disorder is depicted as dangerous and destructive (Id). The defective personality disorder is perceived as requiring to be fixed and any deviation is considered to be against the norms and a societal problem (Id).Society can create disorders based on the current feminine traditional roles and any behavior beyond the parameters
Women’s Studies 580Z Graduate Paper
Stefanie
Jane has suffered from a mental illness even as a child and could not have received sufficient care due to the issues prevalent during the late nineteenth century.
Gilbert, Sandra M. and Susan Gubar. “A Feminist Reading of ‘The Yellow Wallpaper’.” The Story and Its Writer. Ann Charters. Boston: Bedford/St. Martin’s, 2011. Print.
portrayed as the “femme fatale” and also “mother,” the “seductress” and at the same time
“There are things in that paper which nobody knows but me, or ever will. Behind that outside pattern the dim shapes get clearer every day. It is always the same shape, only very numerous. And it is like a woman stooping down and creeping about behind that pattern. I don’t like it a bit. I wonder—I begin to think—I wish John would take me away from here!” The late 19th century hosted a hardship for women in our society. “The Yellow Wallpaper” by Charlotte Perkins Gilman expressed a form of patriarchy within the story. Gilman never addressed the woman in the “The Yellow Wallpaper” by a name, demonstrating her deficiency of individual identity. The author crafted for the narrator to hold an insignificant role in civilization and to live by the direction of man. Representing a hierarchy between men and women in the 19th century, the wallpaper submerged the concentration of the woman and began compelling her into a more profound insanity.
During this time period women did not encompass the same rights as their male counterparts, nor where they encouraged to participate in the same activities as they. Gillman describes the yellow wallpaper to the readers as a rationalization of what it means to be a woman during this time period. Women were expected to be child-like and fragile as noted, within the text, “What is it child(Gilman, 1998)?” The color yellow is often associated with sickness; in Gilman’s case her sudden illness refers to oppression. She notes as the story, progresses the wallpaper makes her feel sick. Gilman notes, “I never saw a worse paper in my life,” as a symbol in which refers to the restrictions and norms society places on women. Within her literature she addresses restrictions placed on women. Gilman states, “The color is hideous enough, and unreliable enough, and infuriating enough, but the pattern is torturing.” Meaning, she believed men denying women the right to equality was absurd, and when they did grant women’s freedom it was not equivalent rather a “slap in the face [it knocks] you down and tramples you (Gilman, 1998).” Through her essay she consistently refers to a figure behind the wallpaper. “The faint figure behind seemed to shake the pattern, just as if she wanted to get out (Gilman, 1998).” Meaning, women during this time period seek to feel free from oppression. The women behind the wallpaper represents the need to speak out, “you have to creep on the ground, and everything is green instead of yellow (Gilman,1998).” Creeping placed significance on the experience of being a woman in regards to, how they should think, feel, act, dress, and express themselves. Gilman notes, “And I 've pulled off most of the paper, so you can 't put me back! " The author used this quote to signify, the woman realized she was
“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
...show that it is a feminist reading, which is unconvincing. In the end, there is more information supporting the fact that it is not about women, and is about all people dealing with this issue. The message of the “The Yellow Wallpaper” is concerning the unfair and wrongful treatment of mental disorders.
In society, women are sometimes viewed in contrast to men. Women are judged heavily on appearance and are pushed to conform to mankind’s stereotype. To His Coy Mistress, Barbie Doll, and The Stepford Wives are three prime examples of texts and film that have a main theme of making women into objects.
The article expounds upon the characters: Harley Quinn, Catwoman, and Poison Ivy. The author discusses how these female fatales were seen as a threat because of their power and authority. They are objectified because they used their sexuality in order to achieve their goals. For example, Batman recounts to Albert, his butler how Harley Quinn used her sexuality in order to advance her goals to become a psychiatrist during graduate school. In the franchise, the characters exhibit a defiance of societal norms. As a result, the women are portrayed as dangerous and monstrous. However in order to survive in society, they each rely on their displays of sexuality and seduction to advance their motives. For example, Poison Ivy uses her feminine symbols such as kisses and flowers for destructive purposes. The author adds how there are differences between male and female villains, especially when it comes to verbal connotations of labeling. They are often underestimated, especially when fighting men, who are hindrances in the women’s path. However, they are also punished when they are seen as “too powerful”. For example, the Joker punishes Harley Quinn when she comes closer than hi to defeating Batman. These female fatales exemplify what
Picture yourself as a woman in the 1940s. Life is rather mundane, you’re nothing but a housewife. You cook, clean, raise children, and dote upon your manly husband, your behavior is reinforced through film – an industry dominated by the patriarchy which stresses what a woman should do, and how a woman should act. Now, imagine you’re about to change all that. Picture yourself as the Femme Fatale. The Femme Fatale’s role in film, especially that of film noir became the ultimate reflection of the everyday defiant woman seeking equality. Therefore, in film noir, the femme fatale was able to significantly transgress the status quo of the societal norms of femininity and gave a voice to women which can be seen through her emergence post-WWII, the prewar norms of femininity and how she changed them, and her influence on women of the time.
