The Yellow Wallpaper: A Stifling Relationship -- essays research paper

Husband-Doctor A Stifling Relationship In Gilmans the xanthous WallpaperAt the beginning of The yellowish Wallpaper, the protagonist, Jane, has practiced given deport to a baby boy. Although for most mothers a newborn infant infant is a joyous time, for others, like Jane, it becomes a trying stirred period that is now popularly understood to be the common disorder, postnatal depression. For example, Jane describes herself as feeling a lack of strength (Colm, 3) and as comely dreadfully fretful and querulous (Jeannette and Morris, 25). In addition, she writes, I cry at nothing and cry most of the time (Jeannette and Morris, 23).However, as the term postpartum depression was not in the vocabulary of this time period, John, Janes save and doctor, has diagnosed Jane as suffering from temporary nervous depression with a lissome hysterical tendency (30).(Colm) It may be more accurate to scenery the symptoms she develops later in the storyvisual hallucinations, delusions, parano iaas stemming from a insane condition that, prior to the birth of her son, was subdued or in control. The birth of her son precipitated a confrontation with John and became a catalyst of her psychosis.Janes pip-squeak may be considered a catalyst because, although he is not named for us by the narrator, he will be the recipient of his fathers last name. Walsh points come in the stress laid in the clinic on the father as give voice and figure, so that what is finally important might be called the perception of composition or the congress to paternity (78). When applied to a reading of The Yellow Wallpaper, this translates into the following The birth event is one of the times, perhaps the first, that Jane actually confronts her relation to the father of her son, John. In relation to the above, until the very last few lines of the story, Jane herself, is unnamed.(Hume, 477) This absence correlates with the void she has in the place at which a non-psychotic person would curb a relation to the Husband/Father. Furthermore, even though her name last is revealed, it is, in essence, a no name Jane, as in Jane Doe, as in anonymous, without a history or connections of any sort.Aside from Janes anonymity, on that point are other indications that Jane does not fit into the wife/mother relationship. From the porta lines, Gilman makes it clear that the world of the story is feminist. For example... ... Psychoses. Criticism & Lacon. Eds. Patrick Colm Hogan and Lalita Pandit. Athens U of tabun P, 1990. 6473.Dock, Julie Bates. But No One Expects That Charlotte Perkins Oilmans The Yellow Wallpaper and the Shifting nimbleness of Scholarship. PLMA 111.1 (Jan 1996) 5265.Gilbert, Sandra M. and Susan Gubar. The Madwoman in the Attic The Woman Writer and the Nineteenth-Century Literary Imagination. second ed. New Haven Yale UP. 2000.Treichler, Paula A. Escaping the Sentence Diagnosis and Discourse in The Yellow Wallpaper. Tulsa Studies in Womens Literature 3. 12 (Spring -Fall 1984)6177.Johnson, Greg. Gilmans Gothic fable Range and Redemption in The Yellow Wallpaper. Studies in Short manufacture 26.4 (Fall 1989) 52130.Powers of Horror An Essay on Abjection. Trans. Leon S. Roudiez. New York capital of South Carolina UP, 1982.Kristeva, Julia. Desire in Language A Semiotic Approach to Literature and Art. New York Columbia UP, 1980.Tripathi, Vanashree. Charlotte Perkins Gilmans The Yellow Wallpaper A Gynograph. Indian Journal of American Studies 27.1 (Winter 1997) 6569.Lacan, Jacques. Ecrits A Selection. Trans. Alan Sheridan. New York W.W. Norton &Co., 1977.