Relevant bibliographies by topics / The Yellow Wallpaper

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'The Yellow Wallpaper'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 June 2025

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Journal articles on the topic "The Yellow Wallpaper"

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Mukhtar, O. "The Yellow Wallpaper." BMJ 342, jan26 1 (January 26, 2011): d428. http://dx.doi.org/10.1136/bmj.d428.

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Kolich, Tomáš. "Haunting or Hallucination? Charlotte Perkins Gilman's ‘The Yellow Wallpaper’ and Contemporary Theories of Decorative Art and Psychiatry." Gothic Studies 22, no. 3 (November 2020): 266–84. http://dx.doi.org/10.3366/gothic.2020.0061.

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Even though Charlotte Perkins Gilman's story ‘The Yellow Wallpaper’ (1892) has received a lot of critical attention, there have been only a few attempts at the visual analysis of the wallpaper. This article approaches it as a case of the intricate pattern – an optically unpleasant and complicated ornament that can be depicted. This motif is present in gothic narratives (Poe's ‘Ligeia’, 1838), films (Robert Wise's The Haunting, 1963) as well as outside the genre. With a connection to wallpapers, it was discussed publicly during Gilman's time. This article reconstructs this discussion with examples from the contemporary interior decoration manuals, guidebooks for nursing and medical literature. The aim is to contextualize Gilman's story and to analyse the ways in which her descriptions of the wallpaper are similar to the rhetoric of the guidebooks. This context can enrich our knowledge about the period, reception of the story and possibly even about Gilman's sources of inspiration.
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Delashmit, Margaret, and Charles Long. "Gilman's the Yellow Wallpaper." Explicator 50, no. 1 (October 1991): 32–33. http://dx.doi.org/10.1080/00144940.1991.9938702.

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Oakley, Ann. "Beyond the yellow wallpaper." Reproductive Health Matters 5, no. 10 (January 1997): 29–39. http://dx.doi.org/10.1016/s0968-8080(97)90083-5.

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Irmayani, Sabaruddin, and Rahma Melati Amir. "IDEOLOGY IN CHARLOTTE PERKINS GILMAN’S SHORT STORY “THE YELLOW WALLPAPER” BY USING GENETIC STRUCTURALISM APPROACH." JLE: Journal of Literate of English Education Study Program 2, no. 01 (July 28, 2021): 34–44. http://dx.doi.org/10.47435/jle.v2i01.631.

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Abstract
 
 The purpose of this paper is to analyse the Ideology in Charlotte Perkins Gilman’s Short story “The Yellow Wallpaper “by using genetic structuralism approach. This research used descriptive method. The primary data is Charlotte Perkin Gilman’s work or short story “The Yellow Wallpaper” published and printed in 1995 by Penguin books. The secondary data is reference, which has relation to do the topic of the research. Then, the data is collected and analyzed by using genetic structuralism approach which is focus of the analysis of intrinsic and extrinsic aspect. Extrinsic aspect involves Gilman’s biography as well as social contexts as reference to constitute certain ideology adopted by Gilman and Intrinsic aspect focused on plot, character and setting of “the yellow wallpaper.” The result shows that the homologous of Gilman’s ideology and “The Yellow wallpaper” is related to feminist ideology. Her social and personality background revealed that she is a feminist activist. Gilman propose how the women tries to free from patriarchy system is by using rational imagination. The main character of “The Yellow Wallpaper” is a woman; a new mother who suffer from post-partum depression. She is able to see that most of women are hide behind the domestic pattern. The result shows that a woman who got an oppression and subordination by patriarchy system tends to have mental disorder and depression.
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Kresnawaty, Novy, Ouda Teda Ena, and Markus Budiraharjo. ""The Yellow Wallpaper": How Figurative Languages Fuel a Descent into Madness." IDEAS: Journal on English Language Teaching and Learning, Linguistics and Literature 13, no. 1 (March 17, 2025): 126–45. https://doi.org/10.24256/ideas.v13i1.5570.

