Charlotte Perkins Gilman

Let us begin, inoffensively, with sheep. The sheep is a beast with which we are all familiar, being much used in religious imagery; the common stock of painters; a staple article of diet; one of our main sources of clothing; and an everyday symbol of bashfulness and stupidity. In some grazing regions the sheep is an object of terror, destroying grass, bush and forest by omnipresent nibbling; on the great plains, sheep-keeping frequently results in insanity, owing to the loneliness of the shepherd, and the monotonous appearance and behavior of the sheep. By the poet, young sheep are preferred, the lamb gambolling gaily; unless it be in hymns, where "all we like sheep" are repeatedly described, and much stress is laid upon the straying propensities of the animal. To the scientific mind there is special interest in the sequacity of sheep, their habit of following one another with automatic imitation. This instinct, we are told, has been developed by ages of wild crowded racing on narrow ledges, along precipices, chasms, around sudden spurs and corners, only the leader seeing when, where and how to jump. If those behind jumped exactly as he did, they lived. If they stopped to exercise independent judgment, they were pushed off and perished; they and their judgment with them.

A prominent turn of the century social critic and lecturer, Charlotte Perkins Gilman is perhaps best known for her short story "The Yellow Wallpaper," a chilling study of a woman's descent into insanity, and Women and Economics, a classic of feminist theory that analyzes the destructive effects of women's economic reliance on men. In Herland, a vision of a feminist utopia, Gilman employs humor to engaging effect in a story about three male explorers who stumble upon an all female society isolated somewhere in South America. Noting the advanced state of the civilization they've encountered, the visitors set out to find some males, assuming that since the country is so civilized, "there must be men." A delightful fantasy, the story enables Gilman to articulate her then-unconventional views of male female roles and capabilities, motherhood, individuality, privacy, the sense of community, sexuality, and many other topics. Decades ahead of her time in evolving a humanistic, feminist perspective, Gilman has been rediscovered and warmly embraced by contemporary feminists. An articulate voice for both women and men oppressed by the social order of the day, she adeptly made her points with a wittiness often missing from polemical writings.

Charlotte Anna Perkins, fue una intelectual norteamericana multidisciplinar, muy activa en defensa de los derechos civiles de las mujeres entre finales de 1890 y mediados de 1920. Su obra m s conocida es El Tapiz Amarillo publicada en 1892, un relato breve con tintes autobiogr ficos escrito tras una profunda depresi n postparto. Su utop a Herland (1915), es considerada la precursora de la ciencia-ficci n feminista moderna. Su figura servir de modelo para futuras generaciones de mujeres debido a sus ideas y su estilo de vida poco ortodoxo para la poca.

A must-read for fans of utopian science fiction, Herland describes a society comprised solely of female inhabitants. The residents of the isolated community have perfected a form of asexual reproduction, and have constructed a society that is free from all of the ills associated with Western culture, including war, strife, conflict, cruelty, and even pollution. Written by renowned feminist thinker Charlotte Perkins Gilman, Herland is a thought-provoking and entertaining novel that will engage male and female readers alike.

Une oeuvre majeure de la litt rature f ministe, et l'une des vocations les plus saisissantes de la folie. Seul Franz Kafka, saura crire, plus tard, la d mence avec une violence comparable. La folie, Charlotte Perkins Gilman, contemporaine d'Edith Wharton, l'a v cue toute sa vie dans une d pression clinique, jusqu' son suicide en 1935. D pressive elle aussi, mari e un m decin, si attentif qu'il en devient oppressant, la narratrice de Le Papier peint jaune est confin e dans une chambre de la maison que loue le couple pour un t . Afin qu'elle se repose, lui dit-on, qu'elle ne fasse rien, et surtout ne pas crire - ce qu'elle accompli cependant l'insu de tous. Car le papier peint r sume la maladie mentale. Bient t, elle lui pr te une odeur, un regard, une personnalit ; elle imagine que des femmes indistincts sont retenues entre le mur et lui, que les motifs s'animent et entendent prendre la fuite. Alors, elle arrache la tapisserie pour lib rer les prisonni res. En dition bilingue anglais/fran ais, avec lecture audio int gr e: non seulement vous pouvez lire Le Papier peint jaune en fran ais et en anglais, mais vous pouvez aussi couter la lecture de cet ouvrage soit dans sa version originale anglophone, soit dans sa traduction fran aise. Comment ? Tout simplement gr ce votre t l phone, tablette ou webcam. L'id al pour am liorer votre ma trise de la langue de Shakespeare... et de Moli re

