"The Yellow Wallpaper" is short story that was written by American writer Charlotte Perkins Gilman and it was published in 1982. The main purpose of this story was to expose the way that women were viewed and treated during the 19th century, especially when it came to mental and physical health issues. Written in the first person, the story is related in a series of journal entries, in which the main character, whose name we do not learn, tells of the circumstances that surround her when her husband, John decides to move them somehwere where he thinks his wife, the narrator, will be able to be cured from what he terms: temporary nervous depression. So they move to a mansion with Jennie, John´s sister, and settle into a room that had once been a nursery with yellow wallpaper that has been badly scratched. As time passes, the narrator focuses on the wallpaper more and more, until she begins seeing the form of a woman in there. In the end, John comes home one day and after unlocking the door to the room, finds his wife crouched against it, circling it and when she sees him she tells him that she has finally been able to break free despite him and Jane. John passes out and the narrator continues circling the walls without a care. In this excerpt of the story, the narrator is: B: she feels an overwhelming responsibility to meet society´s expectations, because, through the words she uses and the expression, the narrator shows how much shame she feels that her situation, her condition, prevents her from doing what socially she should be doing, which is becoming a support for her husband.
Answer: No women in the 1800s did not have the same rights as men because they were seen as inferior to men and therefore they did not have as many rights as men
Explanation:
The wilderness rose up to it,
<span>And sprawled around, no longer wild</span>
Answer:
She acts as a neutral character who sympathizes with both girls.
Explanation:
Answer:
The first impact of the plague was, therefore, demographic. The lives they took in just seven years would take two centuries to recover, while the survivors would reorganize in a different way. During the epidemic years, the rural population had moved to the cities in search of food and company, and given the large number of vacancies left by the plague, they no longer had to return. The countryside was depopulated, while life in the cities was revitalized, driven by the concentration of fortunes that followed the high mortality. The old rural aristocracy, accustomed to living comfortably on incomes, finds two possibilities: lease their land at lower prices or exploit them directly, hiring producers and paying them higher and higher days. The stately power lost, therefore, part of its purchasing power, while the day laborers, regretful valuable due to their shortage, increased their well-being.
The shortage of arms and the rise of the bourgeoisie were decisive for the development of the technique, one of the hallmarks of the Renaissance, closely linked to the parallel advancement of science. Machines reduce the amount of force and work needed, and appear to serve a particular class, the bourgeoisie, which finds in them a concrete response to their needs. In the technical ascent an essential change of mentality prevails, since the manual work - the mechanical arts - was despised during the Middle Ages. Leonardo da Vinci claims it when he says: "In my opinion, the sciences that have not been born of experience, mother of all certainty, and that do not end in a definite experience, are vain and full of errors." Science and technique go hand in hand, and good proof of this are the calculations of the architect and sculptor Filippo Brunelleschi, prior to the construction of the dome of Santa María del Fiore, in Florence.
