Folder 5

@Pearson

Appendix 4: Non-examination assessment authentication sheet

Pearson Edexcel Level 3 Advanced GCE in English Literature

Have you rece ived advice on the title from the Assignment Adv isory Service?

Centre name:

Candidate name:

AOs 1, 2 and 3

:JJ:. / 36

AOs 4 and 5

'2-t /24

-bo/6 0

Centre number:

Cand idate number:

9ET0/04

takeway folder

Teacher declaration

I declare that the work submitted for assessment has been carried out without assistance other than that which is acceptable according to the rules of the specification. I confirm that the candidate has studied at least three pre-1900 texts in the examined compone nts to meet the requirem ents of the qualification , and the same texts have not been studied for both non-examin ation assessment and examina t ion.

I Assessor name:

Assessor signed: I Date :

Candidate declaration

I certify that the work subm itted for th is assessment is my ow n. I have clear ly refe renced any sources used in th e work. I understand that false declaration is a form of malpractice. I understand that to meet the req uirements of the qualificat ion, I must answer examination questions on at least th ree pre-1900 texts and I must not use texts which I have stud ied for non-ex amin ati on assessment in my answers to examinat ion questions. -~ r-::... . •. , •. - ..

Candidate <sig~~; · : r •• 0: •

t Date:

Additional candidate By signing this additional dec laration you agr ee to your work being used to support Professional Developmen t , Online Support and Training of both Cent re-Assessors and Pearson Moderators. I f you have any concerns regarding this please email : ePortfolio@edexcel.com

~ Date : I.,

Texts coverage check You are reminded that the text choices for the non-exam ination assessment must be different to the texts studied in Components 1, 2 and 3.

Please tick all texts that have been studied in the other components .

Shakespeare Other drama '

. Tragedy Tragedy g' Antony and Cleopatra □ Doctor Faustus

Hamlet □ The Duchess of Malfi □ ~ King Lear □/ The Home Place □ QI

0 C Othello A Street car Named Desire □ 0

~ · Comedy Comedy

A Midsummer Night 's Dream □ The Importance of Being Earnest □ Measure for Measure □ The Pitmen Painters □

I; 1, The Taming of the Shrew □ The Rover □ f;ft,; Twelfth Night □ Waiting for Godot □

t~~ Childhood ,;e.~t-------------r---+---------- --- --,---~ .. : ~-; What Maisie Knew D Heart of Darkness D

Colonisation and its Aftermath

C ._

§ ~t' Hard Times D The Adventures of Huckleberry D . ~ Finn

E~t- - ------ ---+--+-------------+-~ o ~ Atonement D A Passage to India □

g ,-r-- -----------t---+-- -- -----------+- - ---l The Color Purple D The Lonely Londoners D

N The Supernatural Women and Society I'.' i.. e ;, The Picture of Dor ian Gray □ Wuthering Heights □ ~- Gll, i--- ----------+---t----- --------- ---+- -~

5 ~ Dracula □ Tess of the D'Urbervilles □ .. Q •~--- --------~--~---------- ---~- - ~ e : □ The Little Stranger Mrs Dalloway D ~ 8 ,! i,Q Beloved D A Thousand Splendid Suns D ~ ~ Crime and Detection Science and Society , N 1it-t------- - -- ---.---+ ---- ----------~---.-l ~ e ~ Lady Audley 's Secret □ Frankenstein 0 l• QI~•~---------- -~-- +-- -----------~-- ~ i~ 2 ;., The Moonstone D The War of the Worlds D i: E . ~ 8 'f 1-I_n_c_o_ld_B_lo_o_d _______ 1--□--+_N_e_v_e_r_L_e_t_M_e_G_o ___ _ _ __ --+_B"_---l " ~ ,!i- The Murder Room D The Handma id 's Tale D

't ' The Medieva l Period □ Geoffrey Chaucer □ ,. ., I: ......,

□ □ if r-,•4 The Metaphys ical Poets John Donne !, · ~ f-

□ □ l> GI I,' The Romant ics John Keats C .

11; The Victorians □ Christina Rossett i □ ) ,, E 0 Modernism □ T S Eliot Gt u

The Movement □ Philip Larkin □

Text 1

',A f_ DO INt. o { tn.t.J ~WI"\, 1

w,;r,,_,.,., w .. LI

Text 2

<-rliL, Yi ll"w w.,Ul "--f Lr;) lkp.rl" fft.. Pt.-r k ivt.J

(rj L.111..11.vv

'Lock up your libraries if you like; but there is no gate, no lock, no bolt that you can set upon the freedom of my mind .' Virginia Woolf In light of this comment, explore the relationship between space and freedom in The Yellow Wallpaper and A Room of One's Own. To what extent does the presentation of this theme reflect the position of women, at the time these text~ were written.