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This study explores the use of figurative language in Charlotte Perkins Gilman's "The Yellow Wallpaper," focusing on the protagonist's descent into madness as depicted by the author. This study employs a qualitative descriptive methodology, drawing its data from specific sentences from the short story and focusing on some examples of figurative language. The method of analysis utilised is content analysis with a focus on language style. The collected data consists of words and sentences extracted from "The Yellow Wallpaper." This involves conducting a literature review, annotating the text, identifying figurative language techniques, and analysing their effects. Additionally, the study contextualises Gilman's work within its historical and cultural context. This research plan offers a methodical strategy for illuminating this significant aspect of "The Yellow Wallpaper.
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Ford, Karen. ""The Yellow Wallpaper" and Women's Discourse." Tulsa Studies in Women's Literature 4, no. 2 (1985): 309. http://dx.doi.org/10.2307/463709.

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Thrailkill, Jane F. "Doctoring "The Yellow Wallpaper"." ELH 69, no. 2 (2002): 525–66. http://dx.doi.org/10.1353/elh.2002.0019.

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Gilman, Charlotte Perkins. "‘Why I wrote The Yellow Wallpaper?’." Advances in Psychiatric Treatment 17, no. 4 (July 2011): 265. http://dx.doi.org/10.1192/apt.17.4.265.

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Cruz, Tarso do Amaral de Souza. "“The yellow wallpaper”: representation as struggle." Grau Zero – Revista de Crítica Cultural 1, no. 1 (April 11, 2016): 367. http://dx.doi.org/10.30620/gz.v1n1.p367.

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The article discusses the narrative strategies employed by American writer Charlotte Perkins Gilman which aimed at subverting literary conventions that could have prevented her from representing a woman’s inner struggles. The article also aims at discussing how such subversion may be related not only to the literary realm but also to the social restraints with which women were forced to deal during the second half of the nineteenth century in The United States of America.
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Dissertations / Theses on the topic "The Yellow Wallpaper"

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Jordan, Deborah. "Sanctuary: The Yellow Wallpaper and Beyond." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392823722.

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Enqvist, Mia. "Understanding the Feminist Message in Gilman´s "The Yellow Wallpaper"." Thesis, Högskolan Dalarna, Engelska, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:du-2473.

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Vujovic, Ana. "Power play in The Bell Jar and "The Yellow Wallpaper" : How power play is manifested towards the protagonists in The Bell Jar and "The Yellow Wallpaper"." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-13939.

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Abstract This paper will attempt to analyze how similar forms of power play are manifested towards the protagonists in both The Bell Jar and “The Yellow Wallpaper”. The aim of the essay is to investigate how power play affects the protagonists’ relations with their caregivers and how it affects their treatments. Thus, the hypothesis is that it is the power play that prevents the protagonists in “The Yellow Wallpaper” and The Bell Jar from recovering from their mental illness, which is confirmed by my analysis. Therefore, the concept of power play will be used in the essay as an instrument of analysis. The hypothesis will be discussed from five main points: obstacles to recovery, caregivers’ role in recovery, patients’ response to treatment, the role of power play, and the negative impact which power play has on recovery. Keywords: Power play, mental illness, treatment, recovery, patient-caregiver relationship, Charlotte Perkins Gilman, Sylvia Plath, Reet Sjögren.
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Lindroth, Eva. "Vansinne, makt och frihet : En jämförelse mellan "The yellow wallpaper" och Monster i terapi." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-96554.

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Hood, Rebekah Michele. "Invisible Voices: Revising Feminist Approaches to Charlotte Perkins Gilman's "The Yellow Wallpaper" by Including the Narrative of Mental Illness." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6678.

