Feminist Analysis of The Yellow Wallpaper (Maria Paz Romero Morales) (1) 2

GRADO EN ESTUDIOS INGLESES
ASIGNATURA TRABAJO FIN DE GRADO
Feminist Analysis of The Yellow Wallpaper
Realizado por
MARIA PAZ ROMERO MORALES(Estudiante)
Tutor/a
Dr./Dra./Prof./Profa.
Departamento de Filología Inglesa, Francesa y Alemana

FACULTAD DE FILOSOFÍA Y LETRAS
Málaga, Junio 2023
GRADO EN ESTUDIOS INGLESES
ASIGNATURA TRABAJO FIN DE GRADO
Realizado por
MARIA PAZ ROMERO MORALES (Estudiante)
Tutor/a
Dr./Dra./Prof./Profa.
Fdo.: Maria Paz Romero Morales

Fdo.: tutor/a
Estudiante
Departamento de Filología Inglesa, Francesa y Alemana

FACULTAD DE FILOSOFÍA Y LETRAS
Málaga, Junio 2023
TITLE: Feminist Analysis of The Yellow Wallpaper (in English)
KEYWORDS: women’s mental health, feminism, gothic narrative, Victorian Era (in
English)
SUMMARY: (in English, 100-150 words)
The Victorian era is often characterized as a period of economic crisis that
triggered social and individual crises in Western societies. In this context, culture,
especially literature, became a tool to express various issues and explore the human
psychology characteristic of that era. Because the society of that time relegated women
and separated them from their own identity, works written by women have been delved
into to witness the evolution of the feminist movement, through which they managed to
advance and discover their own voice.
A prime example of this is the autobiographical work "The Yellow Wallpaper"
by Charlotte Perkins Gilman, which focuses on the author's more personal experience
and narrates the vulnerable situation of women who suffered the effects of a male-
dominated society and how they were treated in relation to the mental illnesses assigned
by society. Throughout her narrative, Gilman also shows glimpses of techniques and
elements typical of the gothic narrative, which were innovatively developed by women
writers to expose their deepest fears and desires.

