Bøger af Charlotte Perkins Gilman

5 hjerter i Politiken5 stjerner i Berlingske"Det gule tapet" (1892) er et uomgængeligt værk i amerikansk feministisk litteratur. Charlotte Perkins Gilmans gotiske historie, om en kvinde der gennemlever en ufrivillig ”hvilekur” på et værelse med en ildevarslende indretning og et hypnotiserende gult tapet, er baseret på Gilmans egne katastrofale erfaringer med en tvungen hvilekur ovenpå en fødselsdepression.Historiens lurende uhygge får læseren til at betvivle egen dømmekraft. Hovedpersonen er sammen med sin lægeægtemand afskåret fra omverdenen i en afsidesliggende sommerresidens. Hun er patient, han behandler. Men hvor lurer den sande fare? I hendes eget sind, i ægtemandens tvangsbehandling – eller i tapetet?Charlotte Perkins Gilman ( 1860 -1935) var en amerikansk feminist, fordragsholder og forfatter. Hun anses i dag som værende en af de førende stemmer indenfor kvindesagen i sin samtid. Efter sin død i 1934 gled hun dog hurtig ud i glemsel, indtil hun i 1970erne blev genopdaget af andenbølge-feministerne.

In this haunting illustration of the treatment of mental health and chilling Gothic tale, a woman is confined to a room and forbidden to do anything interesting, and loses her mind. In 1887, following a nervous breakdown, Gilman had been sent to a leading neurologist, she explains in 'Why I Wrote The Yellow Wallpaper', also included in this volume.

What would happen if society was run by women? Charlotte Perkins Gilman imagines the result... When three American men discover a community of women, living in perfect isolation in the Amazon, they decide there simply must be men somewhere.

Moving the Mountain, is a classical and a rare book, that has been considered important throughout the human history, and so that this work is never forgotten we at Alpha Editions have made efforts in its preservation by republishing this book in a modern format for present and future generations. This whole book has been reformatted, retyped and redesigned. These books are not made of scanned copies of their original work, and hence their text is clear and readable. This remarkable book falls within the genres of Language and Literatures, American and Canadian literature

A presente publicação engloba três contos de afirmação feminista da autora Charlotte Perkins Gilman. Publicados em séculos distintos, e não foram organizados cronologicamente por opção e preferência editorial, organizaram-se antes numa perspetiva de introdução e abordagem ao conto "O Papel de Parede Amarelo" que titula este livro, e que é considerada a magnus opera de Gilman. De modo a permitir ao leitor inteirar-se da perspetiva da abordagem feminista da autora, inicia-se então este segmento de histórias com a leitura de um pequeno conto metafórico, "Um Anjo Extinto", seguindo-se "Se Eu Fora Um Homem", este sendo um conto com um cariz transpessoal, para, por fim, fazer desembocar o leitor no meandro de um intenso jogo psicológico intrapessoal em "O Papel de Parede Amarelo".No primeiro conto Gilman utiliza a figura do anjo para metaforizar a mulher obediente e subserviente que na sua perspetiva se extinguiu. Vincadamente feminista e publicado em 1891, "Um Anjo Extinto" é um magnífico mote sobre a perspetiva da emancipação da mulher e das causas que a levaram a tomar as rédeas do seu destino.Em "Se Eu Fora Um Homem", Charlotte Perkins Gilman retrata-nos os pensamentos subconsciente da personagem Mollie Mathewson que, almejando tornar-se um homem, se transpõe para a posição do seu marido e passa a ver o mundo através dos olhos dele experienciando diferentes e estranhas perspetivas.Por fim, mas não menos, em "O Papel de Parede Amarelo", Charlotte Perkins Gilman descreve autobiograficamente uma profunda depressão de uma mulher cujo marido, médico, a levou a passar uma temporada afastada da sociedade numa antiga mansão de família isolada a fim de ela se prover de absoluto descanso e se curar, o que a leva a uma extraordinária alucinação face ao isolamento, retratando as consequências da subserviência feminina ao patriarcado. O leitor vê-se gradualmente envolvido numa fascinação mórbida que o transporta num estilo sensacionalista, ou mesmo surrealista, ao longo de um imaginário intermutável. A obra é inspirada na sua própria depressão pós-parto.

Experience a haunting descent into madness in The Yellow Wallpaper by Charlotte Perkins Gilman. First published in The New England Magazinein January of 1892, it received mixed reviews. This chilling short story depicts the author's belief that women endured psychological turmoil amidsta patriarchal medical establishment. The story went on to fuel America's budding revolutionary feminist movement. A disturbing and sensationalistictale of Gothic fiction.