"The Yellow Wallpaper" motivated the female mind of creativity and mental strength through a patriarchal order of created gender roles and male power during the nineteenth century and into the twentieth century. While John represented characteristics of a typical male of his time, the yellow wallpaper represented a controlling patriarchal society; a sin of inequality that a righteous traitor needed to challenge and win. As the wallpaper deteriorates, so does the suppressing effect that male hierarchy imposed on women. Male belief in their own hierarchy was not deteriorating. Females began to think out of line, be aware of their suppression, and fight patriarchal rule. The progression of the yellow wallpaper and the narrator, through out the story, leads to a small win over John. This clearly represents and motivates the first steps of a feminist movement into the twentieth century.
Golden, Catherine, ed. The Captive Imagination: A Casebook on "The Yellow Wallpaper." New York: Feminist Press, 1992.
Women – beautiful, strong matriarchal forces that drive and define a portion of the society in which we live – are poised and confident individuals who embody the essence of determination, ambition, beauty, and character. Incomprehensible and extraordinary, women are persons who possess an immense amount of depth, culture, and sophistication. Society’s incapability of understanding the frame of mind and diversity that exists within the female population has created a need to condemn the method in which women think and feel, therefore causing the rise of “male-over-female” domination – sexism. Sexism is society’s most common form of discrimination; the need to have gender based separation reveals our culture’s reluctance to embrace new ideas, people, and concepts. This is common in various aspects of human life – jobs, households, sports, and the most widespread – the media. In the media, sexism is revealed through the various submissive, sometimes foolish, and powerless roles played by female models; because of these roles women have become overlooked, ignored, disregarded – easy to look at, but so hard to see.
Instead, the film cherry-picks frightening or exaggerated elements of a spectrum of disorders, including schizophrenia, delusional disorder, dissociative identity disorder, and post-traumatic stress disorder. This makes Laeddis an embodiment of a combination of the most frightening psychological disorders. While there are certain aspects of Laeddis’ psychosis that are accurate in terms of an individual disorder, these elements do not add up to a realistic portrayal of mental illness. This combination of fact and fiction also extends to the film’s treatment of institutionalization, psychological therapy, and the connection between violence and mental illness. The exaggerations and distortions of Shutter Island serve one purpose, they entertain the audience. However, this type of entertainment often comes at the cost of perpetuating the negative stigma and misinformation that surrounds mental illness in modern society. While the film may entertain audiences with its dramatic twists and turns, Shutter Island is a part of a trend of inaccuracies and exaggeration of mental illness in modern
Feminism is a movement that supports women equality within society. In relation to film, feminism is what pushes the equal representation of females in mainstream films. Laura Mulvey is a feminist theorist that is famous for touching on this particular issue of how men and women are represented in movies. Through her studies, she discovered that many films were portraying men and women very differently from reality. She came up with a theory that best described why there is such as huge misrepresentation of the social status quos of male and female characters. She believed that mainstream film is used to maintain the status quo and prevent the realization of gender equality. This is why films are continuously following the old tradition that males are dominant and females are submissive. This is the ideology that is always present when we watch a movie. This is evident in the films from the past but also currently. It is as if the film industry is still catering to the male viewers of each generation in the same way. Laura Mulvey points out that women are constantly being seen as sexual objects, whether it is the outfits they wear or do not wear or the way they behave, or secondary characters with no symbolic cause. She states that, “in traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote it-be-looked-at-ness.”(Mulvey pg. 715). Thus, women are nevertheless displayed as nothing more than passive objects for the viewing pleasure of the audience. Mulvey also points out through her research that in every mainstream movie, there is ...