Women and Economics - A Study of the Economic Relation Between Men and Women as a Factor in Social Evolution is a book written by Charlotte Perkins Gilman and published in 1898. It is considered by many to be her single greatest work, and as with much of Gilman's writing, the book touched a few dominant themes: the transformation of marriage, the family, and the home, with her central argument: "the economic independence and specialization of women as essential to the improvement of marriage, motherhood, domestic industry, and racial improvement."

Charlotte Perkins Gilman's novel The Crux is an important early feminist work that brings to the fore complicated issues of gender, citizenship, eugenics, and frontier nationalism. First published serially in the feminist journal The Forerunner in 1910, The Crux tells the story of a group of New England women who move west to start a boardinghouse for men in Colorado. The innocent central character, Vivian Lane, falls in love with Morton Elder, who has both gonorrhea and syphilis. The concern of the novel is not so much that Vivian will catch syphilis, but that, if she were to marry and have children with Morton, she would harm the "national stock." The novel was written, in Gilman's words, as a "story . . . for young women to read . . . in order that they may protect themselves and their children to come." What was to be protected was the civic imperative to produce "pureblooded" citizens for a utopian ideal.

One may use the Old Man of the Sea, For a partner or patron, But helpless and hapless is he Who is ridden, inextricably, By a fond old mer-matron. The Warden house was more impressive in appearance than its neighbors. It had "grounds," instead of a yard or garden; it had wide pillared porches and "galleries," showing southern antecedents; moreover, it had a cupola, giving date to the building, and proof of the continuing ambitions of the builders. The stately mansion was covered with heavy flowering vines, also with heavy mortgages. Mrs. Roscoe Warden and her four daughters reposed peacefully under the vines, while Roscoe Warden, Jr., struggled desperately under the mortgages. A slender, languid lady was Mrs. Warden, wearing her thin but still brown hair in "water-waves" over a pale high forehead.

By assigning a cash value to women's "invisible" work, providing a means for the well-being and moral uplift of working girls, and releasing middle- and leisure-class women from the burden of conventional domestic chores, Diantha Bell proves to her family and community the benefits of professionalized housekeeping.

Three American young men discover a country inhabited solely by women, who were Parthenogenetic, and had borne only girl children for two thousand years; they marry three of the women. Two of the men and one woman leave the country of Herland to return to America; Jeff Margrave remaining with his wife, Celis, a willing citizen; Terry O. Nicholson being expelled for bad conduct; and Ellador electing to go with her husband, Vandyck Jennings.

Sequel to Herland. Herland described an all-women utopia in a secluded high valley, where 3 adventurous young men visit by airplane. Eventually, 2 of the 3 are expelled, along with a young Herland woman who has married one of the men. With Her in Ourland continues as the husband and wife tour the world outside of Herland, interviewing people, taking notes and photographs, and discussing history, religions, war, child-rearing, the role of women, treatment of immigrants, women's suffrage, and more. The two novels together convey the author's social criticisms of our world at her time and her prescriptions to improve the human condition in the United States.

