...Concept of liberty and femininity in The Yellow Wallpaper and The Awakening I decided to examine the concept of femininity and liberty in a short story “The Yellow Wall-paper” from the American writer Charlotte Perkins Gilman and in the book “The Awakening” from Kate Chopin. I chose these two books in order to demonstrate how society in the nineteenth century treated woman and how those woman were trying to escape from this concept. Femininity refers to set of behaviours and roles which are appropriate for women and judged by certain culture. In the nineteenth century were women expected to stay at home and wait for their husbands´ return each evening. Women should have these four attributes: piety, purity, submissiveness and domesticity. (Rula Quawas,2006) Women who had these attributes were considered happy and satisfied. It was also believed that there is a sharp line between home, the woman sanctuary, and the economic world because it is a hard world only for men. The Yellow Wallpaper The story begun with moving of the main hero and her husband to the colonial mansion. Her husband´s name is John and he is a high standing physician. They moved for a while because she had to undergo a rest-cure. This method of treatment of the main hero of The Yellow Wallpaper is Dr. Mitchell´s rest-cure for women which included no intellectual stimulation and no writing. Her brother is a physician as well and agrees with her husband, but she doesn’t think that the way they cure her is...
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...Lack of Creativity and Isolation in “The Yellow Wallpaper” In “The Yellow Wallpaper,” Charlotte Perkins Gilman presents an unnamed woman who gradually spirals into a state of mental psychosis. Gilman sought to bring attention to the unfair treatment of women in the nineteenth century. She uses this story to reveal to the audience that the narrator’s insanity stems from her isolation from society, and her inability to be expressive and creative through writing. Throughout “The Yellow Wallpaper,” the narrator is locked away in an isolated room, which was supposed to cure her mental disorder but instead it makes her worse. With the windows barred and the doors locked she is secluded from society. She wishes to go visit her cousin Henry and Julia, but John forbids her by telling his wife that “[she] wasn’t able to go, nor able to stand it after [she] got there; and [she] did not make out a very good case for [herself], for [she] was crying before [she] had even finished” (Gilman 92). The constant isolation causes her to focus only on the room in which she is living in, and more specifically the yellow wallpaper. She becomes obsessed with analyzing and examining the wallpaper and it causes her to become further insane. She says, “On a pattern like this, by daylight, there is a lack of sequence, a defiance of law, that is a constant irritant to a normal mind” (Gilman 93). The narrator realizes that the wallpaper is an annoyance to someone with a normal mind. However, for her, she...
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...Ashley Buhana Holly Carey English 1302-16 March 19, 2007 No Way Out In Charlotte Perkins Gilman’s “The Yellow Wallpaper”, the narrator struggles with her identity and her place in society. The role of women in nineteenth century American society is depicted as irrelevant and inferior to men. This includes the relationship between husband and wives, the social and economic reliance of women on men, and the suppression of female individuality and sexuality. She lives with her high standing physician husband John and their baby. Jennie, their housekeeper and John’s sister, is there most of the time looking after the baby and doing household chores. In the beginning of the story, the narrator is suffering from post partum depression; however, towards the end of the story her depression turns into insanity. John’s condescending mind-set and physical control worsen her condition. During the early nineteenth century, a woman’s role was to care for the home and her family; however, the narrator in this story isn’t even able to socialize with her family. John talks down to and belittles his wife. He says, “Bless her little heart! […] She shall be sick as she pleases! But now let’s improve the shining hours by going to sleep, and talk about it in the morning” (578). John’s condescension leads to a conflict inside the narrator’s mind between her growing understanding of her own weakness and her desire to suppress this...
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...dream. The main goal of the women participating in the fight was the right vote. In an effort to rally more to their cause, women used not only organized protests but employed literature to speak out. Written during this time period, “The Yellow Wallpaper” and “Trifles” are works that portray women as passive timid beings that should listen to their counterparts. These two pieces were composed to expose the outrageous manner in which women were regarded. On the other hand, “Canceled” is a contemporary piece which depicts the female character as a strong independent individual with her own ideas. Today, women have fought and prevailed to secure rights that rival those of men. Although women have not achieved fully equal rights as men, “Canceled” illustrates the modern social acceptance of a woman dominated relationship. All three pieces are portrayals of women’s identities and social expectations of the time period in which they were written and each reveals how women today have progressed to establish a more equal role between men and women over the last century. In all three pieces, regardless of the time period, the female characters are presented as being trapped in their relationship. The narrator in “The Yellow Wallpaper” is forced to comply with her husband’s wishes to how she should confront her ailment. As her husband and a physician of high standing, John uses his status to manipulate the narrator into acquiescing to his demands. The narrator is “absolutely...
