The Setting Of Charlotte Perkins Gilman 's `` The Yellow Wallpaper ``

The Setting Of Charlotte Perkins Gilman 's `` The Yellow Wallpaper ``

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The setting of Charlotte Perkins Gilman’s story “The Yellow Wallpaper” is crucial to the reader’s understanding of the narrator 's experiences. Even though the narrator is aware of some illness affecting her, she instinctively insists is caused from lack of artistic expression, but other outstanding factors are portrayed through Gilman’s writing which contribute to the psychosis of our narrator. To consider these aspects Susan , author of “The Feminist Criticism, ‘The Yellow Wallpaper,’ and the Politics of Color in America,” criticizes the degree where Gilman’s story transforms contemporary feminism and social practices.
Through the thirty four page analysis, Lanser invokes her audience to consider the influences of gender practices taken into account by writing styles, sexual oppression, the feminine consciousness, and political privileges. Lanser’s criticism begins with an in-depth study of the narrator 's husband, John, and his incessant desire to keep the narrator immobilized, infantilized, and bored thus giving the narrator the escape from her husband’s sentence through reading the wallpaper; “virtually all critics have agreed, this constitutes a kind of sanity in the face of the insanity of male dominance,” (Lanser 418). The feministic action is paralleled in “The Yellow Wallpaper,” through many gender-based ideological theories that are designed to bring the reader back to the question of the wallpaper which symbolizes the narrator 's oppressive situation. The use of the narrators double-voiced discourse with ironic understatements and negotiations helps her assert herself against John representing the “language of the powerless.” The wallpaper, chaotic, and conflicting may perhaps represent what the narrators circumstan...


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...is that is considered the result of an ongoing powerless struggle of woman’s language. Gilman questions the female aesthetic through the wallpaper as an extension of the female form with “lame uncertain curves” and “outrageous angles” that parallel the ideas of the narrator’s own self image.
Using the literary practice of “close reading” we find the self-projection and changes through the narrator, a transition from “John says” to “I want.” The narrator continues to identify with the wallpaper and the woman trapped inside-wether that be a personal reflection or illusion- wanting to free the woman only with hopes to tie her up again; “if that woman does get out, and tries to get away, I can tie her!” (Gilman 496). The narrator projects her own desire of escaping from a problematic male system which she believes she can recover from with the release of the wallpaper.

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