Toy Story Hd Wallpaper

[Elly Garnand]

The Yellow Wallpaper" (original title: "The Yellow Wall-paper. A Story") is a short story by American writer Charlotte Perkins Gilman, first published in January 1892 in The New England Magazine.[1] It is regarded as an important early work of American feminist literature for its illustration of the attitudes towards mental and physical health of women in the 19th century. It is also lauded as an excellent work of horror fiction.

The story describes a young woman and her husband. He imposes a rest cure on her when she suffers "temporary nervous depression" after the birth of their baby. They spend the summer at a colonial mansion, where the narrator is largely confined to an upstairs nursery. The story makes striking use of an unreliable narrator in order to gradually reveal the degree to which her husband has "imprisoned" her due to her physical and mental condition. She describes torn wallpaper, barred windows, metal rings in the walls, a floor "scratched and gouged and splintered", a bed bolted to the floor, and a gate at the top of the stairs, but blames all these on children who must have resided there.

When her husband arrives home, the narrator refuses to unlock her door. When he returns with the key, he finds her creeping around the room, rubbing against the wallpaper, and exclaiming, "I've got out at last... in spite of you." He faints, but she continues to circle the room, creeping over his inert body each time she passes it, believing herself to have become the woman trapped behind the yellow wallpaper.

Gilman used her writing to explore the role of women in America around 1900. She expounded upon many issues, such as the lack of a life outside the home and the oppressive forces of a patriarchal society. Through her work, Gilman paved the way for writers such as Alice Walker and Sylvia Plath.[5]

This story has been interpreted by feminist critics as a condemnation of the male control of the 19th-century medical profession.[8] Throughout the short story, the narrator offers many suggestions to help her get better, such as exercising, working, or socializing with the outside world. Her ideas are dismissed immediately while using language that stereotypes her as irrational and, therefore, unqualified to offer ideas about her condition. This interpretation draws on the concept of the "domestic sphere" that women were held in during this period.[9]

Many feminist critics focus on the degree of triumph at the end of the story. Although some claim the narrator slipped into insanity, others see the ending as a woman's assertion of agency in a marriage in which she felt trapped.[10] The emphasis on reading and writing as gendered practices also illustrated the importance of the wallpaper. If the narrator were allowed neither to write in her journal nor to read, she would begin to "read" the wallpaper until she found the escape she was looking for. Through seeing the women in the wallpaper, the narrator realizes that she could not live her life locked up behind bars. At the end of the story, as her husband lies on the floor unconscious, she crawls over him, symbolically rising over him. This is interpreted as a victory over her husband at the expense of her sanity.

Susan S. Lanser, a professor at Brandeis University, praises contemporary feminism and its role in changing the study and the interpretation of literature. "The Yellow Wallpaper" was one of many stories that lost authority in the literary world because of an ideology that determined the works' content to be disturbing or offensive. Critics such as the editor of the Atlantic Monthly rejected the short story because "[he] could not forgive [himself] if [he] made others as miserable as [he] made [himself]". Lanser argues that the same argument of devastation and misery can be said about the work of Edgar Allan Poe.[11] "The Yellow Wallpaper" provided feminists the tools to interpret literature in different ways. Lanser argues that the short story was a "particularly congenial medium for such a re-vision ... because the narrator herself engages in a form of feminist interpretation when she tries to read the paper on her wall".[11] The narrator in the story is trying to find a single meaning in the wallpaper. At first, she focuses on the contradictory style of the wallpaper: it is "flamboyant" while also "dull", "pronounced," yet "lame," and "uncertain" (p. 13). She takes into account the patterns and tries to organize them geometrically, but she is further confused. The wallpaper changes colors when it reflects light and emits a distinct odor that the protagonist cannot recognize (p. 25). At night the narrator can see a woman behind bars within the complex design of the wallpaper. Lanser argues that the unnamed woman was able to find "a space of text on which she can locate whatever self-projection".[11] Just like the narrator as a reader, when one comes into contact with a confusing and complicated text, one tries to find a single meaning. "How we were taught to read," as Lanser puts it, is why a reader cannot fully comprehend the text.[11] The patriarchal ideology had kept many scholars from being able to interpret and appreciate stories such as "The Yellow Wallpaper". With the growth of feminist criticism, "The Yellow Wallpaper" has become a standard text in many curricula. Feminists have made a significant contribution to the study of literature, according to Lanser, but she also remarks that if "we acknowledge the participation of women writers and readers in dominant patterns of thought and social practice then perhaps our own patterns must also be deconstructed if we are to recover meanings still hidden or overlooked."[11]