TÍTULO: Análisis feminista de The Yellow Wallpaper (en español)
PALABRAS CLAVE: salud mental femenina, feminismo, narrativa gótica, Era
Victoriana (en español)
RESUMEN: (100–150 palabras)
La era victoriana se caracteriza por ser un período de crisis económica que
desencadenó crisis sociales e individuales en las sociedades occidentales. En este
contexto, la cultura, especialmente la literatura, se convirtió en una herramienta para
expresar diversas problemáticas y explorar la psicología humana característica de esa
época. Debido a que la sociedad de ese tiempo relegaba a las mujeres y las separaba de
su propia identidad, se ha profundizado en las obras escritas por mujeres para presenciar
la evolución del movimiento feminista, gracias al cual lograron avanzar y descubrir su
propia voz.
Un ejemplo destacado de esto es la obra autobiográfica The Yellow Wallpaper
de Charlotte Perkins Gilman, que se centra en la experiencia más personal de la autora y
narra la situación de vulnerabilidad de las mujeres que sufrieron los efectos de una
sociedad dominada por hombres y cómo fueron tratadas en relación con las
enfermedades mentales que la sociedad les atribuyó debido a la imagen que se tenia de
la mujer. A lo largo de su narración, Gilman también muestra destellos de técnicas y
elementos propios de la narrativa gótica, que fueron desarrollados de manera
innovadora por escritoras para exponer sus miedos y deseos más profundos.
PLAGIARISM STATEMENT1
I hereby state that this project was written by me and in my own words, except for
quotations from published and/or unpublished sources which are clearly indicated and
acknowledged as such.
I am also conscious that the incorporation of material from other works or a paraphrase
of such material without acknowledgement will be treated as plagiarism.
The source of any picture, map or other illustration is also indicated, as is the source,
published or unpublished, of any material not resulting from my own personal
elaboration.
Málaga, June 2023
Student: Maria Paz – Romero Morales Signature
1
Adapted from <http://www.liv.ac.uk/~maryrees/homepagemath302/PlagiarismStatement.pdf>.
ACKNOWLEDGEMENTS
Optional section.
CONTENTS
1. Introduction..................................................................................................... 1
1.1. Corpus ...................................................................................................................... 2
1.2. Objectives................................................................................................................ 3
1.3. Methodology..............................................................................................3
2. State-of-the-art.............................................................................................. 5
2.1. 19th century America........................................................................................... 5
2.2. Women during 19th century America.............................................................7
2.2.1 Private and public spheres.......................................................................................6
2.1.1. Women’s mental health.............................................................................................6
2.3 Gothic Narrative ................................................................................................ 9
2.3.1 Themes ................................................................................................................... 10
2.3.2 Techniques............................................................................................................. 10
2.3.3 The Female Gothic ............................................................................................... 10
2.3.1 Gothic elements in The Yellow Wallpaper.......................................................10
3. Charlotte Perkins Gilman......................................................................11
3.1.The Yellow Wallpaper...............................................................................................12
3.1.1 Feminist Literary Analysis...............................................................................................13
4. Conclusion.................................................................................................... 15
5. Bibliography............................................................................................... 17
i
Universidad de Málaga Facultad de Filosofía y Letras Grado en Estudios Ingleses
1. Introduction
Victorian literature has been popularly studied and analyzed due to the important
historical context in which it is found, thanks to the skill of the authors of the time it has
been possible to deepen the different concepts that defined society, at the same time we
have been able to discern the individualism that characterizes it. To refer to this rich
literary period, it is necessary to mention the most important women authors, taking into
account that this work will focus on women. The most prolific to mention would be
Charlotte Brontë, creator of one of the most important concepts such as the madwoman
in the attic, and others like Elizabeth Gaskell or George Elliot. As it has previously
mentioned, these works will be focused from a feminist point of view in contrast with
the protagonism of a society centered on men and all that surrounds them. As for the
influences that we find in the different literary works, the most important to mention is
the Gothic as it is represented a deepening of the most hidden feelings from
individualism and the effects of changes in society (Punter, Wiley, J. & Sons, 2012).
1.1. Corpus
Charlotte Perkins Gilman's renowned work of short fiction, The Yellow
Wallpaper, was first published in 1982 in the New England Magazine. It is widely
regarded as her finest literary achievement. Initially, Gilman faced challenges in finding
a publisher for the short story. Horace Scudder of The Atlantic declined to print it,
expressing his reluctance to inflict the same misery upon others that he had experienced
himself. However, over time, The Yellow Wallpaper started to gain recognition and
support. In 1920, American writer William Dean Howells included it in his anthology
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titled The Great Modern American Stories. Early reviewers predominantly labeled The
Yellow Wallpaper as a horror story and noted Gilman's adept use of Gothic elements.
It wasn't until Elaine R. Hedges' postscript in a 1973 edition of the story that it
began to attract scholarly attention. Presently, contemporary analysts interpret The
Yellow Wallpaper as a feminist critique of the oppression of women in society,
appreciating its compelling character portrayal, intricate symbolism, and thematic
profundity. Scholars often overlook the true extent of The Yellow Wallpaper's presence
in pre-1973 publications, leading to a distorted view of its history. According to Sandra
M. Gilbert and Susan Gubar's account in the Norton Anthology of Literature by
Women, the story was first published in The New England Magazine in May 1892 and
later included in William Dean Howells' Great Modern American Stories in 1920
(1147). Despite Howells' efforts, the story remained largely overlooked for over five
decades until Elaine Hedges brought attention to its merits in her "Afterword" to the
Feminist Press edition of 1973, where she praised it as a "small literary masterpiece"
(Schumaker 588). Gilbert and Gubar further note that, between 1920 and 1973, the story
went unnoticed and unread (1148). Additionally, a few sources mention that a slim book
version of the story was published in 1899 by Small, Maynard & Company, a Boston-
based publisher. The precise date of The Yellow Wallpaper's initial publication has been
subject to ambiguity, adding to the enigmatic nature of the story. Critics Lisa Kasmer,
Annette Kolodny, and Janice Haney-Peritz, like Gilbert and Gubar, identify the
publication date as May 1892. However, there are conflicting sources that suggest the
story appeared in The New England Magazine in January 1892. Interestingly, in
Gilman's autobiography, she recalls the date as May 1891 (119). Nonetheless, this
source has been proven to be inaccurate in several details. It is likely that Gilman was
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referring to "The Giant Wistaria," which was published in the June 1891 issue of The
New England Magazine (Dock 58). Some scholars choose to avoid this minor confusion
altogether by simply noting the year 1892 as the publication date. Nevertheless, the
1899 book edition is indeed accurate in stating that the story was first published in
January 1892.
Most critics and anthologists have adopted a version of those mentioned above
incomplete and misleading publishing history. However, a few bibliographers have
made efforts to address this issue. In Gary Scharnhorst's 1985 Gilman bibliography, a
total of nine reprintings are listed, including a Finnish translation and the 1899 book
edition, spanning the period between the 1892 magazine publication and the 1973
Feminist Press edition (60, 63). Nevertheless, independent research that collates various
sources reveals well over twenty reprintings of the story prior to its feminist "recovery"
in 1973, dispelling the myth that The Yellow WallPaper remained obscure throughout
its century-long existence. Notably, it was printed for the fourth time during Gilman's
lifetime (1860-1935) in the New York Evening Post on January 21, 1922. A copy of this
printing was discovered in the Gilman Papers at Radcliffe College. The fifth appeared
in American Mystery Stories (1927), the sixth in Golden Book 18 (1933), a literary
magazine, and the seventh in A Book of the Short Story (1934). The fifth and seventh
printings were featured in scholarly collections. Furthermore, a Finnish translation by
Irene Tokoi was published in Nykyaika, 15 (June 1934), bringing the total number of
appearances during Gilman's lifetime to eight.
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1.2 Objectives
The objective of this thesis will be to analyze the work of Charlotte Perkins
Gilman from the perspective of feminism and having regard to the Gothic influence. In
this literary work, we glimpse the small changes that began to emerge regarding the
issue of women through an autobiography that represents the concerns and desires of a
socially marginalized woman, and how social stigmas and the power of men lead her to
a figurative death of her identity as a woman or in contraposition, to a liberation of the
oppressing system. It will also explore how she represents the different roles of women
in society and how she is affected by the effects of feminization of mental illness and
consequently the different treatments to which they were subjected.
In the first place, we will deal with the Victorian historical context, centered in
America considering the story's background. According to this the consequent topic to
