Haunted House/Haunted Heroine: Female Gothic Closets in “The Yellow Wallpaper”

Davison, Carol Margaret

doi:10.1080/00497870490267197

Cited by 18 publications

(7 citation statements)

References 5 publications

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“…Showalter (1991) categorises The Yellow Wallpaper as an "American classic" in terms of reflecting "the Female Gothic" tradition embracing distinctive "shapes and meanings within different historical and national contexts" (p. 129-131). Davison (2004) evaluates Gilman's story as "female gothic" narrative as well, the woman trapped in the house controlled by a man of stronger position in a "dark, frightening, and unknown" setting (p. 54). Davison (2004) points out that "the wallpaper's pattern is also characterised by duality" by the mirroring lights at different times making two layers visible for the narrator: "an outside pattern of bars and a sub-pattern of a woman attempting to escape from them" (p. 62).…”

Section: Painting the Feminist Story Of The Yellow Wallpapermentioning

confidence: 99%

“…Davison (2004) evaluates Gilman's story as "female gothic" narrative as well, the woman trapped in the house controlled by a man of stronger position in a "dark, frightening, and unknown" setting (p. 54). Davison (2004) points out that "the wallpaper's pattern is also characterised by duality" by the mirroring lights at different times making two layers visible for the narrator: "an outside pattern of bars and a sub-pattern of a woman attempting to escape from them" (p. 62). This imprisoned figure of female gothic is an encrypted message of patriarchal confinement, and the imagery of "the multi-layered wallpaper functions as a metafictional device that mirrors the narrator's journal of 'dead paper'" (Davison, 2004, p. 63).…”

Section: Painting the Feminist Story Of The Yellow Wallpapermentioning

confidence: 99%

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Charlotte Perkins Gilman’in Sari Duvar Kağidi Eseri̇nde İmgeleme Araciliğiyla Femi̇ni̇st Öykünün Resmedi̇lmesi̇

ÖZSERT¹

2022

JASSS

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This paper observes the imagery used in Charlotte Perkins Gilman's short story The Yellow Wallpaper (1892) like a feminist painting revealing the psychology of the female protagonist. In the story, the narrator protagonist, Jane, provides lucid images of various entities such as her room, the wallpaper, and the changing colours of the wallpaper by the effect of the sun and the moon, the transformation of the observed patterns, dancing shapes, the house, the environment etc. The descriptions of the wallpaper in a constant movement reflect the changing mental and physical condition of the protagonist whose focus is fixed on the wallpaper. The fluid patterns on the wallpaper project the female narrator's unstable mind, repressed emotions, and psychological degeneration. Tearing off the wallpaper in the barred room and the new-born female imagery symbolise the female struggle for freedom trying to break the chains of her imprisonment under the Panopticon surveillance. The study focuses on the imagery used to enlighten the female emancipation in Gilman's The Yellow Wallpaper (1892) by analysing the multiplexed mindsets especially from feminist perspectives. The methodology in this research follows analysing the short story as a feminist painting by Gilman (1892) and it gives an analogous sense to the female figures released from captivity in the paintings of Francesca Woodman, Remedios Varo and Salvador Dali. Acknowledging the prevailing feminist discourse, the study concludes that, by the help of the divine power of imagination, Gilman, in her The Yellow Wallpaper (1892), paints the story of a triumphant woman who first reads the patterns on the wall and writes her own story on the overthrown male authority.

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Section: Painting the Feminist Story Of The Yellow Wallpapermentioning

confidence: 99%

Section: Painting the Feminist Story Of The Yellow Wallpapermentioning

confidence: 99%

Charlotte Perkins Gilman’in Sari Duvar Kağidi Eseri̇nde İmgeleme Araciliğiyla Femi̇ni̇st Öykünün Resmedi̇lmesi̇

ÖZSERT¹

2022

JASSS

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“…This set a closed environment which offering no connection with outside for the story to develop. As narrator was sealed in the room with the yellow wallpaper, such situation can be taken as same as in a remote space [1]. And from the beginning of the story, the colonial mansion is also described as a "haunted house," leaning toward gothic evidences.…”

Section: The Influence Of Gothic Literaturementioning

confidence: 99%

The Hysteric Yell from Women:

Lv¹,

Min²

2021

Advances in Social Science, Education and Humanities Research

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“…Drawing upon Gothic literary scholars helps me to identify Gothic literature's seeming determination to undo gendered ideals by questioning the naturalness of men's heroism and women's moral weakness. 63 Another Gothic element is in the reliance upon supernatural happenings -'the dark secret' -that ends up having an explanation rooted in the material world. 64 These 'secrets' were used to signify the uneasy transition from a religious-based social order to modern rationalism.…”

Section: Gothic Logics and Power Structuresmentioning

confidence: 99%

The Mysterious Case of Aafia Siddiqui: Gothic Intertextual Analysis of Neo-Orientalist Narratives

Gentry

2016

Millennium: Journal of International Studies

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involvement with al Qaeda. The narratives that surround Siddiqui's involvement in al Qaeda, created by the US government, media, her family, and her supporters, are situated at an intersection of gender and neo-Orientalism. 5 The authors of the narratives strive to position her as an innocent 'Soccer Mom', 6 the nefarious 'Lady al Qaeda', 7 or the mentally confused 'Grey Lady of Bagram'. 8 While all three are based upon the same facts, they fail to add up to a coherent timeline for her life between the late 1990s and 2008, which means there is no clear evidence of who Siddiqui is or what she wanted. With the exception of what she said during her trial, her own justifications are notably absent; instead 'she' stands as an object used to serve the agenda of each narrative. She has become a mystery in the midst of the WoT. Gothic novels, like Jane Eyre (1897) and its parallel novel Wide Sargasso Sea (1967), use mysteries as a way of subverting hierarchical paradigms. Intertextuality helps one illustrate how seemingly unrelated texts, such as socio-political narratives, are stabilized

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Haunted House/Haunted Heroine: Female Gothic Closets in “The Yellow Wallpaper”

Cited by 18 publications

References 5 publications

Charlotte Perkins Gilman’in Sari Duvar Kağidi Eseri̇nde İmgeleme Araciliğiyla Femi̇ni̇st Öykünün Resmedi̇lmesi̇

Charlotte Perkins Gilman’in Sari Duvar Kağidi Eseri̇nde İmgeleme Araciliğiyla Femi̇ni̇st Öykünün Resmedi̇lmesi̇

The Hysteric Yell from Women:

The Mysterious Case of Aafia Siddiqui: Gothic Intertextual Analysis of Neo-Orientalist Narratives

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