Discourse Analysis from the Perspective of Austin’s Speech Act Theory and Searle’s Taxonomy of Illocutionary Acts: A Case Study of Charlotte Perkins Gilman’s The Yellow Wallpaper

A focus on discourse analysis, this study presents a particular interest in the power relationship artfully constructed by Charlotte P. Gilman in three dialogue instances in her most memorable short narrative, The Yellow Wallpaper. With the awareness of gender differences in mind in terms of how men and women use language, Gilman evinces the ways in which language could be a medium of silencing the other. Consequently, this paper carefully examines the protagonists’ discourses through J. L. Austin’s speech act theory and John Searle’s taxonomy of illocutionary acts. The corpus of the study consists of the utterances of the husband/doctor and of the wife/patient, and both the quantitative and qualitative research methods have been employed for the data analysis. The results have shown that the patriarchal discourse, originally dominated by representatives (opinions, facts) and directives (commands, orders, advices, and refusals), produces utterances meant to fabricate reality (erroneous diagnosis) and generate refusals, whereas the discourse of the other consists mainly of representatives- true statements and opinions -which contradict men’s reality in the journey to achieving self-assertion and selfexpression.

The New Versus True Woman in Charlotte Perkins Gilman’s The Yellow Wallpaper and Ellen Glasgow’s Dare’s Gift

Given their opposition to Victorian conceptions of womanhood and domesticity, the literary works of Gilman and Glasgow have been a rallying point for women's emancipation and empowerment. Though the article touches upon several works by Gilman and Glasgow, it focuses particularly on the feminist viewpoints underpinning the transformation of female characters in Gilman’s The Yellow Wallpaper and Glasgow’s Dare’s Gift from true to new women. The purpose of both tales, the article contends, is to question and deconstruct the dominant Victorian patriarchal cult of true womanhood, which has confined women to the domestic sphere and constrained their freedoms and liberties The theoretical foundation for the examination of the two stories is laid out in the Introduction, which contrastively explores the conflicting paradigms of new and true womanhoods. The Discussion delves into the many reactions to the characters' defiant behavior, as well as the phallocentric interpretation of it.

«The Yellow Wallpaper»: algunas consideraciones sobre el doble subjetivo femenino

De los abundantes estudios que abordan la contribución al feminismo de «The Yellow Wallpaper» (Charlotte Perkins Gilman, 1892), apenas alguno presta especial atención al tema del doble más allá de su tratamiento clínico de la enajenación. Este artículo plantea algunas reflexiones respecto al tratamiento literario de la identidad femenina mediante el uso del doble. La aproximación de Jourde y Tortonese (1996) permite una distinción esencial por cuanto considera un rasgo de género interesante: el desdoblamiento femenino suele ser externo u objetivo. El doble subjetivo casi nunca está encarnado por mujeres. El recurso del doble subjetivo femenino, apartado del discurso canónico de la exploración del individuo moderno en este y otros textos que aquí se consideran, ha de dedicarse a indagar y construir su propia identidad: su voz no puede hablar por el conjunto de las inquietudes humanas sino solo por la suya en tanto que mujer.

GANGGUAN JIWA SEBAGAI BENTUK PERLAWANAN PEREMPUAN DALAM “THE YELLOW WALLPAPER” KARYA CHARLOTTE PERKINS GILMAN, SEBUAH PENDEKATAN FEMINIS PSIKOANALISIS *)