treat will be the private and public roles they played in society, it will discuss the
different political, economic, and social changes that affected them through the
reflection of Perkin’s own experience to understand their internal feelings. And to
conclude the corpus it will be presented the proper analysis of the story in question
bearing in mind the different factors already mentioned, followed by the conclusion
which will be given because of the dissertation about Victorian feminism in The Yellow
Wallpaper.
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1.3 Methodology
The textual analysis methodology employed in studying The Yellow Wallpaper
by Charlotte Perkins Gilman involves a careful examination of the text itself, focusing
on its language, structure, themes, and literary devices. This methodology aims to
uncover deeper meanings and interpretations embedded within the story. Here are some
key steps and approaches typically employed in this type of analysis. The analysis of
The Yellow Wallpaper by Charlotte Perkins Gilman involves a close reading of the text,
examining word choice, sentence structure, symbolism, and imagery to fully grasp the
narrative's nuances. It also focuses on identifying and analyzing literary devices like
metaphors, similes, and foreshadowing, which contribute to the story's overall meaning.
Additionally, the historical context is considered, exploring the role of women,
prevailing attitudes towards mental health, and Gilman's personal experiences. A
feminist perspective is applied, examining themes of gender roles, power dynamics, and
patriarchal oppression. The psychological analysis delves into the protagonist's mental
state and the symbolism of The Yellow Wallpaper, exploring themes of confinement and
societal constraints on mental health. Comparative analysis with other works provides
insights into recurring themes and sociopolitical commentary.
By employing these analytical approaches, we can gain a comprehensive
understanding of the text's meaning and significance, shedding light on the author's
intentions and the broader implications of the story.
2. State of the art
2.1 19th century America
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The Late Victorian period was a period of changes and uncertainty in American
society, marked by major shifts in economic, social, and cultural structures (Chew,
1980: 1448). During this time, the United States experienced rapid industrialization,
consequent urbanization and the emergence of new classes that also experienced
significant changes in politics, religion, and art.
One of the notable advancements in the 19th century was the expansion of the
industrial economy. Innovations like the steam engine and inventions in textiles brought
about a transformation in production and distribution, leading to the establishment of
factories across the nation. This shift from an agrarian society to an industrial one gave
rise to a new working class, fundamentally altering perceptions of life and labor.
Industrialization also brought about urbanization, as individuals sought employment in
cities and reshaped social class structures. The emergence of the middle class
introduced new professions such as lawyers, doctors, and accountants, while the
working class continued to face challenges such as low wages. These processes of
industrialization and urbanization had far-reaching effects on American society,
influencing politics, culture, and the arts. Political movements advocating for abolition,
women's rights, populism, and progressivism arose to address the social and economic
disparities caused by industrialization. In the realm of arts, movements like
Romanticism and Transcendentalism emphasized individualism, emotion, and nature,
shaping American culture. The advent of technologies like photography and the
telegraph further revolutionized artistic expression and communication. Overall, the
19th century witnessed significant transformations and developments in American
society, driven by industrial growth, urbanization, and the accompanying social and
economic changes (Chew, 1980: 1448).
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2.2 Women during the 19th century
The role of women went through a process of political, economic, and social
changes since the Revolutionary War. Before this image of women was oriented to be
subordinate to men, to take care of the family and to be a good woman from a moral
point of view. The fact of being a society predominantly driven by the power of men led
to the continuous impossibility of getting the right to vote or even to own property
(Miller, Marla). Through biology it is argued and assigned identity to men and women,
so in other words the supposed biological inferiority of women compared to men was
what decided that they were not fully constructed to expose themselves to society. In
conclusion, biology was the excuse to argue the power of a patriarchal society and to
avoid the presence of women in the public eye (Bray, 2004: 28-29).
However, as will be explained in the next point, thanks to different political and
economic changes, different social changes were unleashed that allowed them to change
women’s vision of society and their contribution as women.
2.2.1 Private and Public spheres
Underwent a redefinition during this time, centering around the concept of the
"True Woman." This ideal portrayed woman as confined to the domestic sphere,
responsible for household duties and child-rearing while upholding purity and modesty.
While women were respected as moral figures in religion and held in high regard by
men, they were expected to be submissive to their husbands and focused on their
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domestic responsibilities. Society perceived men as the builders of civilization, while
women were expected to serve as symbols of protection and purity. The notion of the
True Woman was instilled in young girls from an early age through training in domestic
skills, obedience, and chastity until marriage, emphasizing their role in motherhood and
transmitting moral values for the success of society. This idea was reinforced not only at
home but also through schools, churches, medical texts, and literature. Despite being
portrayed as pillars of morality and virtue, women were also seen as delicate and weak
due to the belief that their physical condition was more fragile than men's. It was
believed that women should avoid physical and emotional strain to protect their health
and delicate nervous systems. Consequently, women were expected to rely on men for
protection and financial support, as their only income came from their husbands'
salaries. This created a dependent relationship in which women were subordinate to
men within the family structure. However, significant historical events such as
commercialization, industrialization, and advancements in transportation led to a mass
exodus of men from agricultural areas, leaving women with limited marriage prospects
and forcing them to seek employment. During the Civil War, women filled the vacant
positions left by men and took on roles as teachers, government workers, overseers of
plantations, nurses, and volunteers. This period of transformation challenged the
oppressive ideals of the True Woman, as women had to adapt and take on
responsibilities traditionally assigned to men. Widows and spinsters emerged as a new
generation, shaping a redefined concept of womanhood that challenged notions of
purity and fragility. Women's rights movements and the abolition of slavery further
contributed to social changes, empowering women to fight for their freedom and
equality in society. In conclusion, the social changes of this period allowed women to
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break free from the constraints of purity and fragility, enabling them to assert their
rights and claim their rightful place in society (Cogan 5, 6, 7).
In conclusion, because of the societal transformations that occurred during this
era, including the abolition of slavery and the movements advocating for women's
rights, individuals were able to challenge the perception of purity and fragility assigned
to them. This empowered them to strive for their freedom and assert their rightful
position within society.
2.2.2 Women’s mental health
In the 19th century, women faced institutionalization for behaviors that went
against the norms of a male-dominated society. Their limited rights included not having
the authority to make decisions about their own mental well-being. Research suggests
that some women were admitted to mental institutions under questionable
circumstances. Today, many of the symptoms that led to women's institutionalization
during this period would not be considered grounds for such drastic measures.
Symptoms like religious fervor, epilepsy, and menstrual suppression were used as
grounds to label women as mentally ill. These diagnoses and symptoms reveal that
women were often categorized as insane without proper evaluation, influenced by
societal attitudes toward women.
By today's standards, these symptoms would be deemed controversial. Presently,
conditions such as post-loss melancholy, using offensive language, or the absence of
menstrual cycles (amenorrhea) would not meet the criteria for institutionalization.
Moreover, the specific diagnoses resulting from these symptoms were unique to that
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time. Conditions like epilepsy and nymphomania were not regarded as illnesses, but
rather as forms of insanity. Women were also diagnosed with insanity when they
displayed signs of fatigue or exhaustion, even though these symptoms were
understandable given the societal expectations and daily struggles women faced during
that era.
There were also diagnoses of hysteria, agoraphobia, and anorexia, which were
argued to be a result of the public exposure women experienced, rather than their
domestic environment (Gilbert & Gubar, 2000: 53). Focusing on anorexia, patriarchal
pressure played a significant role, as women were expected to conform to men's
established standards of sexuality and physical appearance. This pressure led them to
strive for thinness and fragility, sometimes even contributing to the development of the
disease itself (Smith, 2010). According to male tradition, engaging in activities that
stimulated women's minds and imagination was considered detrimental to their mental
health. Consequently, they were prohibited from such activities. This gave rise to a new
form of treatment known as the rest cure or confinement, introduced by an American
physician. He argued that women suffering from neurasthenia were often thin and
deficient in various ways. The prescribed solution was to subject them to extended
periods of rest and high-fat diets to ensure they received sufficient nutrients and address
