Concentrated Analysis of the Yellow Wallpaper by Charlotte Perkins Gilman in Light of the Critical Theory Infection in the Sentence: the Woman Writer and the Anxiety of Authorship Written by Gilbert and Gubar.

1116 Words Jul 17th, 2010 5 Pages
This paper will involve concentrated analysis of The Yellow Wallpaper by Charlotte Perkins Gilman in light of the critical theory Infection in the Sentence: The Woman Writer and the Anxiety of Authorship written by Gilbert and Gubar. The theory provided in Infection in the Sentence: The Woman Writer and the Anxiety of Authorship will be briefly discussed in relation to The Yellow Wallpaper’s main heroine character and functionality of a madwoman in the fiction. This critical theory provides a perfect background for the analysis of a madwoman, thus proving that The Yellow Wallpaper deserves acclaim on several levels of consciousness. Gilbert and Gubar develop their theory around the meaning “infection in sentence”, which implies an …show more content…
Naturally, this course of events resonates strongly with the reader as the room itself represents a very strong image of imprisonment. According to Gilbert and Gubar, […] paintings, statues, locked cabinets […] appear and reappear in female novels and poems throughout the nineteenth century and on in twentieth century to signify a sense […] of confinement (1370). It now becomes evident that the room’s appearance, including the yellow wallpaper sends a strong message to the reader about the dynamics of the relationship between the narrator and her husband. The marital bed is nailed down to the floor and I interpret this to mean that she has little or no choice but to perform sexual relations with her husband. She is to remain mentally and physically passive and dominated by the male; her husband John.
Since the beginning of the stay in a newly rented summer mansion, the narrator establishes a strong negativity towards the wallpaper. “The color is repellent, almost revolting; a smouldering unclean yellow, strangely faded by the slow-turning sunlight” (Gilman 361). Gilbert and Gubar suggest that the colors of the wallpaper reflect ancient, smoldering, “unclean” as the oppressive structures of the society in which she finds herself (1373). I deduce that this is how the narrator sees her husband, husband’s sister and a society that forbids writing due to her health condition. However, as her relationship with the wallpaper alters; the narrator

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