![]() ![]() The papers in this book are the collected written assignments of my undergraduate career at Olney Central College and Ashford University. I had two concurrent majors with Ashford: first: social sciences with an education concentration and second: English. I took advantage of the online education offered by Ashford, which allowed me to study at my home in Clarkston, Michigan. I transferred in the fall of 2009 to Ashford University in Clinton, Iowa. ![]() I spent two semesters at OCC, until I moved in the summer of 2009. OCC is part of the Illinois Eastern Community Colleges system. I began my college career in the fall of 2008 at Olney Central College in Olney, Illinois. The second author, Edith Wharton, gives us an insider’s view of the American High Society, drawing a realistic portrayal of what went on behind the curtains in the lives of American families, using ghosts and other gothic elements as ways of reinforcing her point of view. The first one, Charlotte Perkins Gilman, was a declared feminist, who wrote her ghost stories after having suffered from post-partum depression, and having her treatment supervised by her own husband and a male doctor, who believed that her problem came from the fact that her mind was too active, and that forbidding all sorts of creative activity would be a remedy. In this study, the ghost stories of two female gothic authors of the 19th century will be analyzed. The female gothic literature is profoundly attached to the authors’ social and psychological status in a patriarchal society, and serves as a very accurate portrait of the female experience. While the gothic has been the subject of many books and articles, few studies have been dedicated to what is called « The Female Gothic », the term that has been used to describe the peculiar use which female writers have made of the genre. The article will portray that Jane's 'self' is evacuated from its fixed position to cherish free form of human interaction, and her identity is not handcuffed by any law, rather it is in a state of constant 'flux', in a ceaseless motion of 'becoming', it is a 'rhizome', facilitating a non-hierarchical network. The object of study of this article is not Jane's mind which romanticizes asylums rather the interrelation between 'bio-power' and her 'desire'. Feminists broach that she is caged to be a conventional caring mother for a Freudian she is a 'hysteric' struggling with temporary nervous depression, Lacanian posit that she is a 'psychotic' who persistently tries to satisfy the 'gaze' of her physician husband John, and for a Deleuzian the moment she fails to bear the burden of capitalism driven 'bio-power' and 'nuclear family' she becomes a 'schizo'. Her identity has evoked ramified and conflicting networks of references. ![]() This article seeks to trace the voyage of Jane's identity whose dairy constitutes the story "The Yellow Wall Paper". Deleuze and Guattari interrogated such logocentric assumptions, and 'arborescent root-tree' model of objectified structures, language, identity and self. It is a cliché belief that multiplicity comprises of numerous units, and these units can be eventually united under one category such as the ages of population. This article is an attempt to move beyond the conventional binary heuristic of identity to its progressive representation based on multiplicity, difference, and dispersion popularized by the 'rhizomatic' theory of Gilles Deleuze and Félix Guattari, in Charlotte Perkins Gilman's story, "The Yellow Wall Paper".
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