时间：2022-06-09 02:16:33
Abstract―The Yellow Wallpaper was a representative work of feminist literature by Charlotte Perkins Gilman. In the novel， the heroine under great repression gradually awakes to seek self identification and revolt against the patriarchy. Many researchers have conducted studies from perspectives of feminism， image， theme and structure of the novel. This paper aims to employ Lacan’s “mirror stage” theory and “three orders” theory to analyze the story. Through observing the image of the “confined woman” in the “mirror” （the yellow wallpaper）， her awareness of “selfhood” is gradually awakened： she lives in the Symbolic Order where the patriarchy has imposed many restrictions on her. Unable to live in such a world， while the Real is also incomprehensible， what she could do is to totally immerse herself in the Imaginary Order. That’s why she is creeping like a child.
Key words―Mirror stage； Identification； Ego； “Three orders”
I. I.INTRODUCTION
1.1 The “Mirror Stage” Theory
According to Lacan， the “mirror stage” occurs， when an infant of six months discovers its own reflection in a mirror. The “mirror stage” describes the formation of the ego via the process of objectification， the ego being the result of feeling dissention between one’s perceived visual appearance and one’s perceived emotional reality. This identification is what Lacan called alienation.
At six months， the baby still lacks coordination； however， it can recognize itself in the mirror before attaining control over his bodily movements. It sees his image as a whole， and the synthesis of this image produces a sense of contrast with the incoordination of the body， which is perceived as a fragmented body. This contrast is first felt by the baby as a rivalry and thus the mirror stage gives rise to an aggressive tension between the subject and the image. The wholeness of the image in the mirror and the fragmentation of its own body perceived by it are quite different. Later， to resolve the aggressive tension， the baby identifies with the “seemingly perfect” image. The identification with the counterpart helps form the ego （Evans 221）. The moment of identification is to Lacan a moment of jubilation since it leads to an imaginary sense of mastery （Lacan 133）.
This image that the baby sees in the mirror is an alienated one： it ‘misrecognizes’ itself in it. The “perfect image”， a pleasing unity perceived by it， is imaginary. The realm of images is what Lacan called Imaginary Order in which we make identifications. Though making imaginary identifications will lead to misperception and misrecognition， it is how the ego is built up. In Lacan’s opinion， the formation of the ego is just a narcissistic process whereby we bolster up a fictive sense of unitary selfhood by finding something in the world with which we can identify.
The point worth emphasizing here is that the ego is the product of “misunderstanding”. In other words， just by recognizing “other” in the mirror， the baby begins to seek its own identity. The identifications with others contribute to the formation of the ego. Just as Lacan said， “the mirror serves as a prototype that reveals other relations between the subject and his image as the latter is the ego’s” （Lacan 228）.
In particular， the “perfect” image of oneself or ideal ego gives pre-verbal impetus to create narcissistic fantasies in the fully developed subject. The fantasy image can be filled by others who we may want to emulate in ourlives （role models） and anyone who we may set up as a mirror for ourselves.
1.2 “Three Orders” Theory
Lacan’s theoretical concept “three orders RIS”---the Real， the imaginary， and the symbolic is intended to help interpret the various levels of unconscious dimension by pointing to joins and knots that cannot be seen in any literal sense.
The Imaginary Order
Just as mentioned above， the mirror stage is where the subject becomes alienated from itself， and thus is introduced into the Imaginary Order. This is a world of perception. It’s the world that the child experiences through images rather than words. And it is a world of fullness， completeness， and delight because with the child’s sense of itself as a whole comes the illusion of control over its environment （Tyson 27）.
It is worth noting that this for Lacan this imaginary realm continues to exert its influence throughout the life of theand is not merely superseded as the child moves into the Symbolic Order.
The Symbolic Order
For Lacan， the child’s acquisition of language means its initiation into the Symbolic Order，for language is first and foremost a symbolic system of signification， that is， a symbolic system of meaning-making.The entrance into the Symbolic Order involves the experience of separation from others， and the biggest separation is the separation from the intimate union we experienced with our mother during our immersion in the Imaginary Order. Lancan thought this separation constitutes our most important experience of loss， and it is one that will haunt us all our lives. We will seek substitutes great and small for that lost union with our mother（Tyson 28）.