issues like anemia. During this rest period, patients were not allowed to engage in any
physical exertion without the doctor's approval and were only permitted to receive
massages from nurses. However, this treatment was not applicable to all women, as
some were still expected to fulfill their domestic responsibilities while being in charge
of their male family members (Stiles, 4).
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2.3 Gothic Narrative
The word Gothic is related to the Goths, who invaded the Roman Empire and
spread throughout the current United Kingdom in the 3rd century. This term continued
to have importance during the Middle Ages, associated with poetry and chivalry.
However, during the 18th and 19th centuries as part of the development of the two
currents, neoclassicism and romanticism, gothic emerged as an artistic genre (Ellis, 23).
The reason of Neoclassicism and the importance of feelings and emotions of
Romanticism resulted in the violation of physical laws and thus gave free rein to the
imagination. The latter represents one of the main ideas of the Gothic since the fear of
the unknown and the limits of the mind resulted in unimaginable things. This is why the
Gothic focuses on the dark and sinister aspect of life, in which the imagination has no
limits, creating concepts never seen before (Varma, 1957).
This genre delves into the most hidden emotions and feelings of the human
being, since it is one of the most important aspects, because it represents the fear and
anxiety of the traumas and social development that society was going through at that
time.
To represent all this the Gothic uses real and fictitious elements to create an
uncanny atmosphere, where real elements were seen as something sinister and
unknown. Also, the setting is a very important element when developing a story with a
gloomy atmosphere. These settings were developed in medieval places, haunted castles,
dungeons, and other locations that conveyed terror. The term "picturesque" emerged
because of incorporating architectural ruins into the landscape. These ruins, which
include castles, convents, and cathedrals, create breathtaking views that represent the
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decline of a once great and glorious past. Gothic writers aim to depict the awe-inspiring
and terrifying power of nature in contrast.
2.3.1 Themes
As has been said before in the brief definition of the Gothic narrative, in it are
used different elements that make the gloomy environment more realistic, like the
settings or the themes of the stories. It can be found, for example, an ancient prophecy
that relates to the setting or even the inhabitants that is usually obscure and confusing,
for the plot to introduce the unknown element gives the ambience a good sense of
unpredictability to the reader. Other elements can also be the presentation of
supernatural events, such as ghosts, or even inanimate elements coming to life, that blur
the line between the real and the spiritual reality taking on account that spirituality was
at its peak, it was important to introduce that to produce a good context in the story.
Dealing with characters we have two different stereotypes, the women in
distress and the tyrannical male. To evoke an emotional response from the reader,
female characters are frequently subjected to events that cause them to faint, feel terror,
scream, or weep. The novels often revolve around a solitary, thoughtful, and oppressed
heroine, intensifying the impact of her tribulations and making her the primary focus of
the story. These women experience even greater suffering due to being forsaken, left
alone either intentionally or unintentionally, and lacking protection during vulnerable
times. On the other hand, a male character with authority, such as a king, lord of the
manor, father, or guardian, often can order one or more female characters to perform an
unbearable act. The woman may be instructed to marry someone she doesn't love,
possibly even the powerful male figure himself, or to commit a criminal act.
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2.3.2 Techniques
As for techniques to provoke different sensations in the reader, it is very
important to emphasize the use of language and how it represents fictitious elements to
make them look real for the reader to imagine and enjoy the story, or the goal of gothic
which is to provoke fear.
The use of metonymy of horror, introduces a relation between real elements and
situations, as a subtype of a metaphor. This is for example the use of rain, slamming
doors or even clanking chains to create a good atmosphere of danger and terror. Another
important use of language in the Gothic is the use of vocabulary to create the dark
feelings that define the Gothic genre, like darkness, agony or haunted amongst other
sets. To conclude with the use of techniques in gothic it is important to bear in mind the
use of hyperbolic phrases, to magnify the meaning of the phrase and increase the feeling
of suspense and horror. For example, dark gloom or deep grief.
These different themes and techniques were an important element that created
the atmosphere desired for the different stories that 19th-century writers, like Horace
Walpole or Ann Radcliffe, used to represent terror and suspense in their works.
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2.3.3 The Female Gothic
Ellen Moers coined the term "Female Gothic" in 1976, and according to Carol
Margaret Davison's essay, this genre of literature is not in opposition to the classical
Gothic but rather engages in a dialogue with it. By using The Yellow Wallpaper as an
example, Gilman's short story can be seen as a "radical response to the classic American
Gothic tradition" (Davison, 2004, 49). Essentially, the Female Gothic does not seek to
undermine the classical Gothic but instead employs the element of terror that is typical
in Gothic fiction to critique societal institutions, which are often male dominated.
Gilman had read the works of Edgar Allan Poe, and her short story shares similarities
with Poe's "The Black Cat" in terms of its mad narrators and focus on the domestic
sphere. The "hereditary estate" in Gilman's story can be seen as a metafictional
representation of the Gothic tradition, and the protagonist's stripping away of the yellow
wallpaper has been interpreted as a revitalization of the Gothic genre (Davison, 2004,
49). In short, the Female Gothic adheres to the same basic principles as traditional
Gothic literature but also incorporates elements from sentimental literature.
The principal difference between the traditional Gothic and the Female Gothic is
the fact that this one focuses on the vision of the story from a young woman’s
perspective and her journey through womanhood and other things related to marriage or
motherhood (Davison, 2004, p. 48). As the protagonist is a young woman in despair,
she is compared to the bildungsroman novel protagonist, who also is involved in
emotional growth until she reaches to go through these problems becoming the heroine
of the story. The protagonists are not static, they undergo a process of maturation and
growth.
The setting used in the Female Gothic usually takes place in domestic locations,
to make the story familiar, and uncanny to the protagonist of the story. According to
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Davison (2004), the heroines of this literary genre are typically transported to and
confined within an ancestral castle or manor, which they explore during the night (2004,
51). Davison also notes that the exploration of the house is paralleled with the heroine's
own journey of self-discovery, ultimately leading to personal growth and maturity by
the conclusion of the story (51). Along with the mysterious and unfamiliar setting, the
presence of a male antagonist is essential to these stories, as this character plays a role
in the heroine's oppression.
2.3.4 Gothic elements in The Yellow Wallpaper
The female gothic, as we have seen in its characteristics, must include the
heroine, the male antagonist, and the shadowy setting. This narrative gave rise to writers
such as Jane Austen, Emily Brönte and other prophylactic writers to create their gothic
works, today studied. But this paper focuses on one work in particular, The Yellow
Wallpaper by Charlotte Perkins Gilman. In it, Charlotte synthesizes the elements of
female gothic with the lived experiences of women, particularly her own. The story
Charlotte tells introduces elements and debates such as imprisonment, patriarchal
oppression, or irrational fear. The latter is represented by a terrifying element which is
the image of a woman spying on her from the other side of the wall, defined as a
mysterious element characteristic of Gothic.
In The Yellow Wallpaper two different approaches are distinguished from the
narrator's point of view, first her role in the marriage she is reluctant to follow the
traditional ideas imposed by her husband, and therefore her domestic role in the
marriage. Gilman uses the narrator's husband, John, John's sister Jennie, and the
wallpaper as symbolic representations of the narrator's fears. By personifying these
fears, Gilman allows the reader to witness the effects of societal norms on the narrator's
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mental state, ultimately leading to her descent into madness. To establish a link between
the act of observing and the Female Gothic style, each element in the story symbolizes a
specific aspect of domestic life. This representation allows the reader to see how
societal norms and expectations contribute to the Female Gothic mode in the story.
The character of John embodies the negative aspects of marriage that reinforce
women's inferior status. He strips the narrator of her agency, and independence, and
treats her as a child, all in the guise of being a good husband. Gilman's depiction of
marriage in the story is one where gender roles are highly defined and dangerous, with
the husband holding complete control over his wife, as noted by Bāniceru (2018, 10).
The story implies and directly states that John seeks to limit the narrator's freedom of
action and thought. The narrative is constructed around the narrator's private diary
entries, which she keeps hidden from John to conceal her true feelings. Furthermore,
John also tries to influence her decision-making through his words. Through this, we
can identify her fear and how being observed connects with the idea of the
imprisonment of the Female Gothic. However, the narrator is super-conscious about her
husband’s observation as she tries to hide everything from him, the diary and the fact
that she is seeing a woman through the wall, she knows that if her husband finds out
what she is seeing, he can make decisions about her because she is mentally damaged in
his eyes.
On the other hand, Jennie’s figure represents her fear of domestic expectations,