Martha J. Cutter points out that many of Charlotte Perkins Gilman's works address a "struggle in which a male-dominated medical establishment attempts to silence women".[12] Gilman's works challenge the social construction of women by a patriarchal medical discourse that forced them to be "silent, powerless, and passive".[12] In the period in which Gilman wrote, women were frequently considered (and treated) as inferiors, prone to be sickly and weak. In this time period, it was thought that women who received formal education (amongst other causes) could develop hysteria, a now-discredited[13] catchall term referring to most mental health diseases identified in women and erroneously believed to stem from a malfunctioning uterus (from the Greek hystera, "womb"). At the time, the medical understanding was that women who spent time in serious intellectual pursuits (such as university education) over-stimulated their brains, which in turn led to states of hysteria. Many of the diseases diagnosed in women were considered to be a matter of a lack of self-control or self-rule. Medical practitioners argued that a physician must "assume a tone of authority" and that a "cured" woman is defined by being "subdued, docile, silent, and above all subject to the will and voice of the physician".[12] A hysterical woman craves power. To be treated for her hysteria, she must submit to her physician, whose role is to undermine her desires. Often women were prescribed bed rest as a form of treatment, which was meant to "tame" them and keep them imprisoned. Treatments such as this were a way of ridding women of rebelliousness and forcing them to conform to expected social roles. In her works, Gilman highlights that the harm caused by these types of treatments for women, i.e., "the rest cure", has to do with how her voice is silenced. Paula Treichler explains: "In this story diagnosis 'is powerful and public. ... It is a male voice that ... imposes controls on the female narrator and dictates how she is to perceive and talk about the world.' Diagnosis covertly functions to empower the male physician's voice and disempower the female patient's."[14] The narrator in "The Yellow Wallpaper" is not allowed to participate in her treatment or diagnosis and is completely forced to succumb to everything in which her doctor and in this particular story, her husband, says. The male voice is the one which forces control on the female and decides how she is allowed to perceive and speak about the world around her.

"The Yellow Wallpaper" is sometimes cited as an example of Gothic literature for its themes of madness and powerlessness.[15] Alan Ryan introduced the story by writing: "quite apart from its origins [it] is one of the finest, and strongest, tales of horror ever written. It may be a ghost story. Worse yet, it may not."[16] Pioneering horror author H. P. Lovecraft writes in his essay Supernatural Horror in Literature (1927) that "'The Yellow Wall Paper' rises to a classic level in subtly delineating the madness which crawls over a woman dwelling in the hideously papered room where a madwoman was once confined".[17]

Helen Lefkowitz Horowitz wrote that "the story was a cri de coeur against Gilman's first husband, artist Charles Walter Stetson and the traditional marriage he had demanded."[18] Gilman attempted to deflect blame to protect her daughter Katharine and Stetson's second wife Grace Ellery Channing, who was also Gilman's close friend and cousin. [19] Horowitz consults the sources of Charlotte's private life, including her daily journals, drafts of poems and essays, and intimate letters, and compares them to the diary accounts of her first husband. She also mines Charlotte's diaries for notes on her reading. She shows how specific poetry, fiction, and popular science shaped her consciousness and understanding of sex and gender, health and illness, emotion and intellect. Horowitz makes a case that "The Yellow Wall-Paper", in its original form, did not represent a literal protest against Mitchell (a neurologist who treated Gilman in 1887) and his treatment. Rather, it emerged from Charlotte's troubled relationship with her husband Walter, personified in the story's physician. In demanding a traditional wife, Walter denied Charlotte personal freedom, squelched her intellectual energy, and characterized her illness.

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