The Yellow Wallpaper Oppression

The house is in a super-isolated place. The house represents the narrator 's personal emotions; restricted and isolation. In the story, “The Yellow Wallpaper”, the symbolism of the the wallpaper and the diary demonstrate the psychological difficulties, that were caused by being disrespected and thought less of, during the 19th century for women across the United States. In the “Yellow Wallpaper”, the woman 's husband John neglects her symptoms of postpartum and says she has a slight hysterical tendency. As this progresses, the woman starts to go mad from ignorance and starts to believe there is someone behind the Wallpaper.

It captures the attention deeply probably because Gilman has gone through the ordeal of insanity as well. “The Yellow Wall Paper”, discloses the struggles that women undertake when they are imprisoned by insanity through symbolism, setting, and characterization. The woman isn’t able to have her own voice in the world. The yellow wallpaper in the room represents that. She uses the wallpaper to symbolize family authority, social standings, and medical practices.

3. As the story reaches a close, the descriptions of the wallpaper in the narrator 's bedroom become less realistic and start to mirror the narrator 's deteriorating mental state. The yellow color of the wallpaper isn 't as concerning to the narrator as the "yellow smell" (203) and the "many women behind" (203) it. She believes that the wallpaper "strangles them off" (203) so that the women can 't escape. In reality, the only woman the wallpaper is trapping is the narrator.

Throughout the generation, women have always been trapped in some way or another. In the short story, ‘The Yellow Wall-Paper’ and the novel ‘The Awakening’ highlights the struggle of women in the late 1800’s and the early 1900s in society. The Yellow wallpaper is a short story about women giving birth and being imprisoned in a room with a weird view of the yellow wall-paper. This resulted in her hallucination lead to the development of mental illness. By the end of the story, she rips off the yellow wallpaper and kills her husband.

One can find many foils for Jane throughout the novel, having one for almost every stages of her life, but the one most prominent is Bertha, also known as Mrs. Rochester. She represents all of Jane’s fears about marriage due to the patriarchal society she lives in. The woman has been driven to insanity, and her freedom has been taken away as she is locked up on the third floor, and if Jane had agreed to marry Rochester as he remained married to Bertha, she would have lost her own liberty as well (Siwoku-Awi 7). As well, Bertha highlights the aspects of Jane that Rochester sees in her such as her purity and virtue, having a mind of her own while still believing in God. For Rochester, the most evident of foils to him is St. John, who is seen as the angel while Rochester is the devil.

Washing, ironing, sweeping, ferreting out the rolls of lint from under wardrobes—all this halting of decay is also the denial of life; for time simultaneously creates and destroys, and only its negative aspect concerns the housekeeper” (Beauvoir 380). "The Married Woman" is a chapter in Simone de Beauvoir’s book, The Second Sex, which demonstrates her negative thoughts about marriage and the overall treatment of a married woman. I agree with Beauvoir’s argument concerning the inequalities between spouses and the exaggeration of house work because of the time the book was written. In 1950, women’s roles were greatly changed because the men came back from war and took their jobs back. During World War II, women had taken men’s jobs while they

Girl with a Pearl Earring, written by Tracy Chevalier follows the story of Griet, an unlikely house maid. While The Piano directed by Jane Campion follows the story of muted woman named Ada. Collectively, these texts follow two assertive and creative female protagonists struggling with individuality within an oppressive patriarchal society. Both authors therefore aim to condemn this social system through the objectification of women, society’s expectations and the controlling and confinement in which both protagonists are subject to. Chevalier and Campion’s similar distaste of the patriarchal society aims to inform the reader that the same patriarchal dividend, although improved, is still prevalent in today’s patriarchal

COMPARING AND CONTRASTING THE STORY OF AND HOUR AND THE STORM. Introduction. Kate Choplin a renowned literary figure in writing short stories about women and feminism is the author of “the storm” an “the story of an hour” two stories that demonstrate the unhappiness experienced by two married women .In the two stories, the author uses a different setting, literary elements, plot development ,and characters to tell tales of women and their search for freedom, during a time in which society was marked by extreme male chauvinism.While the story of the storm relates directly to marriage and love as the main barrier of the freedom of women, the story of an hour addresses marriage and love to repression and unhappiness. The “story of an hour” and “the storm” have similarities as well as differences in terms of the setting, the characters used, and the plot. Setting.

By the end of the fifties, women began to feel something was missing from their lives. Maya Angelou sums up on how we as woman are tired of being treated as second class citizens and we will rise above all of it in her poem “Still I Rise”. The first few lines of the poem speak volumes about how women are tired of this treatment. “You may write me down in history with your bitter, twisted lies, you may trod me in the very dirt, but still, like dust, I’ll rise”. (Angelou, 1-4) It has been an ongoing battle in the fight for equal rights and women have achieved the right to vote and equal pay for equal

Self-doubt often arose because women were frequently bombarded with messages of what is proper and improper as a lady; their thoughts were often dismissed if they disagreed. Women were aware of these social pressures and struggled to follow them, even subconsciously burying their thoughts from the constant oppression that has almost become intrinsic to them. In “The Yellow Wall-paper,” when the unidentified woman is starting to lose her sanity, she starts to think that she is the creeping woman trapped behind the wallpaper: “I don 't like to look out of the windows even — there are so many of those creeping women, and they creep so fast. I wonder if they all come out of that wall-paper as I did? But I am securely fastened now by my well-hidden rope — you don 't get me out in the road