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...With over 200 written works, Charlotte Perkins Gilman’s career as a writer is a force to be reckoned with. Many of her works, such as the ever popular The Yellow Wallpaper, are considered classics and remain relevant in today’s society. Gilman is most popular for her work deciphering women’s roles and treatment in society in the past and during her life. Gilman’s works are relatable to all women who have experienced or are experiencing oppression by society. Gilman’s feminist outlook is clearly seen in her academic works as well as her short stories. Especially in the late 1800’s and early 1900’s, feminism was starting to accumulate among women of all ages. Gilman has been compared to other great feminist writers such as Simone de Beauvoir and Betty Friedan and they all share a common theme: their personal life correlates with their writing. Charlotte Perkins Gilman’s personal struggles with oppression contribute to her success as a feminist writer, as exemplified in her works Women and Economics, Herland and The Yellow Wallpaper; Gilman’s controversial opinions on male dominated societies and women's rights label her as an icon for implementing social change in the 18th/19th century because she steers away from traditional Victorian gender roles. Born in Hartford, Connecticut on July 3rd, 1860, growing up was difficult for Gilman and her brother as her parents split due to their different views on women’s rights. Her father’s family was very liberal and believed in freedom...
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...Fear Of Independence: Oppression of Women In The Nineteenth Century in “The Story of an Hour” by Kate Chopin and “The Yellow Wallpaper” by Charlotte Perkins Gilman What lengths are women willing to go through to avoid being shunned by society; a society they, too, are apart of? Women in the ninetieth century are expected to be poised, courteous, managers of their homes and, most importantly, subordinate to their husbands as well as to society (Hartman). In both “The Story of an Hour” by Kate Chopin (14) and “The Yellow Wallpaper” by Charlotte Perkins Gilman (118) the protagonists fear living life freely. Is their fear so strong and impossible to overcome that it drives one to insanity and the other to death? These women are expected to be healthy and strong. Unfortunately, due to their never-ending workload of being the perfect women society expects them to be, they are exhausted. Instead of society recognizing this, they are considered ill. Their illness is accepted because it is thought that their ailments are a result of being a woman, which explains to society why they are weak both physically and mentally. They are unlike the men of this time who do not suffer of such ailments! Even today when speaking to women who were raised by the women of the latter part of this era, stories are often told that a sign of a good woman is when her chimney is the first in the morning to start smoking and the last to be smothered. If you dare to question why...
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...In the “The Yellow Wall-paper,” the author, Charlotte Perkins Gilman, writes about a struggling mentally ill woman, named Jane, trying to work through her individuality and her own depression. This story is centered around her bedroom, her mental state, and the yellow wall-paper on the walls in her room. The reader can easily feel the pain, anguish, despair, and struggles of a woman going through a depressive state. Gilman writes about the individual succession of the woman’s mental state through the disarray of the patterned yellow wall-paper. The theme of feminism is exposed by the main characters use of language, her feelings of inferiority, mental struggles, and anger. The language of the narrator in this story is repressive to women, from the beginning and all the way to the end of the story. In the beginning of the story, the language of the narrator appears in a few ways. The ill woman is forbidden by her husband to write in her journal until she is well, to compensate for the loss of work. She feels constricted by her husband to speak freely and writes in a hidden journal. Gilman writes “I would not say it to a living soul, of course, but this is dead paper and a great relief to my mind” (808). Sad and true, but she doesn’t feel that she can tell her husband how she really feels and “the only safe language is dead language” (Theichler 61). The language of male judgment and control is predominant in the beginning of the story too. Her husband and brother both are physicians...