as she represents the perfect housekeeper. Because of this, she also feels watched and
judged by Jennie, from whom she hides, as well as from her husband, her diary and the
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secret of the woman who watches her from the yellow paper. Once again, the act of
looking is depicted as something eerie and otherworldly, highlighting its significance as
a component of the Female Gothic genre. If John and Jennie represent her fears,
consequently the yellow wallpaper symbolizes the bars of imprisonment to which she is
trapped, it is represented as a barrier imposed by the societal norms instilled by her own
family. She feels robbed of her own identity as a woman and of reality both in marriage
and in her own home. Gilman uses the wallpaper's gaze to create an otherworldly and
supernatural atmosphere that conveys the key elements of the Female Gothic.
In the conclusion of The Yellow Wallpaper, the narrator's apprehensions are
defied by removing the presence of a watcher: Jennie, the embodiment of domesticity,
is prohibited from entering the room, while John, a symbol of the patriarchal nature of
marriage, faints as the narrator walks over him to assert her newfound power. The
narrator frees herself from the "confinements of nineteenth-century women writers"
(Johnson, 1989, 3) by tearing down the wallpaper and breaking free from social,
domestic, and psychological restrictions.
20 Título TFG
3. Charlotte Perkins Gilman
To introduce the analysis of the following literary work, this section will consist
of a brief biography of the author, Charlotte Perkins Gilman, along with her literary
product and everything is written about her and her works. It will help the reader to
know the way women of that time expressed themselves as well as give a context about
the issues that affected them through the brief analysis of her literary work in general
and how this has been analyzed and studied by many scholars.
Charlotte Anna Perkins was born on July 3rd, 1860, and died on August 17th,
1935. She was a highly productive writer of both fiction and nonfiction works and is
known for her literary focus on feminist issues. In several of her writings, she advocated
for gender equality and criticized the societal norms and expectations perpetuating
gender stereotypes, which she was passionate about dismantling. In addition to her
career as a writer, she played a prominent role in the American women's rights
movement spanning the 19th and 20th centuries. Her personal experiences had a
significant impact on her literary works, one of which was inspired by her infancy,
when her father left the family and her mother was unable to care for the children,
leading to their placement with her husband's relatives. Nevertheless, she later
reconnected with her father who urged her to pursue an education. Eventually, she
married Charles Stetson, an artist who subscribed to the belief that women were delicate
beings and insisted that his wife recover from an illness by being confined. This
increased with the postpartum depression that she suffered after the birth of her child,
which inspired her to create her most acclaimed text, The Yellow Wallpaper. Her later
separation from Charles also was an important event in her life. After their divorce was
finalized, she relinquished custody of their daughter to her ex-husband and his new
spouse, as she believed they were better suited to provide a suitable maternal
Título TFG 21
environment. Despite these events, she was able to become deeply involved in the
suffragist movement and feminism, as well as achieving significant success as a
novelist. However, despite her advocacy for equal rights, her views were also shaped by
colonialism, notions of racial purity, and a strong inclination towards racism and
imperialism. During the late 1800s and early 1900s, she belonged to the group of new
women who faced challenges in expanding their physical abilities while living in a
society dominated by men. Despite these obstacles, she was a highly talented woman
who made significant intellectual contributions to America during the turn of the
century. Through her extensive writing and lectures on her theories regarding gender
relations and the importance of women's involvement in the broader sphere of
production, she gained international recognition as a feminist theorist and
nonconformist social critic.
3.1 The Yellow Wallpaper
It was first published in 1892 in The New England Magazine and is the most
famous work by Perkins. It is categorized as a feminist text because it explored mental
health, personal struggles, and societal pressures that women experienced during the
19th century. The significance of the title lies in its ability to focus the reader's attention
on a specific element that is crucial to the story's development. Through this element,
the author introduces topics such as psychology, female identity, male oppression, and
supernatural elements in an innovatively and imaginatively is often viewed as semi-
autobiographical, providing insight into the author's postpartum depression, anxieties
about her marriage, and feminist beliefs.
22 Título TFG
The Yellow Wallpaper is a work of fiction presented in the form of a diary,
where the protagonist, who is suffering from postnatal depression, is instructed to stay
in the upstairs nursery. The rest cure that is prescribed to her forbids her from writing,
exercising, having visitors, or even seeing her own child’s treatment proves to be
harmful, as her diary entries gradually detach from reality and become increasingly
peculiar. She becomes fixated on the wallpaper in her room, imagining a woman
imprisoned behind it. The story's climax is unsettling and claustrophobic, and it remains
uncertain whether the protagonist has succumbed to madness or if she has been cured.
Before delving into the analysis of the story, it is crucial to consider the author's
personal experience, which served as the impetus for her to write The Yellow
Wallpaper. Charlotte experienced a mental illness after the birth of her first child, which
today would be diagnosed as postpartum depression. She felt that her new role as a
mother was detracting from her professional aspirations and stealing precious time from
her. At the height of her depression, Charlotte felt utterly helpless and unhappy, so she
sought the help of Dr Silas Weir Mitchell, a prominent specialist in nervous disorders.
She provided him with a letter outlining her condition, but he dismissed her concerns
and prescribed what he called the rest cure, assuring her that she was only suffering
from hysteria.
Although she wrote the story, she encountered several difficulties getting the
story published, as publishers rejected it because of its dark themes. The story was
eventually printed in The New England Magazine in May 1892 and its reception was
mixed. While it was commended for its precise portrayal of a woman's developing
insanity from a medical perspective, it also garnered some negative feedback (St. Jean,
2002).
Título TFG 23
3.1.2 Feminist Literary Analysis
To demonstrate how this male-driven society affected women as has been
mentioned, I will conduct a thorough analysis of "The Yellow Wallpaper." The setting
of the story contains reminders of a time when individuals with mental illness were
confined against their will and regarded as a threat to society. In the short story, the
narrator observes the nursery where she will be staying and notes that the windows are
barred, and there are various objects such as "rings and things" on the walls. The
wallpaper near the head of the bed is torn, and the floor is scratched and damaged.
According to Gilbert and Gubar, the objects in the room are tools for confinement and
signify the narrator's imprisonment. This setting is reminiscent of psychiatric
institutions where individuals with mental illness were often treated as animals to be
locked up or as children to be punished, rather than as humans in need of rehabilitation.
The facilities of the nursery evoke the sense of imprisonment of the asylums. The
narrator describes the estate, a colonial mansion that seems almost haunted because of
its cheap rent. Also, the isolation of the mansion from the village is very telling as it
reminisces the separation of the asylums from a society where ‘the evil could vegetate
without ever spreading” (Van, 207).
Whereas this environment makes her feel unsettled, her husband finds it perfect
for her recovery. According to The Yellow Wallpaper, John is a highly respected
physician who follows the same approach as Charcot and Mitchell in exerting his
authority over the narrator, who has a mental illness. John combines his diagnostic
language with paternalistic language, which makes it clear that his professional and
24 Título TFG
masculine medical opinion carries significant authority, leaving no doubt about his
ability to silence the narrator and dismiss her mental illness. The doctor's diagnosis
carries institutional authority through a masculine voice, making it a powerful tool. It
not only identifies the problem but also holds the power to shape reality by enforcing
treatments and therapeutic actions. According to Treichler, this authority stems from the
doctor's position and societal norms surrounding masculinity.
Although John is depicted as a caring and well-meaning husband to his beloved
wife, his position is still susceptible to abuses of power, and his diagnosis is influenced
by society's damaging views on women's illnesses. At the beginning of The Yellow
Wallpaper, it is evident that John believes his wife has a minor hysterical tendency, and
he largely disregards her to attend to more severe cases in town. The narrator disagrees
with her husband's beliefs and tries to reason with him or form an alliance with him, but
he dismisses both her condition and her words (Van 54).
He refuses to take his wife seriously as he sees her in good physical condition,
he can’t see no physical evidence of her disease. This explains why people with chronic
mental illnesses are usually misunderstood, as they seem perfect and don’t show the
picture of disability frequently shown. This attitude towards the separation between
physical and mental appearance is shown through Gilman’s words:
An orthodox visible disease that sends one to bed, such as scarlet fever or
mumps, is met by prompt sympathy. A broken arm, a sprained ankle, or any physical
mutilation, is a recognized misfortune. But the humiliating loss of a large part of one’s
brain power . . . accompanied with deep misery and anguish of mind—this when
complained of is met with amiable laughter and flat disbelief. (Perkins, 1892,104)
Título TFG 25
Since John cannot explain his wife’s disease, John considers his wife's illness to
be illogical or even nonexistent, potentially because he believes it challenges the
rationality of his materialistic worldview, possibly on a subconscious level (Shumaker
592). As the narrator's condition worsens, John blames her for it, believing that she
