Yellow Wallpaper Panopticism

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In, the authors, Charlotte Gilman and William Faulkner, respectively, have placed both figurative and literal elements of confinement upon the characters. In “The Yellow Wallpaper”, the wife of a reputable doctor is placed within a mansion and is isolated from work and social contact. This was done in hopes of curing her mental illness. Her husband, John, forced her to abide to his treatment even though she believed that the treatment was causing her to become worse than she was before. In “A Rose for Emily”, Emily’s lover, Homer, has also confined her to her house but does so in a different way. In both stories, the women are confined by their mental illnesses. Although the woman in “The Yellow Wallpaper” is forced to be confined and the woman…show more content…
Whenever she leaves her bedroom, she is watched closely by John’s sister. When the literal surveillance ends in the confines of her room, she is under figurative surveillance by the “unblinking eyes” (Bak 43) in the yellow wallpaper. This is a representation of “Focauldian Panopticism” (Bak). This theory was developed after the story was written but is highly resembles of the works of “Michel Foucault” (Bak 40). The narrator herself, being trapped in the confines of her own home, “[objectified] herself through [an] imaginary woman” (Bak 44). This gave her the ability to “free herself, if only in mind, from the external prison her husband place[d] her in” (Bak 44). Because of the constant surveillance, the narrator was held back from doing the activities that she wished to do, such as walking around the garden alone, and writing whenever she wished. Overall, the woman in “The Yellow Wallpaper” was restricted both literally and figuratively through the actions of John’s sister and the eyes within the wallpaper watching her every…show more content…
In “The Yellow Wallpaper”, the female narrator was confined by her husband, John. He forced her move to an isolated mansion “three miles from the village” (Bak 39). It was at this mansion that he prevented her from completing any form of ““work” until [she] [was] well again” (Gilman 29). He also does not let her “write a word” (Gilman 30). Since she was unable to write knowingly, she resorted to hiding the fact that she kept an ongoing diary describing the restricting events taking place. John treated his adult spouse as though she were a child. She is held in a nursery, where John continued to treat her like a child when he “carried [her] upstairs and laid [her] in bed” (Gilman 34). John also called her by the name “darling” (Gilam 34). John later told the narrator to use “self control” (Gilman 34) and “not let any silly fancies run away with [her]” (Gilman 34). These statements and actions led by John prove that the women who lived during this time were treated like children and are prevented from doing certain things that they would want to do without permission from their husbands. The women in both stories are not able to live their own lives because of their husbands constantly monitoring them. In “The Yellow Wallpaper”, the narrator’s husband controls everything that the narrator does. She cannot do anything without first requesting permission. In “A Rose for Emily”, Emily’s paranoid thoughts
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