In literature, physical spaces can be used to symbolise the state of mind of their inhabi tants. \Xlhile in A Room of One's 0nm, Woolf emphasises the need for a secluded

J / f~1U ...G.,,._:.~. space to allow for creative freedom , Gilman on the other hand challenges it when it is t

enforced, as The Yellow UVa/lpaper depicts a woman driven to insanity by the interior decor of her very own summer house. For Gilman, space can be limiting whereas Woolf perceives it as a necessary element of creative freedom . This essay will explore the relationship between space and freedom under the scope of Architectural Feminism 1; a concept dealing with the transcen dence of women from a physical dimens ion into a , t •~-, J ,o,,_ p . .J.

f c-·,~,i,,..,d ~.,a, menta l dimension and their personal development into the 'architects' of their own life. Some period feminist readers tended ro attribute to the term physical space negative descriptions of confinement, seclusion and oppression as women's freedom was very much associated with the transgression of patriarchal barriers which focused on domestic values. H owever, by doing so they failed recognize how the secluded and isolated characteristics of a physical space could also provide these women with the space whicg generates the female imagination. In The Yellow Wallpaper the physical space in which tne narrator lives, is used as a paradoxical image of women's confinement as well as their own poetic space for freedom and imagination . As Gilman's protagonist retreats into her physical space she escapes into a mental space away from the oppression of the patriarchal society, and seeks social identiLy progressing towards Woolf's Room of One's Own, where she finally becomes the architect of her own personal space. Gilman as a

~O , .._ c..,-._'h• ~ pc1t,.1 l1 GM

pioneer of feminism2 in her own time, muses that women should strive to become 'world servants' rather than 'house servants' and benefit a more 'huma n world' rather than linger . ~f.;~ aimlessly in the restrictive confines of a physical space, dictated by a stifling patriarchal ./ t~ -~ -Victo rian society. While many feminist critics3 like Henry B. Blackwell in the 1970s and ✓ J../ °' 80s suggest that the feminist thrust needed ro wait a century to be noticed as they claimed A oS. ,:,,,o, that contemporary readers lacked the psychological insight needed to understand it, one Sop....:,-'---~ ~uscn't forget that there were women like Gilman and Woolf who acknowledged that ;;._ d..::.e ~~ 1 . there 1s no gate, no lock, no bolt that you can set upon the freedom of the mind.' " .' ,·.r ~ 1~ s ""'f~-...i

lvu .ft,(.",,.. .... ,

Both A Room of One's 01/ln and The Yellow Wallpaper explore the way in which a physical ✓ >1:)4-

space engenders the freedom rather than the suppression of thought . Laura Marcus4

1 Inspired by Laura Marcus' suggestion in her essay, Woolf's feminism and feminism's Woolf that 'thinking and thought are not independent of physical and material circumstances but shaped by them' I developed this concept whic h explores the correlation between space, physical freedom and mental freedom within feminist literature. 2 Deemed a leading feminist in her own time, Gilman was a social reformer, lecturer, and author who considered herself a 'humanist' and repudiated the term 'feminist' coined in 1891. 3 Catherine J. Golden, 'The Yellow Wallpaper A Sourcebook and Critical Edition', 2013, Routledge p.72 4 Laura Marcus 'Woolfs femin ism and feminism's Woolf'

rightly claims that 'A Room of One's 011111 is indeed a text about thought and the possibilities of • ,..., ~ -: thought'. Therefore, Woolfs overarching argument that, 'A woman must have money and

1,o':

a room of her own if she is to write fiction' is a call for progress of women's intellectual (Al~ .r..,A.)._ .c ... e rights which will in rum facilitate the evolution of women from 'chief ministers'S of the ~ ~ _.._;: ,-,:,J:;;..1 ~ house as suggested by Catharine Beecher, to 'chief ministers' of their thoughts. Woolf

1: •.

