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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,
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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
However, these thoughts are not always true all the time. Sometimes Hollywood makes films to show the audience the truth contained in the movie. In the movie “Girl, Interrupted,” the filmmakers have balanced the grim realism of the book with audience-pleasing elements of entertainment in order to make the film more comfortable. The graphic representation of mental illness makes audiences feel its realities, while the use of attractive actresses captures the attention of the audiences and makes it easier to relate to the story.
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
Ford, Karen. "'The Yellow Wallpaper' and Women's Discourse." Gale Virtual Reference Library. Gale Virtual Reference Library, 1985. Web. 23 Apr. 2014.
Golden, Catherine, ed. The Captive Imagination: A Casebook on "The Yellow Wallpaper." New York: Feminist Press, 1992
In addition to stereotypes, Gilman also showed how powerful women could be and that gender does not play a role in mental capability. “The Yellow Wallpaper” shared how hard women had to work to have their voices heard and the struggle it took to happen. She wanted women to know that they could take control of their own lives, just like she did.
...me portrays a very serious mental disorder that led the individual into a killing spree. This enhanced forceful apprehension to prevent the individual from killing people. The aspect does not portray the real picture as far as the mentally ill are concerned. It is a derogatory costume against the mentally ill and their loved ones.
Part one, “The Framework of Violence against Women,” sets the blueprint for what drives individuals, particularly men, to act on their impulses of violence triggered by an underlying fear or loathing, especially those instances of sexual depravity. Sex is comparable to power, creating power over others and thus creating a sense of power within. Violence is introduced at an early age, found in children’s cartoons, television shows, and popular video games. Society has become numb to the objectification of women to the point that violence has become accepted, and the behaviors are not only justified by the oppressor, but also believed by
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.
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.
Prior to the early twentieth century men dictated women’s role in society. Charlotte Gilman uses her novella “The Yellow Wallpaper” (1892) as a symbolic reflection of oppression of women in a paternalistic society. Her novella challenges the idea of women being depicted as weak and fragile.
portrayed as the “femme fatale” and also “mother,” the “seductress” and at the same time
Golden, Catherine, ed. The Captive Imagination: A Casebook on "The Yellow Wallpaper." New York: Feminist Press, 1992.
In almost every film there is constant gender expectation and role audiences expect men and women to act like in a particular story. It always seems that every plot the women are the ones that can't fend for themselves, so they are saved by masculine male figure. Although this is how most stories pan out, with slasher films, this is not entirely true. Slasher films have “The immensely generative story of a psycho killer who slashes to death a string of mostly female victims, one by one, until he is subdued or killed, usually by the one girl who has survived” (Clover 193). It is thought that most people only subside
The story "The Yellow Wallpaper," by Charlotte Perkins Gilman, is a story about control. In the late 1800's, women were looked upon as having no effect on society other than bearing children and keeping house. It was difficult for women to express themselves in a world dominated by males. The men held the jobs, the men held the knowledge, the men held the key to the lock known as society - or so they thought. The narrator in "The Wallpaper" is under this kind of control from her husband, John. Although most readers believe this story is about a woman who goes insane, it is actually about a woman’s quest for control of her life.
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.