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Friday 8 February 2013

Soccer Girl Wallpaper

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Soccer Girl Wallpaper Biography
Gilman explained that the idea for the story originated in her own experience as a patient: "the real purpose of the story was to reach Dr. S. Weir Mitchell, and convince him of the error of his ways".[10] She had suffered years of depression, and consulted a well-known specialist physician who prescribed a "rest cure" which required her to "live as domestic a life as possible." She was forbidden to touch pen, pencil or brush and allowed only two hours of mental stimulation a day.

After three months and almost desperate, Gilman decided to contravene her diagnosis and started to work again. After realizing how close she had come to complete mental breakdown, she wrote "The Yellow Wallpaper" with additions and exaggerations to illustrate her own misdiagnosis complaint. She sent a copy to Mitchell but never received a response.
She added that "The Yellow Wallpaper" was "not intended to drive people crazy, but to save people from being driven crazy, and it worked." Gilman claimed that many years later she learned that Mitchell had changed his treatment methods, but literary historian Julie Bates Dock has discredited this. Mitchell continued his methods, and as late as 1908 – sixteen years after "The Yellow Wallpaper" was published – was interested in creating entire hospitals devoted to the "rest cure" so that his treatments would be more widely accessible.[11]
Other interpretations

"The Yellow Wallpaper" sometimes is referred to as an example of Gothic literature for its treatment of madness and powerlessness.[12] Alan Ryan, for example, introduced the story by writing "quite apart from its origins [it] is one of the finest, and strongest, tales of horror ever written. It may be a ghost story. Worse yet, it may not."[13] Pioneering horror author H. P. Lovecraft writes in his 1927 assay Supernatural Horror in Literature that “The Yellow Wall Paper rises to a classic level in subtly delineating the madness which crawls over a woman dwelling in the hideously papered room where a madwoman was once confined." [14]
Helen Lefkowitz Horowitz, in her book Wild Unrest: Charlotte Perkins Gilman and the Making of "The Yellow Wall-Paper", concludes that "the story was a cri de coeur against [Gilman's first husband, artist Charles Walter] Stetson and the traditional marriage he had demanded." Gilman was attempting to deflect blame to protect Gilman's daughter Katharine and her step-mother, Gilman's friend Grace Channing.[15]
Anglican Archbishop Peter Carnley used the story as a reference and a metaphor for the situation of women in the church in his sermon at the ordination of the first women priests in Australia on 7 March 1992 in St George's Cathedral, Perth.[16]

Sari Edelstein has argued that The Yellow Wallpaper is an allergory for Gilman's hatred of the emerging yellow journalism Having created The Forerunner in November 1909, Gilman made it clear she wished the press to be more insightful and not rely upon exaggerated stories and flashy headlines. Gilman was often scandalised in the media and resented the sensationalism of the media. The relationship between the narrator and the wallpaper within the story parallels Gilman's relationship to the press. The narrator describes the wallpaper as having “sprawling flamboyant patterns committing every artistic sin”. Edelstein argues that given Gilman’s distaste for the Yellow Press, this can also be seen as a description of tabloid newspapers of the day.[17]

In Paula A. Treichler's article "Escaping the Sentence: Diagnosis and Discourse in 'The Yellow Wallpaper," she places her focus on the relationship that is found in the short story between women and writing. Rather than write about the evident feminist themes which view the wallpaper as something along the lines of "...the 'pattern' which underlies sexual inequality, the external manifestation of neurasthenia, the narrator's unconscious, the narrator's situation within patriarchy," Treichler instead explains that the wallpaper can be a symbol to represent discourse and the fact that the narrator is alienated from the world in which she previously could somewhat express herself. Treichler illustrates that through this discussion of language and writing, in the story Charlotte Perkins Gilman is defying the "...sentence that the structure of patriarchal language imposes." While Treichler accepts the legitimacy of strictly feminist claims, she writes that a closer look at the text suggests that the wallpaper could be interpreted as women's language and discourse, and the woman found in the wallpaper could be the "...representation of women that becomes possible only after women obtain the right to speak." In making this claim, it suggests that the new struggle found within the text is between two forms of writing; one rather old and traditional and the other new and exciting. This is supported in the fact that John, the narrator's husband, does not like his wife to write anything, which is the reason that her journal containing the story is kept a secret and thus is known only by the narrator and reader. A look at the text shows that as the relationship between the narrator and the wallpaper grows stronger, so too does her language in her journal as she begins to increasingly write of her frustration and desperation.

Soccer Girl Wallpaper