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Since 1973, the year in which Elaine Hedges's groundbreaking edition of "The Yellow Wallpaper" was published, Charlotte Perkins Gilman's short story has been read primarily as one of America's leading feminist texts. With potent symbolism and a fragmented style of narration, it is easy to understand why many feminist scholars fashion the story's narrator into a proactive feminist, a courageous heroine who rebels against patriarchal oppression. While this trend of interpretation compellingly attempts to empower the narrator, it often overlooks her perspective of disability and projects the characteristics of a nondisabled, high-functioning feminist on a mentally ill woman. This paper reads Gilman's short story as a narrative of mental illness and applies the research of feminist disability scholars Anita Silvers, Jenny Morris, and Susan Wendell to a close reading of the story. Approaching the story from this perspective, we can identify the systems of oppression that disable the narrator and read "The Yellow Wallpaper" in a way that validates the subjective reality of depression and invites disabled voices into feminism's exploration of womanhood.
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Updike, Hannah. ""The Subordination of the Privileged: Patriarchal Constructions of Femininity in Charlotte Perkins Gilman's 'The Yellow Wallpaper' and Zelda Sayre Fitzgerald's Save Me the Waltz"." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/482.

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Charlotte Perkins Gilman and Zelda Fitzgerald provide unique insight into the patriarchal worlds they lived in through autobiographical accounts of their lives. The Living of Charlotte Perkins Gilman and the diaries of Gilman and her first husband, Charles Walter Stetson, serve as Gilman’s autobiographical texts of the period before, during, and immediately after her breakdown. The correspondence between Fitzgerald and her husband, F. Scott Fitzgerald, as well as Scott’s letters to Zelda’s psychiatrists serve as a biographical (and, in the case of her letters to Scott, autobiographical) account of her life during the period of her institutionalizations, from 1930 up to Scott’s death in 1940. These biographies and autobiographies, studied in conjunction with their fictionalized autobiographical accounts, Gilman’s “The Yellow Wall-Paper” and Fitzgerald’s Save Me The Waltz, illustrate the struggles these women, and by extension, many women of their time, experienced when they were unable to live up to the expectations a patriarchal society placed on them to be perfect wives and mothers. The construction of the feminine by the patriarchy required women to be complacent, meek, dependent, and infantile, and this construction, complicated by the issues of institutionalization and hysteria, is at the heart of the works of Gilman and Fitzgerald. The subtexts present in their fiction demonstrate that Gilman and Fitzgerald not only understood and felt the pressure of the patriarchal construction of femininity, but were acutely aware of how it could exert itself on women, particularly white, economically privileged women. Both authors, victims of the same patriarchal mechanism that dominated society during the turn of the twentieth century, provide insight into their own perspectives through their autobiographies, and then create fictional worlds in which the implications of these perspectives are realized to the detriment of their protagonists. While critics have examined this focus within individual stories by these writers, they have not been examined together in a comprehensive discussion of the patriarchal construction of the feminine and its manifestation in the autobiographical/biographical and fictional works of Charlotte Perkins Gilman and Zelda Fitzgerald.
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O'Reilly, Casey Michelle. "Phantom Limb: An Exploration of Queer Manner in Nineteenth-Century Gothic Tales." ScholarWorks @ UVM, 2019. https://scholarworks.uvm.edu/graddis/1069.

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The term “phantom limb” is used to describe the phenomenal tingling sensation that occurs in the nerve endings of an amputated limb; though the limb is no longer physically attached to the body, the person experiences pain and physical sensation in the space the limb once occupied. Though the body part has been removed, it haunts both the body and the brain. It is through this metaphor that I am interested in investigating the connection between the disembodied and the embodied. The disembodied connects to the embodied through the loss or lack of a bodily form; the embodied, therefore, links the disembodied to movements and mannerisms of the body. Adopting Pierre Bourdieu’s Theory of Practice, I define manner as a fluctuating force that operates as a spectrum. Manner links, rather than separates, the internal and the external through the social. In other words, the interplay between the internal and external must be socially interpreted in order to be understood as manner. The first chapter of my thesis will focus on embodied manner and use Robert Louis Stevenson’s Dr. Jekyll and Mr. Hyde as a case study to explain how society impacts the construction of normative manner. Building off Jack Halberstam, I adopt the theory that Mr. Hyde “is both a sexual secret, the secret of Jekyll’s undignified desires, and a visible representation of physical otherness” (82). My argument focuses on the connection between the “deformity hidden within” Mr. Hyde and that “inscribed upon his...skin” that Utterson, Enfield and Lanyon struggle to identify (82). The second chapter of my thesis will focus on how manner operates as both a disciplinary force and cultural haunting. In other words, just as the phantom limb reproduces a distorted version of the lost limb, the social control of manner ultimately reproduces imperfect replicas. In George Eliot’s The Lifted Veil, the protagonist, Latimer, begins suffering from visions after he parts ways with his dear friend Charles Meunier. Here, the unconscious operates at the individual level; I argue that these “visions” are the result of an implosion of Latimer’s repressed sexuality. I then turn to Charlotte Perkins Gilman’s The Yellow Wallpaper to argue that manner operates as a type of social law that attempts to stave off haunting but instead inadvertently reproduces it. In this section, I argue that the narrator’s secondary status as a female character gives her a different kind of agency from Mr. Hyde and Latimer, and that her husband’s ultimate failure to control her results in a type of queer production that calls into question the dialectical relationship between haunting and manner.
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Rodovalho, Nilce Meire Alves. "Das gaiolas, das clausuras às práticas de liberdade: relações de saber/poder em O papel de parede amarelo." Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/8975.

