The Good Earth, a historical fiction by Pearl S. Buck, shows the life of a farmer in twentieth century China. Throughout the novel, Wang Lung, the main character, progresses from a poor countryman to a rich businessman. O-lan, Wang Lung’s faithful wife, bores her husband many children and serves as a strong foundation in the household. Through multiple examples in the book, Buck portrays the obvious gender bias of Ancient China, a woman’s understood responsibilities within a household, and their quiet power. Prevalent with Wang Lung’s eldest daughter, China’s society shows no favor towards a girl. After she births her first daughter, O-lan says, “It is only a slave this time -- nothing worth mentioning” (65). As opposed to celebrating with the birth of her sons, O-lan only shows shame after her daughter’s birth, leading the reader to realize the apparent discrimination against females. Even more so, this quote portrays the lack of recognition of the qualities and usefulness that a girl may provide. The girl survives through poverty and a move to the …show more content…
Through her hard work, O-lan catches her husband’s attention and “he [is] ashamed of his own curiosity… she [is], after all, only a woman” (29). O-lan defies the usual mold of a wife by attracting the recognition of her husband. On account of society’s expectations of a wife, Wang Lung immediately regrets his interest in O-lan. Drawing yet more attention from Wang Lung, O-lan works in the field with him. Even after a long day in the sun, O-lan “would have no one with her when the hour [to bear her child] came” (33). Many females coincide with the reputation of weakness, but O-lan shows no sign, even in the midst of childbirth. Similarly, she perseveres numerous times, through a “man’s work” in the field, illustrating her mental and physical strength. While considering China’s deprecation of women, O-lan assuredly frustrates an adamant supporter of such
I read the book, Bound, written by Donna Jo Napoli. The book is about a young chinese woman, who is bound to her father’s second wife. This is because he passed away and, back in 17th century china, young woman had very little power or say in situations. Also woman were thought to less value of worth then their livestock. Throughout the day’s of dealing with her step mom she, loves to do poetry and calligraphy.
In her essay, Prazniak considered Ban Zhao as a feminist. Zhao’s writing on Lessons for Women was a way to make a statement about the treatment and status of women during the time of ancient China. Ban Zhao was also “undermining the classic Confucian texts at the same time she pretended to invoke and apply them.” Prazniak argues in her essay that Ban Zhao emphasized how woman’s role as a wife is what defines her virtue and the importance of women’s subservient duty towards her husband. She also included in her essay that “Ban Zhao argued forthrightly for equal treatment of boys and girls in education.”
Maxine Hong Kingston's use of talk stories in The Woman Warrior emphasizes that individuals will find a more fulfilling life if they defy the traditional gender norms place on them by society. While contemplating beauty standards in Chinese society in “No Name Woman” Maxine Kingston thinks, “Sister used to sit on their beds and cry together… as their mothers or their slaves removed the bandages for a few minutes each night and let the blood gush back into their veins” (9). From a young age girls are expected to be binding their feet and are told that it is to look beautiful, but in reality that is not why. When a womans feet are bound they are restrained and silenced. These girls could be free and happy but they are restrained by men through this binding.
“Her actions remind me that, even under unbearable circumstances, one can still believe in justice,” in David Henry Hwang’s foreword, in Ji-Li Jiang’s memoir Red Scarf Girl, commemorated even during the Great Proletarian Cultural Revolution anyone can overcome adversity (9). Ji-Li Jiang was a young teenager at the beginning of the Cultural Revolution, and living through a very political time in China’s history made Ji-Li into the person she is today. Ji-Li’s intelligence, her choices, and family devotion made her into the headstrong and successful person she is today. Even when Ji-li thought she was unintelligent, others saw she was wise. There were many moments when Ji-Li was reminded she was very smart.