A collection of poetry by feminist writer Charlotte Perkins Gilman exploring themes such as gender roles, social justice, and the human condition.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

In Republic, Plato argues poets should be banned from the ideal society for their interest in illusion, in things other than the truth. In Suffrage Songs and Verses, Charlotte Perkins Gilman proves that poets are a danger to government¿not because they speak of illusions, but because they threaten the illusion by which the few hold power over the many.

Charlotte Perkins Gilman's Concerning Children reflects her innovative thinking on the social and economic construction of motherhood. In this volume, she takes on American society at its core principles: the betterment of our society through the development of our children. Gilman attacks our conventional model of child rearing, one based on obedience and discipline, rather than on the development of creativity and individuality. ¿She responds to popular practices such as the corporal punishment of children, and proposes new and radical ways of child-rearing including social motherhood, which frees women to pursue careers. Presciently observing more than a century ago that it takes an entire village to raise a child, Gilman's Concerning Children is a must-read for anyone interested in gender and family studies.

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 first appeared as a serial in The Forerunner, a magazine edited and written by Gilman between 1909 and 1916. The book is the middle volume in her utopian trilogy; it was preceded by Moving the Mountain (1911), and followed with a sequel, With Her in Ourland (1916). It was not published in book form until 1979. PLOT: The story is told from the perspective of Vandyck "Van" Jennings, a student of sociology who, along with two friends (Terry O. Nicholson and Jeff Margrave), forms an expedition party to explore an area of uncharted land where it is rumored lives 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. The men speculate about what a society of women would be like, each guessing differently based on the stereotype of women which he holds most dear: Jeff regarding women as things to be served and protected; Terry viewing them as things to be conquered and won.[1] When the explorers reach their destination, they proceed with caution, hiding the biplane they arrive in, and trying to keep themselves hidden in the forests that border the land. They are quickly found by three young women who they realize are observing them from the treetops. After attempting to catch the girls with trickery, the men end up chasing the young women towards a town or village. The women outrun them easily and disappear among the houses, which, Van notes are exceptionally well made and attractive. After meeting the first inhabitants of this new land (which Van names Herland) the men proceed more cautiously, noting that the girls they met were strong, agile, and completely unafraid. Their caution is warranted because as the men enter the town where the girls disappeared, they become surrounded by a large group of women who march them towards an official looking building. The three men attempt an escape but are swiftly and easily overpowered by the large group of women and eventually anesthetized. The men awake to find themselves held captive in a fortress-like building. They are given comfortable living accommodations, clean clothes, and food. The women assign each man a tutor who teaches the men their language. Van makes many notes about the new country and people, commenting that everything from their clothing to their furniture seems to be made with the twin ideals of pragmatism and aesthetics given equal consideration. The women themselves appear intelligent and astute, unafraid and patient, with a notable lack of temper and seemingly limitless understanding for their captives. The women are keen to learn about the world outside and question the men eagerly about all manner of things. Often Van finds himself having difficulty justifying the practices of his own society such as the milking of cows, and the keeping of property, when faced with the apparent utopia the women have managed to build.... Charlotte Perkins Gilman ( also Charlotte Perkins Stetson (July 3, 1860 - August 17, 1935), was a prominent American feminist, sociologist, novelist, writer of short stories, poetry, and nonfiction, and a lecturer for social reform. She was a utopian feminist and served as a role model for future generations of feminists because of her unorthodox concepts and lifestyle. Her best remembered work today is her semi-autobiographical short story "The Yellow Wallpaper" which she wrote after a severe bout of postpartum psychosis......

The story is told from the perspective of Vandyck "Van" Jennings, a student of sociology who, along with two friends (Terry O. Nicholson and Jeff Margrave), forms an expedition party to explore an area of uncharted land where it is rumored lives 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. The men speculate about what a society of women would be like, each guessing differently based on the stereotype of women which he holds most dear: Jeff regarding women as things to be served and protected; Terry viewing them as things to be conquered and won.

The "rest cure" was prescribed to Gilman by Dr. S. Weir Mitchell, author of the Autobiography of a Quack.