ABSTRAK Tulisan ini mengkaji cerpen “The Yellow Wallpaper” karya Charlotte Perkins Gilman dengan menggunakan pendekatan feminis psikoanalisis Karen Horney. Pendekatan teori ini digunakan untuk menganalisis bahwa bentuk perlawanan perempuan yang tecermin dalam cerpen ini antara lain perlawanan mendekati orang lain, perlawanan melawan orang lain, dan perlawanan menjauhi orang lain. Bentuk perlawanan mendekati orang lain adalah dengan aktivitas memunculkan teman khayalan yang dianggap nyata; Perlawanan melawan orang lain ditunjukkan dengan kembalinya aktivitas menulis dan aktivas yang menunjukkan gangguan jiwa; Perlawanan menjauhi orang lain adalah dengan aktivitas mengunci pintu kamar dan tidak ingin bertemu dengan orang lain. Bentuk perlawanan yang paling kuat adalah ketika tokoh perempuan dianggap mengidap gangguan jiwa. Perlawanan-perlawanan perempuan tersebut disebabkan oleh dominasi atau belenggu patriarki dalam masyarakat. Belenggu-belenggu patriarki yang tecermin dalam cerpen ini antara lain subordinasi peran perempuan, alienasi/pengasingan perempuan dari masyarakat, dan perempuan dianggap sebagai liyan.Kata kunci: feminis psikoanalisis, perlawanan, gangguan jiwa ABSTRACTThis paper examines the short story "The Yellow Wallpaper" by Charlotte Perkins Gilman using the feminist approach of Karen Horney's psychoanalysis. This theoretical approach is used to analyze that the forms of women's resistance reflected in this short story include resistance to approaching others, resistance against other people, and resistance to staying away from others. The form of resistance to approaching others is through the activity of bringing up imaginary friends who are considered real; Resistance against others is shown by the return to writing and activities that indicate mental disorders; The resistance to staying away from others is by locking the bedroom door and not wanting to meet other people. The strongest form of resistance is when the female character is considered to have mental disorders. The women's resistance was caused by the dominance or the shackles of patriarchy in society. The patriarchal shackles that are reflected in this short story include the subordination of the role of women, alienation / alienation of women from society, and women being considered as others. Keywords: feminist psychoanalysis, resistance, neurotic insanity

Hysteric Woman: A Study on The Yellow Wallpaper

In an unquestionably patriarchal society, women who dissent, who had a voice of her own, one with strong affiliations towards social change were labelled as hysteric and mad. Their symptoms were thoughtfulness, deviation from social behavior, tendency to shout and express one’s emotion, even getting angry were considered as symptoms of hysteria. A hysteric woman is a hopeless woman, the lost one; who needs to be locked up in an attic. The men had two extreme approaches towards these conditions. They either treated women as fragile beings, who need to be cared and nurtured under the protection of men. Or they termed “women with disease” as monstrous, insane, dangerous and despicable beings. These two approaches were unhealthy and were designed to preserve the superiority of masculine self over the feminine. These tags which were labelled on women came from their existential fear; ‘the castration anxiety’.

Typical Life of American Wife of the late 1800s: An Analysis of Kate Chopin’s “Story of an Hour” and Charlotte Perkins Gilman’s “The Yellow Wallpaper”

The life of the typical American women in the late 1800s was strictly confined to the four walls of a house. For a wife, marriage, husband and family were the destiny. She had no legal political right or voice in public sphere. They were not supposed to involve in any intellectual pursuits but only in domestic chores like cooking, sewing, cleaning etc. The condition of women in any class (upper, lower or middle) was more or less same. Charlotte Perkins Gilman and Kate Chopin were noted American writers of nineteenth century. Both writers outrageously expressed their strong views on women, marriage and sex. They were revolutionaries of their time. This paper is going to analyse how Kate Chopin’s “Story of an Hour” and Charlotte Perkins Gilman’s “The Yellow Wallpaper” depict typical public expectations about marriage and women of late 1800s. It also distinguishes the representation of women and wife in the nineteenth century patriarchal American society.

Quando manca il detective. La presa in carico dell’investigazione in due racconti americani di fine Ottocento

A Whisper in the Dark” by Louisa May Alcott (1877) and “The Yellow Wallpaper” by Charlotte Perkins Gilman (1892) offer an interesting, and not sufficiently investigated, perspective from the point of view of crime studies. Too intelligent and complex to be labelled as simple genre literature, and courted by gender studies, the two stories more aptly belong to Literature tout court, although many features normally lead to place them on the shelves of sensational, thriller, or mystery. The reading I propose stems from the desire to give voice to the two protagonists not only as victims of physical and psychological violence, but as active subjects and real Private Eyes within the narrative.

Haunting or Hallucination? Charlotte Perkins Gilman's ‘The Yellow Wallpaper’ and Contemporary Theories of Decorative Art and Psychiatry

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.