should have more self-control. The detrimental impact of John's refusal to recognize the
gravity of his wife's depression is equivalent to the harm caused by her actual
symptoms, as he possesses the authority to completely disregard her anguish. John's
medical expertise is widely recognized, so his disregard of his wife's condition
characterizes her as an anomaly, a medical abnormality that contradicts his professional
experience. By refusing to acknowledge the dilemma of difference, John effectively
invalidates his wife's illness. In this context, the narrator's journal entries serve not only
to challenge John's dismissal of her illness but also to validate the irrational yet
authentic symptoms that she is experiencing. John is not willing to combat his wife’s
illness with a proven medical treatment as he is already familiarized with the physical
causes and effects of mental illnesses and does not identify it in his wife (Shumaker
591). In the forthcoming quotation, a blend of indirect and direct speech will be
presented to provide insights into both the protagonist's internal perspective and the
external viewpoint of her husband. There is a clear emphasis on the husband's authority
over the female, with his choice of words reflecting a desire to assert control and make
decisions on behalf of her:
He said we came here solely on my account, that I was to have perfect rest and
all the air I could get. "Your exercise depends on your strength, my dear," said he," and
your food somewhat on your appetite; but air you can absorb all the time." (Perkins,
1892: 648)
26 Título TFG
She is sure that his husband thinks she is recovering as her physical image is
improving but the reality is that her insanity is growing moment by moment and he is
not realizing her imminent breakdown because of his social lenses towards the
treatment of her. On the other hand, the narrator is very conscious of her situation and
recognizes that the treatment is not working for her, so she will need more than a diet
and exercise to recover from the depression. His attitude is driven by his opinion, so he
takes a hasty and temporary approach towards the narrator's seemingly minor mental
illness.
However, when their spouse does not react as anticipated or promptly, the
individual makes a threat by warning that their spouse will not be able to perform tasks
as they did before they were well. Although medical professionals have told her
otherwise, the narrator recognizes that something more is amiss with her. She uses her
journal as a form of medical documentation, attempting to articulate her subjective
reality in fragmented pieces. Within its pages, she documents her symptoms and
presents her perspective on the issue (Treichler 63). By doing so, we learn that she
frequently challenges her husband's diagnosis and believes that work, society, and
stimulus would be more effective in addressing her mental struggles than John's current
regimen. Furthermore, the writer utilized italics to highlight certain terms deliberately,
potentially indicating irony, disagreement, admiration, or to emphasize subjective
opinions or thoughts from the protagonist:
John is a physician, and perhaps —(I would not say it to a living soul, of course,
but this is dead paper and a great relief to my mind—) perhaps that is one reason I do
not get well faster. (Perkins, 1892: 647)
Título TFG 27
In the previous excerpt, we can observe the word "perhaps" being emphasized
through italics, highlighting the subjective nature and the potential disagreement that the
woman will express later, possibly even as a sarcastic remark. Similar formatting will
be employed throughout the narrative to convey such elements. The narrator
meticulously portrays her symptoms, not only to persuade John of the gravity of her
condition but also to validate her encounters and those shared by other women facing
similar hardships. Throughout the day, her nervous afflictions are "dreadfully
depressing" and persistently bother her (169). Along with her depression, she also
experiences guilt due to her inability to fulfill her duties as a wife and mother and has
occasional aggressive thoughts towards her husband (167, 169).
During her suffering, she experiences hallucinations and synesthesia while she
observes the yellow wallpaper. The wallpaper is a decaying yellowish color, she says it
has a "yellow scent" that infiltrates the house and lingers over the narrator constantly as
if lying in wait for her (178). Behind this yellow wallpaper, she begins to see a
mysterious woman creeping around, shaking the bars. Her hallucinations dealing with
the wallpaper are very significant as they function as a narrative within a narrative.
The wallpaper evolution follows the development of the narrator’s illness as
well as the entries of the diary that also become more fragmented. At the start of the
story, the sickly yellow color of the wallpaper color presents the narrator's feelings of
malaise, which include anxiety, fatigue, depression, and anger (Van, 55). Later, during a
time of despair, the narrator describes how the "uncertain curves" of the wallpaper seem
to "commit suicide" by diving off in outrageous angles and destroying themselves in
unprecedented contradictions ("Yellow" 168). The narrator is very deliberate in her
28 Título TFG
choice of language, selecting words that evoke imagery of self-destruction and violence.
The fact that such a description occurs early on in her story suggests the extent of her
depression. Her selection of words represents the extent of her depression as she
chooses words related to madness, self-destruction, and violence. The narrator's mental
illness does not conform to the principles of logic that John, a physician, subscribes to.
Rather, her condition is irrational because her symptoms are often invisible and cannot
be remedied with a straightforward treatment.
Although the narrator's symptoms are irregular and inexplicable, they also make
her vulnerable to ridicule when the medical community dismisses her illness as
irrational, impractical, and unobservable. This causes the narrator to detach completely
from reality and identify with the woman in the wallpaper who moves stealthily and
shakes the bars of her confinement. While the narrative in the wallpaper enables us to
document the progression of her illness, we truly comprehend the seriousness of her
delusion when she weeps at the end of her account, convinced that she has finally
escaped. The narrator is so consumed by her delusion that she fails to realize her
condition remains unchanged and that she is not only still trapped in the nursery but
increasingly confined by her delusions and paranoia.
The narrator's inability to break the cycle of her delusions is strongly suggested
by the story's ending as if she is trapped in this pattern forever. Additionally, the
narrator encounters a hurdle in her path when John faints in the middle of it, which she
must navigate around with each rotation. While this detail is vivid, some feminists' use
of it as a metaphor is misguided. John faints because he is distressed and dismayed by
his wife's mental breakdown, which he had earnestly tried to cure. Upon realizing that
his efforts not only failed but worsened her condition, he collapses in horror. There is no
clue of John dying when he enters the room, from now on he will accept the courtesy
Título TFG 29
stigma, to be wedded to a mad woman. This ending will be the beginning of another
imprisonment as John will enable her to record her experiences in her diary and will
restrict her more than before while kept under surveillance.
The narrator is burdened with a false identity through a feminist lens, where
John's focus on curing his wife for the children's sake undermines her identity as a
representation of the True Woman. He disregards her own insight into her condition,
instead prioritizing patriarchal and medical discourse. These two oppressive systems
marginalize the narrator by ignoring her subjective reality and viewing her solely from
patriarchal or able-bodied perspectives, ultimately leaving her disempowered. John's
mistake can be understood as a product of his adherence to societal norms and values.
In his personal life, he upholds the prevailing cultural ideals of True Womanhood and
expects his wife to fulfill the domestic role. Although John undoubtedly exaggerates his
wife's condition, he cannot fathom any other way of thinking or believing.
The intersection of disability and feminism can deepen our comprehension of
the various forms of oppression, narrative voice, and mental illness present in The
Yellow Wallpaper. Disabled feminists stress the importance of disabled women sharing
their own personal accounts of living with a disability. While feminist scholars typically
prioritize subjective perspectives. Although we may assume that scholars can accurately
interpret narratives about disability, it is also the responsibility of disabled women to
provide their own narratives from their unique perspectives. In The Yellow Wallpaper,
she presents her subjective reality that portrays not just her oppressive circumstances,
but also the evolution and symptoms of her mental illness. In a sense, the narrator
30 Título TFG
attempts to justify the legitimacy of her symptoms to her readers by recounting her
bouts of depression and her visual and olfactory hallucinations related to the wallpaper.
Gilman's writing of "The Yellow Wallpaper" plays a crucial role in the process
of redefining the concept of disabled women. Despite Gilman's own admission that she
never experienced hallucinations related to her wall decor, her short story illustrates her
own subjective reality of living with mental illness.
In her writing of "The Yellow Wallpaper," Gilman exposes herself at her most
vulnerable, struggling with an unpredictable illness and a damaging diagnosis.
However, this dark portrayal of a woman does not make her narrative inadequate or
unworthy. Rather, Gilman's story highlights the harm caused by patriarchal oppression,
the shortcomings of the rest cure, and, more significantly, the experiences of a disabled
woman in nineteenth-century society. While the short story was enlightening for its
contemporary readers, especially those who also battled mental illness, creating a
deeply personal and subjective reality proved to be a form of redemption for Gilman
herself. The Yellow Wallpaper functioned as a kind of "writing cure" for its author, as it
enabled her to reaffirm the value of her life following the dismissal of her experiences
by those in her personal and professional life. Although Gilman's symptoms of
depression persisted throughout her life, "The Yellow Wallpaper" assisted her in
defining her mental illness, her disabilities, and her identity on her own terms.
The primary theme revolves around the descent into madness of a woman,
induced by a supernatural element. This theme is connected to two other topics: the
