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Representation of Jane being trapped behind the bars, and John in front of them.

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For any who are unfamiliar with Charlotte Perkins Gilman's story 'The Yellow Wallpaper,' it tells of a woman whose natural intelligence, competence, and longing for usefulness, are pathologized by her loved ones. Her starved imagination is interpreted as anxiety and weak nerves, exacerbating her situation further. She is secluded to an ominous bedroom, where the only thing she has to occupy her are the intricacies of the room's yellow wallpaper, into which she projects herself, and wherein she comes to perceive a woman, trapped.

I worked on this son of a bitch on and off for a YEAR, and it's really been the painting that fought me how to paint I came up with a clever way to create the wallpaper by stencil, but effed it up and had to resort to doing it all by hand. I may actually go back and add a little more detail here and there... I'm a little on the obsessive side myself!

Oil on canvas. 2016.

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The Yellow Wallpaper by Pandora-intheSKY on DeviantArt

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User Menu 168 Favourites 19 Comments 3K Views For any who are unfamiliar with Charlotte Perkins Gilman's story 'The Yellow Wallpaper,' it tells of a woman whose natural intelligence, competence, and longing for usefulness, are pathologized by her loved ones. Her starved imagination is interpreted as anxiety and weak nerves, exacerbating her situation further.

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An interpretive Dance of the short story expressing the battle between Jane and the wall.

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Hal Leonard Performing Arts Publishing Group

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Choreographed and Performed by Casey Avaunt and Maya Craig, 2007

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There is a group that has classes for those who want to study why women during this age may have written liturature and discover Gilmans purpose for writing the Yellow Wallpaper.

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Charlotte Perkins Gilman's "The Yellow Wall-paper" & the "New Woman"

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Charlotte Perkins Gilman's story "The Yellow Wall-paper" was written during a time of change. This lesson plan, the first part of a two-part lesson, helps to set the historical, social, cultural, and economic context of Gilman's story.

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Currently a school has performed a play version of the Yellow Wallpaper to show the audience that women still have a struggle to be heard, and bring the characters more to life.

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Northern Illinois University's School of Theatre and Dance's upcoming production of "The Yellow Wallpaper," written by Charlotte Perkins Gilman at the end of the nineteenth century, is a bold, psychological play that is still relevant, according to its guest director, Megan Elk. The play will open on Nov. 3, for one weekend only, at the NIU Holmes Student Center Diversions Lounge.

Although "The Yellow Wallpaper" is considered a historical piece of feminist work, Elk says the play continues to be timely because women are still battling to have a voice.

"I want women to be inspired to use their voices figuratively and literally," says Elk.

Adapted from her original 1892 semi-autobiographical short story of the same name, Gilman's play tells the story of a new mother suffering from postpartum depression. When she is confined to a single room by her ill-informed husband to cure her, the room's wallpaper seems to take on a life of its very own. With mysterious and eerie visions manifesting around her, the young woman begins to question her sanity.

Gilman was considered a champion of women's rights and social change in a time of massive social upheaval in the late 1800s. Through her writing and lectures, she caused people to examine women's subservient roles in America and to question an increasing trend for the exclusively male-dominated psychiatric profession to diagnose women with mental illness, so that women's behaviors, or lack thereof, could be controlled to a male ideal.

"The Yellow Wallpaper" is the story of cures that were worse than the disease. The main character experiences a very common mental health treatment of the period, total isolation and lack of mental stimulation, even being prohibited from getting out of bed without a doctor's permission.

"We have included texts from other feminist work," says Elk. "Many of those first-wave comments that first-wave feminists spoke, need to be heard, even now."

Elk says the production will use "close quarters to give the experience of being trapped in that room. It will be a minimal space, performed in the round."

"My aesthetics are derived from Poor Theatre," she says. "We have the idea that less is more."

Performances are held at Holmes Student Center Diversions Lounge Theatre, 340 Carroll Ave., in DeKalb. Show times will start at 7:30 p.m. weekdays and Saturday, with matinee performances at 2 p.m. on Saturday and Sunday.

Tickets are $17 for adults, $14 for seniors and $9 for students. Ticket reservations and additional information are available by contacting the NIU School of Theatre and Dance at 815-753-1600, or online at the School of Theatre and Dance website at niu.edu/theatre.

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'The Yellow Wallpaper' a bold, feminist play - NIU Today

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Northern Illinois University's School of Theatre and Dance's upcoming production of "The Yellow Wallpaper," written by Charlotte Perkins Gilman at the end of the nineteenth century, is a bold, psychological play that is still relevant, according to its guest director, Megan Elk.

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This article talks about how there is a show that uses writers such as Charlotte room settings to bring the story to life

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Bringing together life-size dwelling spaces, miniature buildings and revealing interior photographs, the exhibition "Room," which debuts at Sadie Coles HQ in London this week, opens the doors to 15 private - and emotionally charged - spaces created by female artists.

Visitors will find a teenager's room, courtesy of Klara Liden, with moody black furnishings and a parent-snaring booby trap rigged with an ax. Nan Goldin shows us empty bedrooms in German brothels, overripe with chintz, swagged pelmets and sentimental pictures of children. At a doll's-house scale, Andra Ursuta recreates the kitchen of her childhood home in Romania, a site of trauma, now destroyed. "It seems to me that all the rooms are sites for emotional action, whether confronting difficult memory, social utopias, gender issues or fantasy," Coles says. "There's a lot of rage, too."

