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She has just given birth to their child. He labels her postpartum depression as »hysteria.« He rents the attic in an old country house. Here, she is to rest alone – forbidden to leave her room. Instead of improving, she starts hallucinating, imagining herself crawling with other women behind the room's yellow wallpaper. And secretly, she records her experiences. The Yellow Wall-Paper [1892] is the short but intense, Gothic horror story, written as a diary, about a woman in an attic – imprisoned in her gender; by the story. Charlotte Perkins Gilman's feminist novella was long overlooked in American literary history. Nowadays, it is counted among the classics. CHARLOTTE PERKINS GILMAN (1860–1935), born in Hartford, Connecticut, was an American feminist theorist, sociologist, novelist, short story writer, poet, and playwright. Her writings are precursors to many later feminist theories. With her radical life attitude, Perkins Gilman has been an inspiration for many generations of feminists in the USA. Her most famous work is the short story The Yellow Wall-Paper [1892], written when she suffered from postpartum psychosis.
"""The Yellow Wallpaper"" is a short story by American writer Charlotte Perkins Gilman, first published in January 1892 in The New England Magazine.[1] It is regarded as an important early work of American feminist literature, due to its illustration of the attitudes towards mental and physical health of women in the 19th century.Narrated in the first person, the story is a collection of journal entries written by a woman whose physician husband (John) has rented an old mansion for the summer. Forgoing other rooms in the house, the couple moves into the upstairs nursery. As a form of treatment, the unnamed woman is forbidden from working, and is encouraged to eat well and get plenty of air, so she can recuperate from what he calls a ""temporary nervous depression - a slight hysterical tendency"", a diagnosis common to women during that period"
A woman encounters a life filled with desires and emotions when she returns to Paris after suffering from a bout of depression and alcoholism in London.
Herland is a utopian novel from 1915, written by feminist Charlotte Perkins Gilman. The book describes an isolated society composed entirely of women, who reproduce via parthenogenesis (asexual reproduction). The result is an ideal social order: free of war, conflict, and domination. It was first published in monthly installments as a serial in 1915 in The Forerunner, a magazine edited and written by Gilman between 1909 and 1916, with its sequel, With Her in Ourland beginning immediately thereafter in the January 1916 issue. The book is often considered to be the middle volume in her utopian trilogy; preceded by Moving the Mountain (1911), and followed by, With Her in Ourland (1916). It was not published in book form until 1979.
This 1892 work was among the first novels published by an African-American woman. Its striking portrait of life during the Civil War and Reconstruction recounts a mixed-race woman's devotion to uplifting the black community.
Charlotte Perkins Gilman and a Woman's Place in America probes how depictions of space, confinement, and liberation establish both the difficulty and necessity of female empowerment. Turning Victorian notions of propriety and a woman's place on its ear, this essay collection studies Gilman's writings and the manner in which they push back against societal norms and reject male-dominated confines of space. The contributors present readings of some of Gilman's most significant works. By examining the settings in "The Yellow Wallpaper" and Herland, for example, the volume analyzes Gilman's construction of place, her representations of male dominance and female subjugation, and her analysis of the rules and obligations that women feel in conforming to their assigned place: the home. Additionally, this volume delineates female resistance to this conformity. Contributors highlight how Gilman's narrators often choose resistance over obedient captivity, breaking free of the spaces imposed upon them in order to seek or create their own habitats. Through biographical interpretations of Gilman's work that focus on the author's own renouncement of her "natural" role of wife and mother, contributors trace her relocation to the American West in an attempt to appropriate the masculinized spaces of work and social organization. --
The Jewel of Seven Stars is a horror novel by Bram Stoker. An Egyptologist, attempting to raise from the dead the mummy of Tera, an ancient Egyptian queen, finds a fabulous gem and is stricken senseless by an unknown force. Amid bloody and eerie scenes, his daughter is possessed by Tera's soul, and her fate depends upon bringing Tera's mummified body to life.
With Her in Ourland: Sequel to Herland is a feminist novel and sociological commentary written by Charlotte Perkins Gilman. The novel is a follow-up and sequel to Herland (1915), and picks up immediately following the events of Herland, with Terry, Van, and Ellador traveling from Herland to "Ourland" (the contemporary 1915-16 world). The majority of the novel follows Van and Ellador's travels throughout the world, and particularly the United States, with Van curating their explorations through the then-modern world, while Ellador offers her commentary and "prescriptions" from a Herlander's perspective, discussing topics such as the First World War, foot binding, education, politics, economics, race relations, and gender relations.
The Last Utopians delves into the biographies of four key figures--Edward Bellamy, William Morris, Edward Carpenter, and Charlotte Perkins Gilman--who lived during an extraordinary period of literary and social experimentation. The publication of Bellamy's Looking Backward in 1888 opened the floodgates of an unprecedented wave of utopian writing. Morris, the Arts and Crafts pioneer, was a committed socialist whose News from Nowhere envisions a workers' Arcadia. Carpenter boldly argued that homosexuals constitute a utopian vanguard. Gilman, a women's rights activist and the author of "The Yellow Wallpaper," wrote numerous utopian fictions, including Herland, a visionary tale of an all-female society. These writers, Robertson shows, shared a belief in radical equality, imagining an end to class and gender hierarchies and envisioning new forms of familial and romantic relationships. They held liberal religious beliefs about a universal spirit uniting humanity. They believed in social transformation through nonviolent means and were committed to living a simple life rooted in a restored natural world. And their legacy remains with us today, as Robertson describes in entertaining firsthand accounts of contemporary utopianism, ranging from Occupy Wall Street to a Radical Faerie retreat.