In the Imaginary Order， we’re excited because in such a world we have illusion of fulfilment of control. But as we enter the Symbolic Order， we inhabit a world in which others have needs， desires， and fears that limit the ways in which and the extent to which we can attend to our own needs， desires， and fears. In other words， this new world is one in which there are rules we must obey and restrictions by which we must abide.
So the role of the Symbolic Order in the formation of ego is enormous.In fact， we are not the unique， independent individuals we think we are. Our desires，beliefs， biases， and so forth are constructed under the influence of others. This is what Lacan means by his claim that“desire is always the desire of the Other” （Tyson， 29）.
The Real
The Real is the state of nature from which we have been forever severed by our entrance into language.Only as neo-natal we were close to this state， a state there is nothing but need.
The Real is the uninterpretable dimension of existence； it is existence without filters and buffers of our signifying， or meaning-making， systems.There is no absence/presence in the Real for the symbolic opposition-absence/presence usually implies the possibility that something may be missing from the symbolic. The Real is always in its place.The symbolic introduces“a cut in the Real”，but the Real bears no fissure.
The Real is something we can know nothing about， except to have anxious feeling from time to time that it’s there.That’s why Lacan calls this kind of experience the“trauma of the Real”.It gives us the only realization that the Real is beyond our capacity to know and explain and therefore beyond our capacity to control （Tyson 32）.
For Lacan， the three orders work together to influence our consciousness. The Imaginary Order continues to exist in the background of consciousness even as the Symbolic Order holds sway in the foreground. The Symbolic Order dominates human culture and social order， for to remain solely in the Imaginary Order is to render oneself incapable of functioning in society. However， the Imaginary Order makes itself felt through experiences of the kind the Symbolic Order would classify as misinterpretations， misunderstandings， or errors of perception. That means the Imaginary Order makes itself felt through any experience or viewpoint that does not conform adequately to the societal norm and expectations that constitute the Symbolic Order.
II. II.THE APPLICATION OF “MIRROR STAGE” THEORY INTO THE YELLOW WALLPAPER
In this novel， the heroine experienced both spiritual conflict and rebirth （Yang 2：34）. At the beginning， she just had blurred awareness that she was confined by something “I did write for a while in spite of them； but it does exhaust me a good deal-having to be sly about it， or else meet with heavy opposition”（Gilman 170）.Later， her blurred doubt and revolt against patriarchy become clearer as her self-awareness or ego is wakened by the woman’s image in the yellow wallpaper. Eventually， in spite of some hesitation， she calls for freedom and emancipation， and even tries to help the woman to get out of the wallpaper by tearing it up.
As mentioned above， in the “mirror stage”， the baby considers its image in the mirror as that of someone else at first since the “perfect” image strikes a contrast with its “fragmented” body. That means the image of a unified body does not correspond with the underdeveloped infant's physical vulnerability and weakness. But later， it identifies with this image as the image of its own. This is not the truth because it illusions a perfect“I”for itself.The point is that such misunderstanding or misidentification produces the ego. Put it another way，just by recognizing“other” in the mirror， the baby begins to seek its own identity.The identifications with others contribute to the formation of the ego.
In the novel， the heroine is just like a baby. For example， she lay in the bed，“was put in the nursery”and crept like a child. She becomes an awaking infant on the way of ego-building. The yellow wallpaper，to some extent，can be taken as the mirror. The image of the“confined woman”serves as a reminder of her “selfhood”.By observing her image， the heroine comes to a clear realization that she is confined and begins to seek self-identity.Her identification with the woman’s image further helps her know about her situation，
The heroine’s attitude towards the wallpaper changed. At first， she didn’t like the room and hated the wallpaper in particular. She said， “I don’t like our room a bit” and “one of those sprawling flamboyant patterns committing every artistic sin”. Then， she came to like the room but still disliked the wallpaper： “I’m really getting quite fond of the big room， all but that horrid paper”. Later， she said， “I’m getting really fond of the room in spite of the wallpaper. Perhaps because of the wallpaper.” Finally， she shows interest in the wallpaper “it is so interesting to watch development.” She begins to spend much time watching the paper. In this process， the image of the “confined” woman becomes clearer and clearer， and is closer to the image of her own. The “confined woman” constantly sent signals to her， reminding that she is confined by patriarchy.