significance of the paper itself and the presence of a female ghost or supernatural figure
associated with the paper. Additionally, it is essential to consider other significant
themes such as self-image and its role in defining one's character and identity, the
Título TFG 31
portrayal of women as dictated by a male-centric society during the Victorian Era, and
the concept of duality, where a person's existence straddles the line between reality and
the supernatural realm.
Through careful analysis, it becomes evident that the central theme of the text is
the madness experienced by the woman, triggered by a supernatural element. The entire
story revolves around this female character and her fixation on the decorative paper in a
specific room where she is confined. Initially, she expresses dissatisfaction and aversion
towards the pattern and the yellow color, noting that it is torn. This theme reflects the
Victorian era's interest in psychology and their perception of "women's maladies." The
notion of women's maladies often stemmed from societal stereotypes imposed upon
them, suggesting that any change in behavior or condition must be attributed to a mental
issue requiring treatment. Such perceptions were considered normal due to the
prevailing belief that women were inherently driven by emotions and prone to
irrationality. The fascination with psychology in this context emerged from the
influence of Gothic literature. The distorted perception of reality is apparent right from
the start of the story, as indicated by the protagonist's unease about the relocation for the
summer. Subsequent entries in her diary depict her anxious state, establishing a tense
atmosphere as she anticipates an unfamiliar yet somehow familiar element.
Another aspect influenced by the Gothic genre is the eerie pattern of the paper.
The color and its torn condition evoke a feeling of danger and instability, even within
the confines of her domestic space. The pattern not only unsettles her but also triggers a
sense of impending horror, instilling negative emotions and perceptions. The presence
of varying patterns and a disturbing perception of the paper engulfs her both physically
and mentally, as she is confined to the room for an extended period. Remaining in the
room intensifies her perception of the wallpaper, leading to changes in her observations,
32 Título TFG
particularly as she scrutinizes it throughout the day and night. This prolonged exposure
fuels her growing obsession with the wallpaper:
This wallpaper has a kind of sub pattern in a different shade, a particularly
irritating one, for you can only see It In certain lights, and not clearly then. But in the
places where it isn't faded and where the sun is just so - I can see a strange, provoking,
formless sort of figure, that seems to skulk about behind that silly and conspicuous front
design (Perkins, 1892)
The inclusion of these Gothic-inspired elements aids in portraying and tracing
the development of her emotions regarding the intrusion and encounter with something
entirely unfamiliar to her. She refers to a sense of ghostliness, marking her initial
recognition of the presence of ghosts, as well as the entity she perceives behind the
wallpaper. These elements contribute to a feeling of alienation and detachment from the
tangible world. While she is confined, she begins to observe disturbing shapes in the
wallpaper, which disrupts her peace and destroys any sense of calmness necessary for
her recovery. These figures challenge the notion of an ideal environment for her healing
process. Additionally, the room and its wallpaper can be interpreted as a symbol of
society, where she is constantly scrutinized and pressured to conform to the
expectations of being the perfect woman for her family. This pressure ultimately breaks
her, much like the damaging effect of the wallpaper. The presence of something
observing her within the confines of her own home, her supposed safe space, captivates
the reader's attention, generating anticipation for future events, while also introducing
an unsettling and eerie element.
In addition to discussing the impact of her confinement on her mental well-
being, another crucial theme revolves around the protagonist's identity as a woman.
Título TFG 33
Within the story, we encounter two contrasting portrayals: the protagonist, a mentally ill
and ostracized woman, and her sister-in-law, who embodies the idealized image of a
"true woman." The presence of her sister-in-law and the societal stereotypes she
represents intensify the social pressure faced by the protagonist. She believes she must
conform to the expectations of being the perfect woman, and her husband only
perceives her as recovering when she behaves obediently and conforms to the Victorian
ideal of an angelic woman.
However, through the entries in her diary, we gain insight into the true state of
her mind and witness the effects of the yellow wallpaper, as well as the progression of
her illness. The narrator undergoes a profound transformation, shifting from an insecure
and submissive individual who can only express herself within the confines of her own
thoughts. She feels oppressed by her surroundings, and her sole conviction is to either
destroy or unravel the mysteries of the seemingly mundane wallpaper. Over time, she
evolves into a wilder, more liberated woman who defies societal norms and embraces
her newfound freedom. In the end, she discovers her true self through her rebellion
against the constraints of normality.
The appearance of the spectral figure hidden within the wallpaper symbolizes
the protagonist's yearning for personal freedom and independence. She longs to escape
the scrutiny and judgment of society, finding solace only during the nighttime when she
can glimpse the liberated woman concealed behind the wallpaper. This imagery can also
be understood as a confrontation between her current circumstances and her suppressed
desires, serving as a representation of the Victorian Gothic tradition. The presence of
34 Título TFG
the doppelganger figure within the wallpaper reflects the protagonist's internal turmoil
and the existential crisis she faces.
In the end, her last sentences represent the arrival of her new identity: ‘I’ve got
out at last’, She becomes aware of the strength inherent within her as a woman and
liberates herself from the constraints imposed by the patriarchal system. The theme of
identity explored in the story is situated within the context of male authority exerting
control over women. As the narrative progresses, it becomes evident that the men in her
life are mistaken in prohibiting her from seeking employment, and she grows weary of
the medicines forced upon her. Despite being acutely aware of the detrimental effects of
these restrictions, the male figures oppress her and insist that they alone possess the
means for her recovery, leaving her feeling invalidated and foolish. Furthermore, her
husband deceives her, disregards her viewpoints, and imposes his own upon her. The
protagonist's life is profoundly influenced by societal norms, reaching a point where we
observe how marriage and societal expectations limit women. These constraints lead to
a sense of inferiority and hinder their ability to express themselves, fearing further
marginalization. The protagonist acknowledges that her husband dismisses her illness
and lacks genuine concern for her well-being, as his primary focus is maintaining their
social image rather than her actual health.
The act of confinement is intricately linked to the portrayal of a Gothic setting,
highlighting a connection between the narrative and the exploration of the blurred
boundaries between reality and the supernatural realm. She portrays various aspects of
the rented colonial house, such as the mention of gates, locks, and the grandeur of the
mansion, which creates a typical Gothic ambiance that evokes a feeling of being
trapped, unable to escape, and isolated from the outside world.
Título TFG 35
It is quite alone, standing well back from the road, quite three miles from the
village. It makes me think of English places that you read about, for there are hedges
and walls and gates that lock, and lots of separate little houses for the gardeners and
people. (648)
The symbolism of the wallpaper extends beyond its physical presence to
encompass the entire house, with dilapidated elements mirroring the worn state of the
wallpaper. From this observation, one could deduce that the woman concealed behind
the paper yearns for liberation and a connection to the natural world, rejecting the
confines of a limited space that is ultimately controlled by men. The conclusion can be
interpreted as the protagonist breaking free from her confinement and embracing her
true identity as an emancipated woman. She fully identifies with the previously depicted
figures hidden behind the paper, which were initially portrayed as repulsive or peculiar
but are ultimately revealed to be untamed and liberated.
36 Título TFG
4. Conclusion
In conclusion, this analysis has examined the key elements that defined the
Victorian Era and its society, with a particular focus on the role of women. The
historical context, including the emergence of social movements, the Industrial
Revolution, and the rise of feminism, contributed to a crisis of social identity. Literature
served as a valuable medium for exploring these uncertainties and society's anxieties
towards the unknown. Despite facing immense challenges imposed by the social system
and the difficult period, women managed to write and seek their own identities.
Charlotte Perkins Gilman's short novel provides a comprehensive illustration of
these feminist ideals, the Victorian crisis, and the internal revolution taking place within
women's hearts as they strive to understand themselves and harness their own power.
By adopting the format of a diary, Gilman effectively expresses the internal anxieties
and desires of women trapped in such situations prevalent during that era, while
incorporating Gothic elements to evoke a sense of unease and incorporating uncanny
elements often associated with Gothic narratives.
Her short story established a foundation for the evolution of women's narratives,
pushing boundaries with its portrayal of female intellect and exploration of issues
concerning the human mind and women. As a result, this paper has contributed to a
deeper understanding of female expression as a reflection of their experiences, including
grappling with mental illnesses, challenging patriarchal conventions and stereotypes,
and navigating a predominantly male-dominated society. The analysis has achieved
some degree of success by corroborating findings already put forth by numerous
researchers. However, it has fully succeeded in offering a comprehensive examination
from a feminist perspective, delving deeply into the author's intentions and the
narrative's intricacies using various literary elements and techniques.

