The Yellow Wallpaper
Annotated Post Bibliography McGowan, Todd. “Dispossessing the Self; ‘The Yellow Wallpaper’ and the Renunciation of Home.” The Womanly ‘No! ‘: Psychoanalysis and the New Canon. Albany: State U of NY P(ress), 2001. 31-46. eNotes. Web. 7 April 2013. In a crucial essay by Todd McGowan analyzing The Yellow Wallpaper by Charlotte Perkins Gilman, he focuses on the narrator’s struggle in between what she desires and managing herself. McGowan shows that if the narrator were to totally free herself from the binds of social convention, she would release John, versus his will, as well. McGowan 4). As the storyteller continues finding out the wall paper, she is actually determining what she desires most; liberty. McGowan utilizes literary terms and examples from the text to show his point. He referrals works by other literary critics and uses their viewpoints to assist support his analysis. Throughout the short article, he relevantly recommendations them and discusses what he implies by these referrals. His article sticks to discussing what is specified above.
Eventually his post is clear in significance and how it must be translated. McGowan is really clear about his understanding of the time period in which “The Yellow Wallpaper” was written and the views of the time period. Roth, Marty. “Gilman’s Arabesque Wallpaper.” Mosaic (Winnipeg) 34. 1 (Dec. 2001): 145t. Questia. Web. 5 Apr. 2013. In Marty Roth’s analytical essay of The Yellow Wallpaper that wallpaper is “conceal [ing] dirt” and she also states that wallpaper is “the development of laziness and dirt” (Roth, 2,3).
In this instance the wallpaper is viewed as a definite unfavorable and can likewise be seen as symbolic of Jane, the female character in the story, since “Americans live the wallpaper” (3,3). As the wallpaper is personified a “concealing dirt” she also does the exact same by only sneaking throughout the day when she will not be caught and she also is covering up how she is mentally unsteady to her spouse by pretending to feel better. Gilman being a female affects the way that her story is not just written however also the way that her audience gets it. Roth specifies Gilman’s story as a “captivity story” (5,1).
This indicates that her audience can see it as a story about Gilman breaking out of captivity as Jane does in the story as there are numerous similarities in between the two. Treichler, Paula A. “Getting Away the Sentence: Medical Diagnosis and Discourse in ‘The Yellow Wallpaper. ‘” Tulsa Studies in Women’s Literature 3. 1-2 (spring/fall 1984): 61-77. eNotes. Web. 7 April 2013. In Paula A. Treichler’s analysis “Getting away the Sentence: Diagnoses and Discourse in ‘The Yellow Wallpaper'” Treichler concentrates on analyzing the connection between ladies and composing discovered in Gilman’s “The Yellow Wallpaper”.
She talks about the symbolic nature of the wallpaper and shows how it can be interpreted as a symbol for “discourse” (Treichler 1). The authors writing cycle is extremely distinct to the story. The storyteller desires to compose, to express herself, but is prohibited to by her other half. She composes in a secret journal directly to the readers, which gives the story the feeling of a trick being informed straight to us. The readers can see the storyteller’s infatuation with the wallpaper progressing as her journal entries end up being entirely about the wallpaper and are written in a short and furious way.
As the narrator becomes more remote from the outdoors world, she ends up being less able to express herself and eventually turns to the wallpaper as a type of expression. The lady in the wallpaper represents “the representation of ladies that becomes possible only after females get the right to speak” (Treichler 2). As the narrator starts to gradually lose her speaking privileges due to the oppression and supremacy of her husband, she ends up being increasingly more obsessed with the lady in the wallpaper.
Eventually the narrator frees and becomes the lady in the wallpaper, which enables her the benefit of expressing herself through discourse when she lastly openly defies her other half with the words “I’ve got out at last,” she informs him triumphantly, “And I have actually pulled off most of the paper, so you can’t put me back” (Gilman 36). “Her other half faints, and she is required to step over him each time she circles the space” (Treichler 2) symbolizing her finally conquering his oppression.