Although it was not the first or longest of her works, without question Gilman's most famous piece is her short story "The Yellow Wallpaper", which became a best-seller of the Feminist Press. She wrote it on June 6 and 7, 1890 in her home of Pasadena, and it was printed a year and a half later in the January 1892 issue of The New England Magazine. Since its original printing, it has been anthologized in numerous collections of women's literature, American literature, and textbooks, though not always in its original form. For instance, many textbooks omit the phrase "in marriage" from a very important line in the beginning of story: "John laughs at me, of course, but one expects that in marriage." The reason for this omission is a mystery, as Gilman's views on marriage are made clear throughout the story. The story is about a woman who suffers from mental illness after three months of being closeted in a room by her husband for the sake of her health. She becomes obsessed with the room's revolting yellow wallpaper. Gilman wrote this story to change people's minds about the role of women in society, illustrating how women's lack of autonomy is detrimental to their mental, emotional, and even physical wellbeing. This story was inspired by her treatment from her first husband. The narrator in the story must do as her husband, who is also her doctor, demands, although the treatment he prescribes contrasts directly with what she truly needs - mental stimulation and the freedom to escape the monotony of the room to which she is confined. "The Yellow Wallpaper" was essentially a response to the doctor who had tried to cure her of her depression through a "rest cure", Dr. Silas Weir Mitchell, and she sent him a copy of the story. Charlotte Perkins Gilman (July 3, 1860 - August 17, 1935) was a prominent American feminist, sociologist, novelist, writer of short stories, poetry, and nonfiction, and a lecturer for social reform. She was a utopian feminist during a time when her accomplishments were exceptional for women, and she served as a role model for future generations of feminists because of her unorthodox concepts and lifestyle. Her best remembered work today is her semi-autobiographical short story "The Yellow Wallpaper" which she wrote after a severe bout of postpartum psychosis. Gilman was born on July 3, 1860 in Hartford, Connecticut, to Mary Perkins (formerly Mary Fitch Westcott) and Frederic Beecher Perkins. She had only one brother, Thomas Adie, who was fourteen months older, because a physician advised Mary Perkins that she might die if she bore other children. During Charlotte's infancy, her father moved out and abandoned his wife and children, leaving them in an impoverished state. Since their mother was unable to support the family on her own, the Perkins were often in the presence of her father's aunts, namely Isabella Beecher Hooker, a suffragist, Harriet Beecher Stowe (author of Uncle Tom's Cabin) and Catharine Beecher. Her schooling was erratic: she attended seven different schools, for a cumulative total of just four years, ending when she was fifteen. Her mother was not affectionate with her children. To keep them from getting hurt as she had been, she forbade her children to make strong friendships or read fiction. In her autobiography, The Living of Charlotte Perkins Gilman, Gilman wrote that her mother showed affection only when she thought her young daughter was asleep. Although she lived a childhood of isolated, impoverished loneliness, she unknowingly prepared herself for the life that lay ahead by frequently visiting the public library and studying ancient civilizations on her own. Additionally, her father's love for literature influenced her, and years later he contacted her with a list of books he felt would be worthwhile for her to read.

What Diantha Did CHAPTER I. HANDICAPPED 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. She was sitting on a couch on the broad, rose-shaded porch, surrounded by billowing masses of vari-colored worsted. It was her delight to purchase skein on skein of soft, bright-hued wool, cut it all up into short lengths, tie them together again in contrasting colors, and then crochet this hashed rainbow into afghans of startling aspect. California does not call for afghans to any great extent, but "they make such acceptable presents," Mrs. Warden declared, to those who questioned the purpose of her work; and she continued to send them off, on Christmases, birthdays, and minor weddings, in a stream of pillowy bundles. As they were accepted, they must have been acceptable, and the stream flowed on. Around her, among the gay blossoms and gayer wools, sat her four daughters, variously intent. The mother, a poetic soul, had named them musically and with dulcet rhymes: Madeline and Adeline were the two eldest, Coraline and Doraline the two youngest. It had not occurred to her until too late that those melodious terminations made it impossible to call one daughter without calling two, and that "Lina" called them all. "Mis' Immerjin," said a soft voice in the doorway, "dere pos'tively ain't no butter in de house fer supper." "No butter?" said Mrs. Warden, incredulously. "Why, Sukey, I'm ...

is a feminist novel written by Charlotte Perkins Gilman, and originally published in 1916 in Gilman's self-authored and edited periodical The Forerunner. As its subtitle indicates, the book is the sequel to Perkins Gilman's Herland, published in the previous year,1915. The twelve chapters of With Her in Ourland were published serially in the twelve monthly issues of The Forerunner in 1916; the novel concluded in the final issue of Gilman's periodical, which ceased publication in December 1916. Both Herland and Ourland lapsed into obscurity during the middle decades of the twentieth century; but both books have benefitted from increased critical and scholarly attention after republication - Herlandin 1979 and Ourland in 1997.

This book contains Charlotte Perkins Gilman's first collection of poetry, coupled with almost eighty previously uncollected pieces. A wonderful compendium that is sure to be of interest to keen lovers of poetry, 'In This Our World' is a great example of Gilman's unique style and unrelenting passion for her subject matter. A book worthy of a place atop any bookshelf, this text constitutes a veritable must-have for fans and collectors of Gilman's prolific work.