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Nan Goldin's photograph of her hotel bed, "My Bed, Hotel La Louisiane, Paris" (1996), offers a portrait in absentia that is at once sordid and romanticized. Above the twisted sheets and cheap checkered blanket, open bags of fruit form an apparently ad hoc still life, and a journal and notebook hint at a mind busy with ideas and inspiration, placing Goldin on a continuum with Paris's down-at-the-heel bohemians. Credit... Copyright the artist, courtesy SPROVIERI, London

Rage certainly emanates from Louise Bourgeois's "Cell XVIII (Portrait)" (2000), a distressed, cloth-covered head trapped in a box made of mesh and glass. But three photo and collage series by artists in their earlier years - Francesca Woodman, Penny Slinger and Joanna Piotrowska - explore the relationship between room and body in more emotionally ambiguous, and even playful, terms. In 12 tiny black-and-white photographs made between 1975 and 1980, Woodman merges her models into the shabby décor of interiors in Rhode Island, New York and Rome. Some hide behind mirrors, others tumble or protrude from closets; slow shutter speeds allow their bodies to blur and fragment against the still background. Slinger's photo collages ("An Exorcism," 1977) present surreal tableaus, most featuring young women, set within the confines of an unfurnished Gothic mansion. And for her "Shelter" series, made in Lisbon last year, Joanna Piotrowska invited her subjects to construct a den out of their possessions. These infantile and often awkward rooms-within-rooms show adults sheltering beneath mountains of rugs, stacks of books, wine boxes, a sun umbrella and even a sled.

Francesca Woodman's "Untitled, Providence, Rhode Island" (1975-78). Credit... Copyright the Estate of Francesca Woodman, courtesy George and Betty Woodman, and Victoria Miro, London

Exploring the ideas that informed "Room," the curator Laura Lord drew on a number of female-authored texts, including Charlotte Perkins Gilman's "The Yellow Wallpaper" (1892) and Nan Shepherd's "The Living Mountain" (1949). While all the artists in "Room" are female, neither Lord nor Coles sees anything as reductive as a feminine gaze or approach running through the show. In fact, some - notably Sarah Lucas and Heidi Bucher - have created explicitly male spaces. Lucas's "Chuffing Away to Oblivion" (1996) is a smoking shed, yellowed as if with decades of nicotine and lined with lurid tabloid newspapers. Suspended from the gallery ceiling, Bucher's "Herrenzimmer" (1977-8), a latex cast of the inside surface of her father's study, floats with the translucent lightness of skin.

"There are certainly examples of male artists who are making similar kinds of spaces," says Coles, citing James Casebere and Gregor Schneider, among other examples. "The works in the show are not defined as 'women's work,' in a domestic or emotional way; it's not really like that. The focus on female artists does raise interesting questions, in terms of how far gender impacts on our reading of a work. Is it inescapable?"

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A Show of Not-So-Inviting Rooms, Courtesy of 15 Female Artists (Published 2017)

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Bringing together life-size dwelling spaces, miniature buildings and revealing interior photographs, the exhibition "Room," which debuts at Sadie Coles HQ in London this week, opens the doors to 15 private - and emotionally charged - spaces created by female artists.

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"...sprawling flamboyant patterns committing every artistic sin".

The authors use of description gives the reader a first impression of the wallpaper before it takes a negative effect on her mind later in the story. It shows her initial reaction to the paper and how it is a ugly yellow shade with unusually pattern and how no true artistic pattern was put into the wallpaper.

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" Round and round and round--round and round and round--it makes me dizzy!"

The author has decided to use repetition in there diction and dashes as syntax. By using repetition of the word round the reader can visualize her mind thinking all these things and seeing figures that it is too much for her to handle. When they use dashes it signifies that it continues and doesn't stop until she confirms her dizziness.

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" The front pattern does move...".

At this point in the novel the madness has begun to set in and since the wallpaper is the only thing in the room besides the bed she has begun to obsess about it and see faces with the wall. This happens because she is isolated from everyone and her imagination is the only thing she has except it has taken a wrong turn and is making her see things.

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" I don't know why I should write this.
I don't want to.
I don't feel able."

At this point of the text Jane has been isolated for some time now and she is losing faith in herself and doesn't know why she should do anything since John has forbidden her from everything except from rest.

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The first minute of this video is informing how all the troubles we have are in our mind and how we are having a war in our mind which can break us down. In the Yellow Wallpaper this is what most likely is happening to our main character.

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Motivational Speech - "The Struggle is in your Mind"

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REMEMBER ME :-) Here is our Amazon Affiliate link, when you use it will directly support the channel -http://www.amazon.co.uk/ref=as_li_ss_tl?_encoding=UTF8&camp=1634&creative=19450&linkCode=ur2&tag=sparta0e-21 video name - Motivational Speech - "The Struggle is in your Mind" If You Wandered where we get our Music we are partnered with FREEDOM! You can leave at any time and earn up to 110%.

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This quote does a good job of expressing how Jane may have felt and how she handled being isolated in the room.

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This resembles how the wall may have looked after Jane chose to chase the lady in the wall while tearing the wallpaper.

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Peeling Wallpaper, Damaged Wal Stock Photo - Image of stained, damaged: 18728742

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Photo about Damaged wall with torn, peeling wallpaper. Image of stained, damaged, decorative - 18728742

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Jane's outlook on the house and the wall went between fear and comfort.

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Classic style, Classic life, Classic mind

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Classic style, Classic life, Classic mind

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Maybe looking at those pictures does not change the world. But you will get an impression how pretty perfect it could be... If you are a gay porn blog please don't follow, you will be blocked! Male, fitness freak, loves only women

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The song reflects how big events can effect the brain negativly