expresses the financial restrictions on women's literary and intellecrual potential which is closely aligned to Gilman's invented concept of the 'sexuo-economic condition' 6 illustrating how the female sex was financially and socially dependent on their mate. Hence, the 'room' acts as a symbol of financial and intellectual independence , whilst th~ frequent repetition of 'room' throughout the essay emphasise how the private ownership of a physical space is a necessity for intellt>crual freedom and the capacity to think for . one's self. A woman's intellecrual restrictions are illustrated when Woolfs narrative

...r;.-,I~ I

,;,,_, .. 7-. ' ~ o,,1-. , •

persona is refused entry into the Oxbridge library by a man who looked, 'like a guardian angel barring the way with a flutter of black gown instead of white wings'. The man acts t>\" ' "'-'"' as a metaphor of the societal barriers that have been imposed on women by men, the -~ ~" ' :,_·. t

imagery emphasizing the role of men in restricting woman's intellecrual freedom through the visual image of the 'black gown'. This image is suggestive of men as fi

0QUres of I;."' n '.;

t"',f•..e:..c.. l ... •t• darkness who cast a dark shadow on women 's freedom, delineating how women's &nwte.u: · freedom in the early 20th century was hampered by the omnipresence of this dark .c.. ---y.>,.,. ... :, a.J, shadow, a symbol of the patriarchal society, which followed them everywhere. c..Aa,; " _ .. , .. ,A..._,

In the same way that Woolf finds a way t0 escape, reversing her role as a victim of the /tOLi ,~ I.J 1

patriarchal society, to the architect of her own life throu gh 'money and a room' the ✓ ""~ J

narratar in The Ye/10111 i'f?'allpaper becomes the architect of her own narrative as she gives c, J..., '-t

life to the wallpaper 'There are things in tha t paper that nobody knows but me, or ever will' through her fantasies and delusions. For her, the wallpaper offers a sense of purpose and a sense of hope as she is at last free to think for herself and get lost in the world of imagination. Not only does it give her creativity and imagination an outlet, it offers her a way to project the real world into a fantastical realm where she, and not her husband, is in control of what happens. The world that the narrator imagines around her, whilst unsettling through the paradoxical image of the wallpaper transforming into bar s 'at night in any kind of light, in twilight, candlelight, lamplight, and worst of all by ~.; moonlight it becomes bars!' is quite intriguing in many respects. In this exclamatory $--'(" 1,. 1o. t .... u ,. ,~

sentence, pleonasm is used through the listing of sources of light to accentuate how light ,.. . ... ••e which is often associated with the ultimate reality , transforms the paper iota bar s suggestive of the ph ysical barriers represented by the wallpaper on the walls of the room. However, the repeated reference s to the 'outside pattern' the 'inside pattern' and 'the sub-pattern' which symbolise the multiple !avers of reality and imagm· ation also invites a -• . (1 (l ';.,

reading of the wallpaper as a palimpsest as suggested by Catherine Golden in The Writing of the Wallpaper. A Double Palimpsest supporting the concept of Architectural feminism as the dominant outside pattern of the 'bars' paradoxicall y offers the narrator an escape

5 In the nineteenth century , traditionalists on both sides of the Atlantic regarded the home as a refuge from the bustle of the workplace. Woman heralded for her pur ity and morality , was installed as 'chief minister' of the home as suggested by Catharine and Harriet Beecher. 6 Charlotte Perkins Gilman, 'Women and Economics', 1898, Small, Maynard & Company

from the physical, into the mental reality vf the 'sub-pattern' where the muted figure with..,. " the 'broken neck and two bulbous eyes' lies. Hence, through the wallpaper the narrator ~ redefines herself through her newly found freedom of thought and imagination r , , ·•- ,-.J ..,._

. f li , cl ). .,LA"l_,,; . .1 engendered by her very own physical space, she is no longer a victim o ID.lte O '

P~ "' intellectual activity which accompanied her rest cure 7 but an active thinker.

Furthermore , both writers deal with the restricting as well as the creative forces of a , , t'.l :...

physical space through the use of symbolism. Firstly, the narrator of The Yef/ou1 Wallpaper deals with the restricting forces of a physical space as she provides the readers with a ,; physical description of the house which she is confined in; 'a colonial mansion' and a ~ ('t,) ;;i...