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Submitted by Franciele Moreira (francielemoreyra@gmail.com) on 2018-10-15T13:33:36Z No. of bitstreams: 2 Dissertação - Nilce Meire Alves Rodovalho - 2018.pdf: 2114262 bytes, checksum: 094713f58f55396ea2cef9e71f105da5 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)<br>Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-10-15T14:46:46Z (GMT) No. of bitstreams: 2 Dissertação - Nilce Meire Alves Rodovalho - 2018.pdf: 2114262 bytes, checksum: 094713f58f55396ea2cef9e71f105da5 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)<br>Made available in DSpace on 2018-10-15T14:46:46Z (GMT). No. of bitstreams: 2 Dissertação - Nilce Meire Alves Rodovalho - 2018.pdf: 2114262 bytes, checksum: 094713f58f55396ea2cef9e71f105da5 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-08-29<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>The present research aims to analyze the process of discursive constitution of the narrator- character subjectivity of the tale The Yellow Wall Paper, by Charlotte Perkins Gilman. The tale tells the story of a woman cloistered in a colonial mansion by her husband, who is a doctor, because of her supposed propensity for hysteria. In the seclusion, she notices other women stuck to the wallpaper of the room in which she is staying. By this movement, she writes in a diary to deal with her anxieties, yearnings and feelings, while deciphering the pattern of the yellow wallpaper. It is a literary corpus and through it we understand that historical and social practices produce the subjectivity of the narrator-character. We base ourselves on Discourse Analysis as descriptive-interpretative and analytical support, based mainly on the following foucaultian notions: knowledge/power relations, objectivation/ subjectivation and freedom practices, madness, self-care, self-writing, resistance, desubjectivation. The study is structured in three chapters: in the first, we present the story and its author, gather academic research about the story, point out some elements of the fantastic literature observed in it; in the second, we discuss the theoretical-methodological framework, analyze knowledge/power relations in the constitution of the madness in the story; in the third, we explore freedom and self-care practices employed by the narrator-character, evidencing processes of desubjectivation that deprive her identity and place her before new possibilities of existence. Therefore, in this process of Foucault's discursive analysis, we reflect about the subject- positions assumed by the narrator-character, the discursive practices in which it inserts itself and is inserted, the effects of knowledge/power incident on its (dis)constitution as subject and the ruptures of patterns and roles imposed. We understand that the subjects constitute themselves and are constituted in and by the discourses of a given historical and social conjuncture, in addition to breaking with the imposed standards, the subjects transgress social norms, resist knowledge/power relations and, when desubjecting themselves from the standard model imposed upon them, they produce new subjectivities, reinvent themselves into something which is yet to come. This was the movement of resistance built by the narrator-character, the protagonist of the narrative under study.<br>A presente pesquisa tem como proposta analisar o processo de constituição discursiva da subjetividade da narradora-personagem do conto O papel de parede amarelo, de Charlotte Perkins Gilman. O conto narra a história de uma mulher enclausurada em uma mansão colonial por seu marido, que é médico, em decorrência da suposta propensão dela à histeria. Na reclusão, ela percebe outras mulheres presas ao papel de parede do quarto em que está hospedada. Por esse movimento, escreve em um diário para lidar com suas angústias, anseios e sentimentos, ao passo que decifra o padrão do papel de parede amarelo. Trata-se de um corpus literário e por meio dele entendemos que as práticas históricas e sociais produzem a subjetividade da narradora-personagem. Fundamentamo-nos na Análise do Discurso enquanto suporte descritivo-interpretativo e analítico, pautados, sobretudo, nas seguintes noções foucaultianas: relações de saber-poder, práticas de objetivação/subjetivação e de liberdade, loucura, cuidado de si, escrita de si, resistência, dessubjetivação. O estudo se estrutura em três capítulos: no primeiro, apresentamos o conto e sua autora, reunimos pesquisas acadêmicas sobre o conto, apontamos alguns elementos da literatura fantástica observados nele; no segundo, discutimos o arcabouço teórico-metodógico, analisamos relações de saber-poder na constituição da loucura no conto; no terceiro, exploramos práticas de liberdade e de cuidados de si empregadas pela narradora-personagem, evidenciando processos de dessubjetivação que destituem a identidade dela e a coloca diante de novas possibilidades de existência. Portanto, nesse processo de análise discursiva foucaultiana, refletimos sobre as posições-sujeito assumidas pela narradora-personagem, as práticas discursivas nas quais ela se inscreve e é inscrita, os efeitos do saber-poder incidentes na (des)constituição dela enquanto sujeito e nas rupturas de padrões e papeis impostos. Apreendemos que os sujeitos se constituem e são constituídos nos e pelos discursos de dada conjuntura histórica e social, além de que, ao romper com os padrões impostos, os sujeitos transgridem normas sociais, resistem a relações de saber-poder e, ao dessubjetivar-se do modelo padrão que lhes é imposto, produzem novas subjetividades, reinventam-se em um devir. Foi esse o movimento de resistência construído pela narradora-personagem, a protagonista da narrativa em estudo.
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Denance, Pascale. "I - « Tim -and-Me » : essai sur l'entrelacs des genres comme fondement fictionnel à une rhétorique du sujet. Etude d'un corpus transgénérique de la fin du XIXe siècle : The Portrait of a Lady de Henry James, The Yellow Wallpaper de Charlotte Perkins Gilman et une sélection de poèmes d'Emily Dickinson." Nantes, 2007. http://www.theses.fr/2007NANT3036.