The Yellow Wallpaper (original title: "The Yellow Wall-paper. A Story") is a 6,000-word short story by the American writer Charlotte Perkins Gilman, first published in January 1892 in The New England Magazine. It is regarded as an important early work of American feminist literature, illustrating attitudes in the 19th century toward women's health, both physical and mental. Presented 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 exercise and air, so she can recuperate from what he calls a "temporary nervous depression - a slight hysterical tendency", a diagnosis common to women in that period. She hides her journal from her husband and his sister the housekeeper, fearful of being reproached for overworking herself. The room's windows are barred to prevent children from climbing through them, and there is a gate across the top of the stairs, though she and her husband have access to the rest of the house and its adjoining estate. The story depicts the effect of understimulation on the narrator's mental health and her descent into psychosis. With nothing to stimulate her, she becomes obsessed by the pattern and color of the wallpaper. "It is the strangest yellow, that wall-paper It makes me think of all the yellow things I ever saw - not beautiful ones like buttercups, but old foul, bad yellow things. But there is something else about that paper - the smell ... The only thing I can think of that it is like is the color of the paper A yellow smell." In the end, she imagines there are women creeping around behind the patterns of the wallpaper and comes to believe she is one of them. She locks herself in the room, now the only place she feels safe, refusing to leave when the summer rental is up. "For outside you have to creep on the ground, and everything is green instead of yellow. But here I can creep smoothly on the floor, and my shoulder just fits in that long smooch around the wall, so I cannot lose my way."

»En storartad skildring av ett sammanbrott och självklart en tidig feministisk berättelse.« | Lotta Olsson, Dagens Nyheter»En sextusen ord lång vandring ner i helvetet.« | Helena Dahlgren, 100 hemskaste Hon har just fött deras barn. Hennes nedstämdhet efter födseln kallar han »hysteri«. Han hyr vindsvåningen av ett gammalt hus på landet. Här ska hon bara vila - förbjuden att lämna sitt rum. I stället för att bli bättre börjar hon hallucinera och föreställer sig själv krypa tillsammans med andra kvinnor bakom rummets gula tapet. Och i hemlighet nedtecknar hon sina erfarenheter. Den gula tapeten [The Yellow Wallpaper, 1892] är den korta men intensiva, gotiska skräckberättelsen, skriven som en dagbok, om en kvinna på en vind - fängslad i sitt kön av historien. Charlotte Perkins Gilmans feministiska novell var länge undangömd i den amerikanska litteraturhistorien. Numer räknas den till klassikerna. Här i svensk översättning av Ingrid Ingemark. CHARLOTTE PERKINS GILMAN [1860 1935], född i Hartford, Connecticut, var en amerikansk feministisk teoretiker, sociolog, romanförfattare, novellist, poet och dramatiker. Hennes skrifter utgör föregångare till många senare feministiska teoribildningar. Med sin radikala livsattityd har Perkins Gilman varit en förebild för många generationer feminister i USA. Hennes mest berömda verk är novellen Den gula tapeten [1892], skriven i samband med att hon led av postpartumpsykos.

The story is written in the first person as a series of journal entries. The narrator is a woman whose husband - a physician - has confined her to the upstairs bedroom of a house he has rented for the summer. She is forbidden from working and has to hide her journal entries from him so that she can recuperate from what he has diagnosed as a "temporary nervous depression - a slight hysterical tendency;" a diagnosis common to women in that period. The windows of the room are barred, and there is a gate across the top of the stairs, allowing her husband to control her access to the rest of the house. The story illustrates the effect of confinement on the narrator's mental health, and her descent into psychosis. With nothing to stimulate her, she becomes obsessed by the pattern and color of the room's wallpaper.

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.

First published serially in Gilman's magazine the Forerunner in 1909-10, the novel tells the story of Diantha Bell, a young woman who leaves her home and her fianc to start a housecleaning business. A resourceful heroine, Diantha quickly expands her business into an enterprise that includes a maid service, cooked food delivery service, restaurant, and hotel.

A liberal feminist text. Rather than considering what is appropriate masculine or feminine behaviour, we should investigate what it is to be human.

The story is told from the perspective of Vandyck "Van" Jennings, a sociology student who, along with two friends, Terry O. Nicholson and Jeff Margrave, forms an expedition party to explore an area of uncharted land rumored to be home to a society consisting entirely of women. The three friends do not entirely believe the rumors because they are unable to think of a way how human reproduction could occur without males.