hereditary estate'. The choice of diction 'colonial' and 'hereditary' is incredibly significant r~"'I.Vf>"-' '"' as it is used to accentuate the two-fold dominant / subordinate relationship s of the ., ...,~ narrator and her husband as mirrored in the architectural relationship of the house and the physical space in which she is enclosed in. The 'colonial mansion' which has ~

connotations of the oppressor, looms over the narrator evoking a sense of unease within the reader as the 'hereditary estate' is an ancient emblem of a male-dominated history where woman were considered to be inferior. Against the backdrop of this 'haunted house' as described by the narrator, suggestive of a supernatural malevolent force which increases the tension within the story, we are also provided with a controversial {~":,_ description of the attic in which the narraLor lives . While, the 'big, airy room' in which the .._,i<v-o.,.."'t narrator is confined could symbolise her limitless mental and creative capacity when :, 1...1>--1• ,q juxtaposed to the 'barred windows' it evokes an overwhelming sense of an unease within • "J' <S the readers as the image created is one strongly suggestive of imprisonment and suppression. At this point it is important to consider that the narrator's confinement is./ not only architectural it is mental as well. While the 'big, airy room' might represent women writers like the narrator, who embod y the power of imagination and artistic creation, it also represents an increasing internal suppression of the female psyche apart : .;.<'W'<1 J..c.0-, from the external suppression symbolised by the house and by extension John who represent a male-dominant literary tradition that suppresses female writers. Specific'ally, through John's patronizing language Gilman linguistically exhibits the patriarchal t': ~ ,;: " , domination of women as the way in which John calls his wife 'little girl' and scolds her _a.....,.,.l.('.., ·l

for getting out of bed at night intensifies the notion of infantilization embedded in the ~:~,~,J~ .... l

rest cure, which in itself symbolised women's under-stimulation and set out the context -<• '' • • .,. •. J.'-'-

for the patriarchy's insistence of the inferiority of women. However, as Woolf muse s, 1 - r· supported by the feminist critic Holtb y8 'for if they [women] were not inferior, they c<-f•f _tt

would cease to enlarge'. In this suggestion lies the reasoning behind the way women '" ;;~. writers like Woolf and Gilman flourished, by in a sense 'enlarging' their mind within the -'t t..(),•J ,'.,..., confines of physical spaces and how women in the suffragette movemenc 9 escaped the 1 3,J.-..1

7 The 'rest cure' played out in The Yellow Wallpaper was actually prescribed to Gilman herself by Dr. Silas Weir Mitchell who instructed her to 'live as domestic a life as far as possible,' to 'have but two hours' intellectual life a day,' and 'never to touch pen, brush, or pencil again' to cure her depression. 8 Holtby supported Woo lf's model of cultura l and historical d istortion whereby the 'natural shape' of men and women is tw isted by patriarchy's insistence of the inferiority of women, 'for if they were not inferior, they would cease to enlarge' 9 Suffragettes were members of women 's organisations in the late-19th and early-20th centuries which advocated the extension of the "franchise", or the right to vote in public elections, to women

LJ ... V ... "'.,.,,... ~ '-"

confines of their home and rallied in the streets to 'enlarge' in a sense their rights and freedoms.

Similarly, Woolf acknowledges that 'women have sat indoors all these millions of years' showing an awareness of a woman's physical under-stimulation in the 19th and early 20th century however, she also goes further as she lambasts the established norm through the . ""( creation of an image of a revolutionar y woman who has 'permeated the very walls' which _,, ~, •~., 1

''

were built to suppress her, with her 'creative force'. In this way, Woo lf quite propheticall y · · 1.•·.1 ~ ~;- '

paves the way for the second-wave of feminism movement 10which followed in the 1960s through the creation of this revolutionary woman who symbolised this movement . The 1 _) _

idea of a world full of barriers and segmentation is echoed in Gillman's shore story as sbe refers to the 'hedges and walls and gates that lock'. \Xloolf however, embraces the new · ·.• L ~, .~ 1 female writer who has transcended the barriers imposed by her physical space 'of bricks .. , • •,. ,. , and mortar' (where the choice of material suggests a strong enclosing force) and has instigated a revolution with 'pens and brushe s' which symbolise the weapons which '-:,, · enable her to destroy the barriers imposed upon her by society. Furthermore, Woolf marvels at the possibility of women defining their spaces rather than the physical spaces defining them through the paradoxical descriptions of a room 'they are calm or ' r".) ~ thunderous / are hard as horsehair or soft as feathers' through the presentation of these juxtaposed illustrations of a room, Woolf sheds lights on a continuous theme of the book which is the contrast between femininity and masculinity. As the woman dares to enter 'a thunderous room' which implies a certain roughness and hardness, a symbol of male dominance, the woman defies society's expectations which justified women's subordination as the natural order and in this way transfigures the concept of a physical space into one which embraces creativity and possibility rather than oppression and ., ' , restriction . Simultaneously it is also worth considering how Woolf represents the 1-0 ~