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L'étude d'un corpus transgénérique de la fin du XIXe siècle, constitué de The Portrait of a Lady de Henry James, The Yellow Wallpaper de Charlotte Pekins Gilman et d'une sélection de poèmes d'Emily Dickinson révèle l'entrelacs des genres en tant que fondement fictionnel à une rhétorique du sujet. Protéiformes sans toutefois se situer hors catégorie, ils ont recours à une écriture spiroïdale qui est la conjonction parfaite du narratif et du poétique. Leur emploi du féminin et de l'épicène fait apparaître les distinctions de genre linguistique qui avaient été occultées dans les écrits romantiques et réalistes. L'emphase que ces textes mettent sur l'énonciation et leur prise de distance avec les conventions narratives les différencient des textes précédents. Se détournant du cartésianisme, ils proposent une déconstruction du sujet qui n'aboutit pas toutefois à une vision aporétique. Remettant sans cesse en question l'apparente unité de la perception et de la conscience, ils construisent une vision kaléidoscope qui montre le sujet et le réel comme complexes et torturés, rarement absurdes.
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Denance, Pascale Ortemann Marie-Jeanne. "I - " Tim -and-Me " essai sur l'entrelacs des genres comme fondement fictionnel à une rhétorique du sujet. Etude d'un corpus transgénérique de la fin du XIXe siècle : The Portrait of a Lady de Henry James, The Yellow Wallpaper de Charlotte Perkins Gilman et une sélection de poèmes d'Emily Dickinson /." [S.l.] : [s.n.], 2007. http://castore.univ-nantes.fr/castore/GetOAIRef?idDoc=43136.

