The Circular Evolution of Charlotte Perkins Gilman’s Gender Discourse:  Traces of Utopia and Dystopia  'The Yellow Wallpaper' and "Herland"

Marta MIQUEL BALDELLOU

doi:10.30827/impossibilia.252023.26941

Autores/as

Marta MIQUEL BALDELLOU Universidad de Lleida https://orcid.org/0000-0002-9002-5679

DOI:

https://doi.org/10.30827/impossibilia.252023.26941

Palabras clave:

Utopía, distopía evolución cíclica, rastro, género

Resumen

A lo largo de este artículo se argumenta que la transformación del discurso de género de Charlotte Perkins Gilman de la distopía a la utopía, ejemplificada a través de la evolución comúnmente percibida desde su narración “The Yellow Wallpaper” (1892) a su novela utópica Herland (1915), no sigue una trayectoria lineal de la opresión al júbilo feminista, sino que presenta una progresión circular. Como autora, Gilman es capaz de encontrar espacios de creatividad en muestras creativas de delirio femenino como resultado de la sujección patriarcal, así como ejemplos de subyugación en contextos idealizados compuestos exclusivamente por mujeres. Ambas obras presentan manifestaciones de opresión y de exultación, pese a haber sido escritas en diferentes etapas de creatividad de la autora y haber sido consideradas tradicionalmente como significativamente dispares en lo que atañe a su aproximación de género. Este artículo se propone delinear una tendencia hacia una evolución circular en contraposición a una progresión lineal al desvelar muestras de utopía en “The Yellow Wallpaper” y de distopía en Herland. Estas premisas se abordarán a través del análisis comparativo de “The Yellow Wallpaper” y Herland por medio de la identificación de rastros de elementos narratológicos pertenecientes a la ficción distópica y utópica en ambas obras.

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