structures of inclusion and exclusion as fundamental to patriarchal society and its treatment of women: 'I thought how unpleasant how it is to be locked out; and I thought how it is worse perhaps to be locked in.' On her visit to 'Oxbridge', Woolfs narrator finds herself repeatedl y 'locked out' , excluded from chapel, library and the turf of the college quadrangle: 'Onl y the Fellows and Scholars are allowed here; the grave; is the place for me' Not only is her way physically barred, but these barriers interrupt the free flow of her tho ughts prohibiting her from 'trespassing ' on the grounds of intellect and imagination held by the proper preserve of the male sex.·

Furthermore, while the concept of Architectural Feminism deals with the transgression of physical barrier s within the patriarchal background of the narratives, it also permeates into the structure of the narratives themselves. Gilman adopts a rather uncon ventional style where the modern literary term 'stream of consciousnes s' gains anothe r dimension and interpretation where one could argue that she adopts 'a stream of sub-consciousness' rather, to convey her slow mental degeneration with the short, confused phrases as she / leads such a stifling, unfulfilling existence she eventually finds herself turning away from

10 While the first-wave femin ism of the 19th and early 20th centur ies focused on women 's legal rights, such as the right to vote, the second-wave femin ism of the "women's movement" peaked in the 1960s and '70s and touched on every area of women's experience - including fami ly, sexuality, and work

,. I ,l

A ... :

.{ I• ,t,_,.. I ' wJ\..;.. .,j ...

, •• ,e,.. ,j

! ~ :.... I ,·\/.!· . , rr,.L,._,., . .J.,._,.

r u . .J~...I ..J

the confines of a spatial reality and into her delusions. The narrator responds to the narrow life in which she finds herself trapped by beginning to utilize her delusions :9 escape the confines of he r environment . Her surroundi ngs, and most notably the wallpaper, provide her with a world far more diverting, and far less painful than the real world. She becomes so obsesse d with the wallpaper, 'watch [ing] it always', that it seems her life would be empty without it. Spending hours attempting to decipher the swirls in the wallpapers pattern, and staring endlessly at 'mysterious deep-sha ded arbors, the , ,·- .... riotous old-fashioned flowers, and bushes and gnarly trees' which, when given such ' ' adjectives, take on fascinating new lives beyond the commonplace . Even though in reality her surroundings are lifeless and boring , the narrator can escape into the world of excitement and intrigue that lives in her rr.ind, her subconscious . As suggested by

1...,

Catherine Golden's close linguistic and syntactic reading 'as the story unfol ds, the · narrator's writing ceases to match her though ts and actions or to convey a cohesive . characterization of a timid opp ressive figure' in this way, the narrator transgresses the boundaries of her narrative and gains her freedom by rewriting herself in the confines of her imagination symbolised by the wallpaper.

./ r:;~~ P,O -~ On the other hand, the structure of A Room of One's Own underscores Woolfs interest - ' ·..c.··

in how exterior conditions act and react with the mind . Her own evaluation of her style is ::,;; . ,... deceptivel y simple. According to Woolf, her sentences 'follow a train of thought.' The . ::__' 1..t

sentences and the writers contained within A Room of O ne's Own have much in common, they are all meditative and meande ring beings sometimes harassed by mater ial and spatial conditions as the narrative voice herself realises that 'in the vast dome' of the British Library which symbolises the patriarchal world of literature which preceded her, she was 'a single but by now somewhat harassed thought'. The use of objectification 1 "' highlights Woolfs suggestion that within the patriarchal barriers of the majority of literary history 'anonymous was a woman' as due to the lack of education women of the past struggled to find their voice, they could only be represented in male literature. Furthermore, considering, Woolf's narration of her visit to the British Museum in the second chapter 'London was like a machir,e. We were all being shot backwards and forwards on this plain foundation to make some pattern. One went to the counter; one took a slip of paper; one opened a volume of the catalogue, and ..... the five dots here indicate five separate minutes of stupefaction, wonder, and bewilderment.' The beainning ,. i:,---· I O ol--of this passage is lyrical, poetic, very 'consciously literary' reflective of Woo lfs .11.l educational background. Rich in simile, musical and brisk in style, the first sentences flow l .L , f , d ~~~~ rom the mm in comfortable and free circumstances. However, Woolf's prose, sensitive to its subject matter, reacts the way a real person might. Here shock and bewilderment is not expressed in the conventional way either 'I was shocked' or 'I could not believe.' It gets recorded, rather, as five dots ' ..... ' signifying the ineluctable blankness of a mind confronted with the truly unnerving, where the readers imagine a flabbergasted individual with an open mouth through a visual interpre tation of the silence represented by the five dots. Like the mind of a young female writer, Woolf's sentences are impressiona ble; 'the y are words with a lively inner reality in the act of interpreting an unpredictable outer .,, ~ reality' as suggested by modern critics. In light of this comment and the consideration of 1~:

Architectural feminism we can see how Woolf s distinct narrative style was very much shaped and developed by the time she wrote in, she wanted to increase the verisimilitude

Ao t.. 11 " "' .r.:-- -

of her prose by giving life to her narrative. Even though she couldn't comple tely ~ransgress th_e bounda ries of~ starkly patriarchal socie~ she could transgress bou ndaries ./ fin ~ Ao;L

m her narratlve style, as she diverged from the conventional style of prose of her time c.¼.....~ which was that of literary realism11. e>-:,_,·' . l

Concluding, the significance of Architectural Feminism the refore, is two -fold as on the one hand, it delineates how women are molded and shaped to the needs of a physical space through physical under -stimulation, while also putting forth the possibility of woman molding and shaping the physical space to their own needs through mental stimulation. Through the dissection of these two-great works of literature we can see how -o 1..,

the fulcrum of Architectural feminism lies within the evolution of the physical space; fl

from a 19th century confined space which flourishes through the suffocation of the intellectual stimulus to a 20 th century sanctuary which provides a robust basis for '

creativity and intellectual stimulation . Woolf s statement that 'women have sat indoors all ,., c':. these millions of years' epitomizes women's suffering of physical under-stimulation while alluding to their intellectual under-stimulation, and provides the readers with a thought­provoking statement as we are challenged to ponder the significance of the 'indoors', of

f'O

''II • .[.. c> ~ '_, ~_,,i_.J_

the concept of a physical space which holds both the power to liberate the mind and oppress the inhabitant.

Word Count : 2943

) .,,

- L, ;;:...J,-L... 51 • · {-.er<: \j

t/\.Ao(V,. C,i, ; ( ""_J

.i~ .. -:; l, ,-, ,_. :;,~ ~ - ).- IC-<.k ._,

(·'' ,

. '"

.r~ r. ;...,..... ...

1.., '"'..JJ_, : ' i ( C"l .( , - 'V

A I· • ,-, S-o-p"v,,,· ,,(·_ ~0--J-<.' , ~.,. ", < (..,...," •'?:' (· 1 t :4 l, . I' ,, . , . ~ ,-,..,,._./ A

(; I .. . \ I ll•"< i -to°),1;:_ C'-J>'---{ . t ,.,.,IC • }•t< : . • J, .-,~/:)"-M" 1 <• ,~ l <"-C-'...( ~~

11 Literary realism is part of the realist art movement beginning with mid nineteenth-century French

and Russian literature and extending to the late nineteenth and early twentieth century. Literary realism attempts to represent familiar things as they are. Realist authors chose to depict everyday and banal activities and experiences, instead of using a romant icized or similar ly stylized presentation.

Bibli ography :

Core Texts: Virginia Woolf, 'A Room of One's Own', 1929, Penguin Books

Charlotte Perkins Gilman, 'The Yellow Wall-Paper', 1892 , The Feminist Press

Wider reading: Catherine J. Golden, 'The Yellow Wallpaper A Source book and Critical Edition', 2013, Routledge

Susan Sellers, 'The Cambridge Companion to Virginia Woolf', 2010, Cambridge university Press

Sandra Gilbert and Susan Sellers, 'The Madwoman in the Attic', 1979, Yale Un iversity Press

Crowder S, Feminist Gothic in 'The Yellow Wallpaper'

'Virginia Woo lf and the she Condition' The Sewanee Review

Laura Marcus 'Woolf's feminism and fem;nism's Woolf'

Joan N. Radner and Susan S. Lanser, 'The Feminist Voice: Strategies of Coding in Folklore and Literature', 1987, The Journal of American Folklore

Anne Fernald, 'A Room of One's Own, Personal Criticism, and the Essay', Twentieth Century Literature

Charlotte Perkins Gilman, 'Women and Economics', 1898, Small, Maynard & Compan y