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Books on the topic "The Yellow Wallpaper"

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Perkins, Gilman Charlotte. YELLOW WALLPAPER. [Place of publication not identified]: WISEHOUSE CLASSICS, 2016.

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Perkins, Gilman Charlotte. Yellow Wallpaper. HarperCollins Publishers, 2013.

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Gilman, Charlotte. Yellow Wallpaper. Independently Published, 2020.

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Perkins, Gilman Charlotte. Yellow Wallpaper. Independently Published, 2020.

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Perkins, Gilman Charlotte. Yellow Wallpaper. Independently Published, 2018.

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Perkins, Gilman Charlotte. Yellow Wallpaper. Independently Published, 2018.

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Perkins, Gilman Charlotte. Yellow Wallpaper. Independently Published, 2021.

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Perkins, Gilman Charlotte. Yellow Wallpaper. Independently Published, 2018.

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Perkins, Gilman Charlotte. Yellow Wallpaper. Independently Published, 2019.

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Perkins, Gilman Charlotte. Yellow Wallpaper. Independently Published, 2019.

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Book chapters on the topic "The Yellow Wallpaper"

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Rzadtki, Beate. "Gilman, Charlotte Perkins: The Yellow Wallpaper." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_5369-1.

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Beer, Janet. "‘The Yellow Wallpaper’ on Film: Dramatising Mental Illness." In Kate Chopin, Edith Wharton and Charlotte Perkins Gilman, 197–213. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1007/978-1-349-26015-7_9.

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Perry, Dennis R., and Carl H. Sederholm. "Feminist “Usher”: Domestic Horror in Gilman’s “The Yellow Wallpaper”." In Poe, "The House of Usher," and the American Gothic, 19–37. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230620827_2.

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Grossman, Julie. "The Quiet Presence of “The Yellow Wallpaper” in Todd Haynes’s Film [Safe]." In Literature, Film, and Their Hideous Progeny, 105–25. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137399021_6.

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Wiesenthal, Chris. "‘Unheard-of Contradictions’: The Language of Madness in Charlotte Perkins Gilman’s ‘The Yellow Wallpaper’." In Figuring Madness in Nineteenth-Century Fiction, 23–40. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1057/9780230371316_2.

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Wiesenthal, Chris. "The Silent ‘Horrors’ of The Turn of The Screw and ‘The Yellow Wallpaper’ Revisited." In Figuring Madness in Nineteenth-Century Fiction, 108–38. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1057/9780230371316_6.

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Wolfreys, Julian. "The writing on the wall or, making a spectacle of yourself: projection and The Yellow Wallpaper." In the rhetoric of Affirmative Resistance, 70–85. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1007/978-1-349-25699-0_3.

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Jansen, Sharon L. "Madwomen in the Attic: Madness and Suicide in Charlotte Perkins Gilman’s “The Yellow Wallpaper” and Doris Lessing’s “To Room Nineteen”." In Reading Women’s Worlds from Christine de Pizan to Doris Lessing, 161–86. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230118812_7.

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Ingham, Mike, and Jessica Yeung. "The Yellow Wallpaper." In City Stage, 256–64. Hong Kong University Press, 2005. https://doi.org/10.1515/9789882200722-018.

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Ammons, Elizabeth. "Writing Silence: ‘‘The Yellow Wallpaper’’." In Conflicting Stories, 34–43. Oxford University PressNew York, NY, 1991. http://dx.doi.org/10.1093/oso/9780195060300.003.0003.

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Abstract At best, woman was counted little more than man’s toy among the upper classes, and his bea8t of burden among the lower social elements. In some countries even denied a soul, in none was she supposed to have any particular mental power, nor any need for its development. Harper was thirty-five-years old when Charlotte Perkins was born. Their paths seem not to have crossed, and certainly their perspectives diverged. Harper, an avowed feminist, put race first. Gilman, an unreflecting racist, put gender first. She was exactly the type of white woman whom Harper, as far back as 1869 (when Gilman was nine years old), criticized because of her blindness to the paramount importance of the race issue.
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