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...JAMES JOYCE -AN IRISH MODERNIST MODERN FICTION GROUP NUMBER 4 GROUP MEMBERS : HAFSA SHAHID R CONTENTS: Introduction to James Joyce Modernism and James Joyce A portrait of an Artist as aYoung Man Ulysses Themes and Style of Joyce's two Works a) Mythological Allusions b) Kunslerroman c)Stream of conciousness c)Focus on inner time rather than outer time d)Search for identity e)Treatment of religion f)Treatment of sexuality Conclusion James Joyce (from February 2, 1882 to January 13, 1941) was one of the most preeminent Irish authors of the 20th century. He is known for his literary innovation strictly focused narrative and indirect style. James Joyce matriculated from University College of Dublin in 1903. After moving to Paris, Joyce planned on studying medicine. The lectures were conducted in a technical French but Joyce’s education had not prepared him for it. Despite his mother’s attempts to get him to return to Catholic Church, Joyce remained unmoved even after her death. Joyce studied at Clongowes Wood College from 1888 until 1892. When the family’s financial state devolved, Joyce had to leave the school. After a brief time at Christian Brothers School, Joyce was enrolled at Belvedere College in 1893. In 1898, Joyce began studying Italian, English and French at University College Dublin. At this time, Joyce also began his entry into the artistic...
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...FUN IN THE WORKPLACE: TOWARD AN ENVIRONMENT-BEHAVIOR FRAMEWORK RELATING OFFICE DESIGN, EMPLOYEE CREATIVITY, AND JOB SATISFACTION By ALEXANDRA M. MILLER A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF INTERIOR DESIGN UNIVERSITY OF FLORIDA 2005 Copyright 2005 by Alexandra M. Miller ACKNOWLEDGMENTS First, I would like to thank my committee chair, Dr. Margaret Portillo, for her direction and guidance throughout the entire research process. I would also like to thank Dr. M. Joyce Hasell for her support and valuable expertise. Additional thanks go to Dr. Larry Winner for his indispensable assistance as a statistical consultant. I would also like to thank PUSH for providing an excellent example of a fun workplace. In particular, I would like to thank partners John Ludwig, Chris Robb, and Rich Wahl for allowing me to conduct a case study of their business. Additional thanks go to Ron Boucher, Jourdan Crumpler, and Gordon Weller for taking the time to participate in interviews. I would also like to express my gratitude to Kathryn Voorhees for her help, humor, and friendship as she accompanied me throughout the research process. Finally, I would like to thank all of my friends and family for their support. In particular, I would like to thank to my parents for their constant support and for helping me to achieve my dreams. iii TABLE OF CONTENTS page ACKNOWLEDGMENTS ..........
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...The New Astrology by SUZANNE WHITE Copyright © 1986 Suzanne White. All rights reserved. 2 Dedication book is dedicated to my mother, Elva Louise McMullen Hoskins, who is gone from this world, but who would have been happy to share this page with my courageous kids, April Daisy White and Autumn Lee White; my brothers, George, Peter and John Hoskins; my niece Pamela Potenza; and my loyal friends Kitti Weissberger, Val Paul Pierotti, Stan Albro, Nathaniel Webster, Jean Valère Pignal, Roselyne Viéllard, Michael Armani, Joseph Stoddart, Couquite Hoffenberg, Jean Louis Besson, Mary Lee Castellani, Paula Alba, Marguerite and Paulette Ratier, Ted and Joan Zimmermann, Scott Weiss, Miekle Blossom, Ina Dellera, Gloria Jones, Marina Vann, Richard and Shiela Lukins, Tony Lees-Johnson, Jane Russell, Jerry and Barbara Littlefield, Michele and Mark Princi, Molly Friedrich, Consuelo and Dick Baehr, Linda Grey, Clarissa and Ed Watson, Francine and John Pascal, Johnny Romero, Lawrence Grant, Irma Kurtz, Gene Dye, Phyllis and Dan Elstein, Richard Klein, Irma Pride Home, Sally Helgesen, Sylvie de la Rochefoucauld, Ann Kennerly, David Barclay, John Laupheimer, Yvon Lebihan, Bernard Aubin, Dédé Laqua, Wolfgang Paul, Maria José Desa, Juliette Boisriveaud, Anne Lavaur, and all the others who so dauntlessly stuck by me when I was at my baldest and most afraid. Thanks, of course, to my loving doctors: James Gaston, Richard Cooper, Yves Decroix, Jean-Claude Durand, Michel Soussaline and...