According to our religious belief, the last best work of God is the human race. According to the observation of biologists, the highest product of evolution is the human race. According to our own natural inner conviction, this twofold testimony is quite acceptable: we are the first class. Whatever our merits when compared with lower species, however, we vary conspicuously when compared with one another. Humanity is superior to equinity, felinity, caninity; but there are degrees of humanness. Between existing nations there is marked difference in the qualities we call human; and history shows us a long line of advance in these qualities in the same nation. The human race is still in the making, is by no means done; and, however noble it is to be human, it will be nobler to be humaner. As conscious beings, able to modify our own acts, we have power to improve the species, to promote the development of the human race. This brings us to the children. Individuals may improve more or less at any time, though most largely and easily in youth; but race improvement must be made in youth, to be transmitted. The real progress of man is born in him.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

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."

In the many books about women it is, naturally, their femaleness that has been studied and enlarged upon. And though women, after thousands of years of such discussion, have become a little restive under the constant use of the word female: men, as rational beings, should not object to an analogous study--at least not for some time--a few centuries or so.

"The Yellow Wallpaper" by Charlotte Perkins Gilman: A Haunting Exploration of Female Oppression and MadnessStep into the gripping and unsettling world of "The Yellow Wallpaper" by Charlotte Perkins Gilman, a landmark work that delves into the complexities of female oppression, mental health, and societal constraints in the late 19th century.Key Highlights:1. **A Disturbing Tale:** "The Yellow Wallpaper" is a short story that vividly portrays the descent into madness of the narrator, a woman suffering from what we now recognize as postpartum depression.2. **Narrative Style:** Written in a first-person, journal-like format, the story allows readers to delve deep into the psyche of the protagonist, experiencing her isolation, confinement, and deteriorating mental state firsthand.3. **Domestic Imprisonment:** The story is set within a Victorian home, where the narrator is confined to a room with yellow wallpaper. This setting becomes a symbol of her confinement, oppression, and the psychological strain of her circumstances.4. **Feminist Critique:** "The Yellow Wallpaper" is often considered a feminist critique of the limited roles and autonomy afforded to women in the 19th century. It explores the stifling effects of societal expectations and the silencing of women's voices.5. **Probing Madness:** The story raises questions about the blurred lines between mental illness and societal suppression, as the protagonist's descent into madness is closely intertwined with her oppressive domestic environment.6. **Enduring Relevance:** Gilman's work remains relevant today as a poignant exploration of mental health, gender roles, and the impact of patriarchal norms.7. **Legacy:** "The Yellow Wallpaper" is an essential work in feminist literature, inspiring numerous adaptations and discussions on women's rights and mental health.This haunting narrative is a powerful commentary on the psychological toll of societal repression and the subtle ways in which women's voices have been silenced throughout history. "The Yellow Wallpaper" is not only a compelling story but also a call to confront the oppressive structures that continue to affect women in various ways.For readers interested in feminist literature, psychological tales, and historical works that challenge conventions, "The Yellow Wallpaper" is an unmissable exploration of the intricate interplay between gender, mental health, and societal expectations. It serves as a chilling reminder of the importance of recognizing and addressing the multifaceted challenges faced by women in a patriarchal society.

"Women and Economics" by Charlotte Perkins Gilman: A Pioneering Work on Gender, Society, and Economic Empowerment"Women and Economics" stands as a groundbreaking feminist work by the visionary author and social critic, Charlotte Perkins Gilman. Published in 1898, this book defied convention and ignited conversations that would continue to shape the course of gender equality, women's rights, and economic empowerment.Key Highlights:1. **Trailblazing Feminism:** Gilman's work is a cornerstone of early feminist literature, where she challenges prevailing notions of women's roles in society, economics, and domestic life.2. **Economic Independence:** "Women and Economics" advocates for women's economic independence and argues that economic self-sufficiency is essential for women's autonomy and overall well-being.3. **Critique of Gender Norms:** Gilman dissects societal norms and expectations placed on women, highlighting how these norms constrain their potential and self-fulfillment.4. **Domestic Labor:** The book delves into the often-overlooked realm of domestic labor, proposing innovative solutions to ease women's dual burdens as homemakers and contributors to the workforce.5. **Maternal Evolution:** Gilman explores the implications of the traditional motherhood role and suggests that mothers can better serve their children when unburdened by excessive domestic labor.6. **Educational Equality:** She underscores the importance of equal education for women, a concept that remains relevant today in the pursuit of gender parity.7. **Societal Reform:** Gilman's writings advocate not just for individual change but also for systemic reform in societal structures to enable women to achieve their fullest potential.8. **Legacy:** Charlotte Perkins Gilman's ideas in "Women and Economics" laid the foundation for the women's liberation movement, influencing future generations of feminist thinkers and activists."Women and Economics" remains a powerful and influential work that continues to resonate with readers, scholars, and activists alike. It addresses gender equity, women's economic roles, and societal reform in ways that are as relevant today as they were when first penned over a century ago.For readers interested in women's rights, gender equality, and the ongoing struggle for economic empowerment, Charlotte Perkins Gilman's "Women and Economics" is not just a historical document but a timeless call to action and a testament to the enduring importance of these issues.