Here are other clues that show such changes： “there is a recurrent spot where the pattern lolls like a broken neck and two bulbous eyes stare at you upside down’； “I can see a strange， provoking formless sort of figure that seems to skulk about behind that silly and conspicuous front design”； “Behind the outside pattern the din shapes get clearer every day”； “it is like a woman stooping down and creeping about behind that pattern”；“I am quite sure it is a women”；“sometimes I think there are a great many women behind， and sometimes only one， and she crawls around fast， and her crawling shakes it all over” （Gilman 173）
The heroine saw a women image behind wallpaper that had“broken neck and bulbous eyes”，symbolizing the pain she suffered physically and spiritually.The woman was creeping and shaking the bars，symbolizing her potential revolt against the patriarchic society.But even when the heroine was sure the previously blurred image in the wallpaper，she didn’t show her sympathy for it. Instead， she said，“I don’t like it a bit.I wonder-I begin to think-I wish John would take me away from here！”This shows that the protagonist still didn’t identify herself with that woman. Later， when she thinks that she has found that woman’s secret or until she found some similarities between she and that woman，does she begin to sympathize that woman.
“Then in the very bright spots she keeps still， and the very shady spots she just takes hold of the bars and shakes them hard”； “and she is all the time trying to climb through”. Just like the woman， the heroine did writing on the sly. Then， when she says “ I always lock the door when I creep by daylight”，she identifies herself with the“confined woman” unconsciously.In the following days，she even tries to find chance to strip off the wallpaper to get the woman out and securely fastens herself by her hidden rope，aying “you don’t get me out in the road there！” By this moment， she has totally identified herself with the woman’s image in the wallpaper.
III. III.THE APPLICATION OF “THREE ORDER” THEORY INTO THE YELLOW WALLPAPER
As what has been explained， the Imaginary Order is a world of images and perception. And it is a world of fullness， completeness， and delight because with the child’s sense of itself as a whole comes the illusion of control over its environment. The Symbolic Order introduces various rules and restrictions. It is a world one may find too restrictive. Finally， the real is an incomprehensible existence.
In the novel， the “yellow wallpaper” illustrates a situation in which the protagonist finds herself caught between two unlivable alternatives： the Symbolic Order she finds too restrictive and the incomprehensible Real The only position left her is the Imaginary Order. Her recourse to the Imaginary Order is， as a matter of fact， a rejection of the Symbolic Order. Indeed， the story ends with the protagonist crawling around the room like a very young child， unable to function as a member of society， which Lacanian theory tells us is always the result of total immersion in the Imaginary Order. And such an end proves what Lacan called the trauma of the Real， that is， a state can never be attained.
The Symbolic Order full of restrictions in this novel is represented by the patriarchic society. The protagonist has no freedom or independence. She is confined by the patriarchy physically and spiritually， and is totally under the control of her husband. She is the mother of her child， but is not allowed to take care of it. She could not take writing as her profession. Her soul is tortured.
So she has to resort to the Imaginary Order， in which she has control over herself. However， the Imaginary Order makes itself felt through experiences of the kind the Symbolic Order would classify as misinterpretations， misunderstandings， or errors of perception. That means the Imaginary Order makes itself felt through any experience or viewpoint that does not conform adequately to the societal norm and expectations that constitute the Symbolic Order. That’s why the protagonist， in the opinion of her husband and his sister， behaved strangely. That why her husband said to her， “my darling， I beg you， for my sake and for our child’s sake， as well as for your own， that you will never for one instant let that idea enter your mind！ There is nothing so dangerous， so fascinating， to a temperament like yours. It is a false and foolish fancy； Can you not trust me as a physician when I tell you so？” （Gilman 174）
Therefore， at last， the heroine is totally immersed in the Imaginary Order， creeping like a child. That’s the only position she can take.
IV. IV.CONCLUSION AND IMPLICATION
This paper employs Lacan’s “mirror stage” theory and“three orders” theory to analyze the Yellow Wallpaper. Through observing the image of the “confined woman” in the “mirror” （the yellow wallpaper）， the heroine’s “ego” is gradually awakened： she lives in the Symbolic Order that is too restrictive for the patriarchy imposes many restrictions on her. Unable to live in such a world and enter the Real， what she could do is to immerse herself in the Imaginary Order. Finally， she creeps like a child.
That’s the misfortunate of women at that time. But until now， women still live in a world where they are treated unequally. Gender discrimination is hard to be rooted out. Under such circumstances， women should keep a clear mind and strive for possible equality. Only in that way can they get more freedom and get closer to emancipation.
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