Título TFG 37
2. Bibliography
This is the paragraph format for each refecence. Note that you should carefully follow
the format guidelines (either MLA or APA) that you will find in the
accompanying documents.
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Título TFG 39
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40 Título TFG
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42 Título TFG
3. Appendixes
Título TFG 43
4. Conclusiones
Título TFG 45

Feminist Analysis of The Yellow Wallpaper (Maria Paz Romero Morales) (1) 2

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GRADO EN ESTUDIOS INGLESES

ASIGNATURA TRABAJO FIN DE GRADO

Feminist Analysis of The Yellow Wallpaper

Feminist Analysis of The Yellow Wallpaper

MARIA PAZ ROMERO MORALES(Estudiante)

Departamento de Filología Inglesa, Francesa y Alemana

ASIGNATURA TRABAJO FIN DE GRADO

Feminist Analysis of The Yellow Wallpaper

Feminist Analysis of The Yellow Wallpaper

MARIA PAZ ROMERO MORALES (Estudiante)

Fdo.: Maria Paz Romero Morales

Departamento de Filología Inglesa, Francesa y Alemana

SUMMARY: (in English, 100-150 words)

The Victorian era is often characterized as a period of economic crisis that

advance and discover their own voice.

A prime example of this is the autobiographical work "The Yellow Wallpaper"

writers to expose their deepest fears and desires.

PALABRAS CLAVE: salud mental femenina, feminismo, narrativa gótica, Era

Victoriana (en español)

RESUMEN: (100–150 palabras)

La era victoriana se caracteriza por ser un período de crisis económica que

desencadenó crisis sociales e individuales en las sociedades occidentales. En este

contexto, la cultura, especialmente la literatura, se convirtió en una herramienta para

expresar diversas problemáticas y explorar la psicología humana característica de esa

la evolución del movimiento feminista, gracias al cual lograron avanzar y descubrir su

Un ejemplo destacado de esto es la obra autobiográfica The Yellow Wallpaper

de Charlotte Perkins Gilman, que se centra en la experiencia más personal de la autora y

la mujer. A lo largo de su narración, Gilman también muestra destellos de técnicas y

elementos propios de la narrativa gótica, que fueron desarrollados de manera

Málaga, June 2023

Student: Maria Paz – Romero Morales Signature

1.1. Corpus ...................................................................................................................... 2

2.1. 19th century America........................................................................................... 5

2.2. Women during 19th century America.............................................................7

2.2.1 Private and public spheres.......................................................................................6

2.1.1. Women’s mental health.............................................................................................6

2.3 Gothic Narrative ................................................................................................ 9

2.3.1 Themes ................................................................................................................... 10

2.3.3 The Female Gothic ............................................................................................... 10

2.3.1 Gothic elements in The Yellow Wallpaper.......................................................10

3. Charlotte Perkins Gilman......................................................................11

3.1.The Yellow Wallpaper...............................................................................................12

3.1.1 Feminist Literary Analysis...............................................................................................13

the Gothic as it is represented a deepening of the most hidden feelings from

Charlotte Perkins Gilman's renowned work of short fiction, The Yellow

began to attract scholarly attention. Presently, contemporary analysts interpret The

Yellow Wallpaper as a feminist critique of the oppression of women in society,

appreciating its compelling character portrayal, intricate symbolism, and thematic

in pre-1973 publications, leading to a distorted view of its history. According to Sandra

M. Gilbert and Susan Gubar's account in the Norton Anthology of Literature by

story appeared in The New England Magazine in January 1892. Interestingly, in

incomplete and misleading publishing history. However, a few bibliographers have

printings were featured in scholarly collections. Furthermore, a Finnish translation by

appearances during Gilman's lifetime to eight.

a figurative death of her identity as a woman or in contraposition, to a liberation of the

consequently the different treatments to which they were subjected.

reflection of Perkin’s own experience to understand their internal feelings. And to

The textual analysis methodology employed in studying The Yellow Wallpaper

Additionally, the historical context is considered, exploring the role of women,

prevailing attitudes towards mental health, and Gilman's personal experiences. A

insights into recurring themes and sociopolitical commentary.

By employing these analytical approaches, we can gain a comprehensive

intentions and the broader implications of the story.

2. State of the art