the_feminine_consciousness_in_the_yellow_wallpaper_and_the_story_of_an_hour英语毕业论文(编辑修改稿)

the_feminine_consciousness_in_the_yellow_wallpaper_and_the_story_of_an_hour英语毕业论文(编辑修改稿)内容摘要：

tual spiritual freedom itself can be understood and experienced only through a phenomenology of one’s thinking” (Hu 14). In The Yellow Wallpaper, without discourse power, madness bees a kind of undisguised resistance. Only then can “I” hear the inner monologue, if not, keep silent. Meanwhile, the writing is furtively proceeding so that “I” can municate with the fantastic character. In the downtrodden status, the passion for freedom and meaningful life is grafted on the fantastic character. Finally, the “angel in the house” bees “the madwoman”. In a society that women are deprived of discourse power, no one will be fussy about what a madwoman says. Therefore, the state of madness happens to be a powerful tool. Different from the mon mental confusion, madness is direct rebellion to paternity oppression. Since the insane narrator has no responsibility for her utterance, she can say whatever she wants. From the process of struggling with the wallpaper, we conclude that the locked door and the arbitrary husband are nothing else than the wellknit wallpaper that “the madwoman” tries to breach. The woman behind the wallpaper is the heroine in the mirror, an expression of her. Without discourse, to 河北工程大学学士论文 6 express the tragedy of life, the only instrument is words—regrettably, the insane babbling. The Third Person Narration and the First Person Narration The literary criticism in the twentieth century is languagecentered, so feminist literature, affected by this trend, connected gender with language to conduct research. To some degree, the authors have promised with the narrative method. When it es to the narrative angle, the incisive pointcut is employed to be a direct objection against the male authority. The third person narration consists of two aspects: in the terms of subjectivity, it involves emotion and thought, and for objectivity, the mental activity is included. The Story of an Hour begins with the limited third person narration describing the plots from the sidelines. As Spenser said, one of the functions of the third person narration applied in feminism literature is to enable the heroine to observe the roles and events beyond herself, by which the feminism consciousness and identity are built (Hu Aihua 20xx). The author applied the third person narration neatly at the beginning of the story, using the bystander’s limited observation to narrate the content of the story from outside. “Knowing that Mrs. Mallard was afflicted with a heart trouble...” (Gilman 42). From the objective perspective, the setting of the story is introduced succinctly. From the angle of a spectator, it is impossible to understand the inner life of “Mrs. Mallard”. The author successfully shifts from the limited perspectives to omniscient perspectives. The description of the psychological activities indicates that “Mrs. Mallard” is different from the traditional women, indicating the awakening of the feminist consciousness. The limited perspective of the third person narration demonstrates the weakness of female discourse in edgewise. To provide the readers with necessary information and enough imaginary space, the writing focus is distributed on psychological description. As for the heroine, benefited from the third person narration, she bees an individual with thought, personality, as well as pursuit. In this way, the feminism is built. In contrast, in The Yellow Wallpaper, Gilman arranged a female as narrator to represent the story, which is a kind of challenge of masculine words. “Even the moment 河北工程大学学士论文 7 of speaking, we are inescapable in some certain of restrictions produced by male desire” (Xu 27). In traditional narrative fiction, men are regarded as instructors, so women are instructed. As a result, the feminist consciousness is misread or even obliterated. The first person narration in feminist literature endows women with discourse power to express themselves actively. The sentences, for instance, “I believe”, “I will proudly declare” and “I don’t like” are pouring out the emotion and desire in the depth of heart. What “I” narrates roots in what “I” has seen and experienced, making it authentic and credible. In the noteworthy conduct and independent writing style, the individual mind of heroine gradually appears. The Description of Surroundings and Internal Monologue Instead of particular emphasis on the plot, the surroundings and psychological changes of heroines are described in detail in both short stories. If we believe that description of surroundings expresses the emotion of heroines in edgewise, the internal monologue declares the thought of heroines directly. In The Story of an Hour, the tree quivering with new spring life, the delicious breath of rain and the sparrows twittering in the leaves are endowed with delightful image. The repeated occurrence should not have attracted attention, but in this moment, they bee so enjoyable that it seems that the hearing, vision and smelling of “Mrs. Mallard” are evoked again. The pleasurable scenery forebodes the milestone of life. On the other hand, the psychology of “Mrs. Mallard” changes dramatically. Out of an occasional chance, “there was something ing to her” (Chopin 42), and she begins to take the freedom into consideration after the instinctive weep. Gradually, she realizes that in the inner heart, she is waiting for the selfactualization. “The deliberate psychological depiction doesn’t only achieve dramatic effects but also intensifies the theme of the story” (Zhang 207). Similarly, in The Yellow Wallpaper, the description of the surroundings brings a sense of oppression. In the garden, the “deepshaded arbor”, the “oldfashioned flower” and the “gnary tree” contribute to a gloomy scenario. And the color is “repellant almost revolting”, a kind of “smoldering。