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...GM614 Global Advertising Professor Christin Walth Jenessa Carder, Chia-Ying Chen, Fango Lin, Yi-Hsuan Su, Ya-Ling (Claire) Wang, Winette Yee May 5, 2010 Swatch: The Global Watch The IMC Plan in Brazil, Japan, and Switzerland 1 Statement of Purpose Swatch (‗Swiss‘ + ‗watch‘) watches, created under the management of Nicolas Hayek, are fashion statements and pop-culture icons. They feature witty, outlandish designs that use intense colors and are youthful, provocative, stylish, and unpredictable. The mission of the IMC campaign is to tie the brand image with creative art in order to tell the brand story, strengthen Swatch‘s brand identity among the target audience (young students or professionals, aged 18-25) globally, and consistently incorporate different and relevant mediums (print ad, website, MTV – user-generated content, and online communities) to reach the target audience. The multi-country marketing analysis of The Swatch Group will aid in developing the IMC strategy and campaign for Swatch‘s CreArt (‗creativity‘ + ‗art‘) Collection in the following three countries: Brazil, Japan and Switzerland. When reading this, please be aware that Swatch did not impose an integrated marketing campaign in Brazil; rather, they only held one event and communicated to customers through Twitter. Therefore, the Brazil section is composed mostly of what The Swatch Group should do in order to meet their objectives. Furthermore, the cultural dimensions and components that will affect...
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...Beyond Feelings A Guide to Critical Thinking NINTH EDITION Vincent Ryan Ruggiero Professor Emeritus of Humanities State University of New York, Delhi BEYOND FEELINGS: A GUIDE TO CRITICAL THINKING, NINTH EDITION Published by McGraw-Hill, a business unit of The McGraw-Hill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright © 2012 by The McGraw-Hill Companies, Inc. All rights reserved. Previous editions © 2009, 2007 and 2004. No part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written consent of The McGraw-Hill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. Some ancillaries, including electronic and print components, may not be available to customers outside the United States. This book is printed on acid-free paper. 1 2 3 4 5 6 7 8 9 0 DOC/DOC 1 0 9 8 7 6 5 4 3 2 1 ISBN: MHID: 978-0-07-803818-1 0-07-803818-9 Vice President & Editor-in-Chief: Michael Ryan Vice President EDP/Central Publishing Services: Kimberly Meriwether David Editorial Director: Beth Mejia Senior Managing Editor: Meghan Campbell Executive Marketing Manager: Pamela S. Cooper Senior Project Manager: Joyce Watters Buyer: Nicole Baumgartner Design Coordinator: Margarite Reynolds Media Project Manager: Sridevi Palani Compositor: Glyph International Typeface: 10/13 Palatino Printer: R...
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...WATCHING MARIA 2160-CUTS WATCHING MARIA Gavin D. Cutshall 2160-CUTS Copyright © 2000 by Gavin D. Cutshall. Library of Congress Number: ISBN #: Hardcover Softcover 00-191612 0-7388-2985-4 0-7388-2986-2 All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the copyright owner. This is a work of fiction. Names, characters, places and incidents either are the product of the author’s imagination or are used fictitiously, and any resemblance to any actual persons, living or dead, events, or locales is entirely coincidental. This book was printed in the United States of America. To order additional copies of this book, contact: Xlibris Corporation 1-888-7-XLIBRIS www.Xlibris.com Orders@Xlibris.com 2160-CUTS This book is dedicated to my wife, Nancy Cutshall. Thank you, in every way possible 2160-CUTS PROLOGUE July 17, 1996 Maria methodically unpacks her bag and sets the contents down on the salty sand of La Jolla Shores. Everything she needs is placed within reach; a blanket is laid down without a wrinkle, a large towel is placed by the blanket, and a pink bottle of sunscreen is ready to be applied. She even has a small cooler with her, packed with snacks in case we get hungry. Also from the bag she pulls out a contact lens case and a bottle of generic...
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...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...
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...Reading the Novel in English 1950–2000 i RTNA01 1 13/6/05, 5:28 PM READING THE NOVEL General Editor: Daniel R. Schwarz The aim of this series is to provide practical introductions to reading the novel in both the British and Irish, and the American traditions. Published Reading the Modern British and Irish Novel 1890–1930 Reading the Novel in English 1950–2000 Daniel R. Schwarz Brian W. Shaffer Forthcoming Reading the Eighteenth-Century Novel Paula R. Backscheider Reading the Nineteenth-Century Novel Harry E. Shaw and Alison Case Reading the American Novel 1780–1865 Shirley Samuels Reading the American Novel 1865–1914 G. R. Thompson Reading the Twentieth-Century American Novel James Phelan ii RTNA01 2 13/6/05, 5:28 PM Reading the Novel in English 1950–2000 Brian W. Shaffer iii RTNA01 3 13/6/05, 5:28 PM © 2006 by Brian W. Shaffer BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Brian W. Shaffer to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and...
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