It elaborates on these frustrations by claiming that women should have rebelled against the practice of foot binding when the second Chen ruler promoted it. Instead, they began wrapping their feet once they found out men liked girls with small feet. Females in Chinese society should have argued with men when they denied girls the right to education for fear of women developing to be “superior to men” (Chinese.). Additionally, women walked away from responsibility by becoming complacent with letting men make their decisions for them; “When men said we were useless, we became useless”
Throughout The Good Earth we come across many tough conflicts both internally and externally, but even so, many of them we can relate to. Wang Lung, O-Lan, Lotus, Ching, and the rest of Wang Lung’s family all must deal with conflicts between each other, with nature, and within themselves. But they aren’t so different from us and we find ourselves in many of the same situations that our beloved characters do. Wang Lung deals with guilt and greed throughout the novel and it is something that most people can relate to in the entirety of their life.
June, however, struggled to please her mother in all she did, and never felt as if she had any worth. Their relationship becomes distant due to miscommunications. Asian culture and expectations weigh heavily on Suyuan’s mind as she worries about the path her daughter takes, one that is untraditional and looked down upon. June finally understands her mother, after it is too late. Secrets and traditions can either tear apart or build up a relationship.
This peculiarly specific list showed that as a first-generation American, she was constantly scrutinizing the small actions that her mother demonstrated, and she was embarrassed, although it is not likely anyone else ever noticed. However, as she got older, Jing-Mei realized the fact that she was “becoming Chinese.” She still did not truly understand her mother or the beauty of Chinese culture, but her acceptance was the first step of the long excursion of
This passage tells of the unsuccessful journey that Suyuan and her new husband go on a search for the babies. It demonstrates how attached a family is in Chinese
In “The Field of Life and Death”, Xiao Hong uses the characters’ suffering and symbolism to demonstrate the breaking of traditional male and female roles. As Howard Goldblatt mentions in the translator’s introduction, “the villages’ fatalistic attitudes and repeated mention of the four distresses (birth, old age, sickness, and death) are unquestionable” (xiii), Xiao Hong represents these distresses with the main female characters without reservation in the process of childbirth, aging, disease, and death. Through childbirth, men shrink from responsibility 1. Childbirth and responsibly 2. Old Age and 3.
In the essay “The No Name Woman” by Maxine Hong Kingston, the story of living in a traditionally male-dominated Chinese society with a very dysfunctional family structure is told. The villages would look upon the men as useful, and women as useless to their society. Kingston, the main character, learns this first hand from how her aunt was treated. Kingston’s aunt, The No Name Woman, is victimized by a male-dominated society by being shunned for an illegitimate child. As a woman, the odds were automatically against you in their society.
However, this determination sometimes appears to be obsessive to the point of running her daughter’s life for her. Regardless, she is only trying to help, as she encourages Jing Mei by asserting “‘You can be best anything.’” (1). Because of this, it suggests that although she is very harsh on her daughter at times, it is only to make sure that Jing Mei can use her full potential and not end up losing everything like her
The two important themes that I identified within this extract are beauty and love. Firstly, beauty is conveyed via descriptions of Ling’s wife. This is evident in the line “ une épouse et la prit très belle”. I think that the beauty of the wife mirrors the appreciation for aesthetics that is clearly evident in the text as if the wife herself, was as beautiful as one of Wang-Fô ‘s paintings. The latter theme is evident in the love for his wife as well.
After I started reading the novel '' The Awakening" I remind a fact history in Chinese because of the image of mother-woman. In the novel, most of women are like a servant with no own thought and opinion, what only thing they can do is to take care the whole family, for example, "They were women who idolized their children, worshiped their husbands, and esteemed it a holy privilege to efface themselves as individuals and grow wings as ministering angels." (Chopin, 8) What I mentioned is about old Chinese women, they are like the most of women in this novel, even though they have more cruel situation. Firstly, a old Chinese woman has no freedom about marriage.
It is a fact that in postmodern China the journey of self-exploration, self-scrutiny, the psychological and contemplative reflections over the existence at the moment is essentially a female phenomenon with female protagonists. The response to Flaubert’s adulterous Madam Bovary, Dostoyevsky’s rebellious Ana Karenina, Murakami’s troubled Naoko is to be found in Wang Anyi, Chen Ran, Lin Bai, Chi Li, Mian Mian, Wei Hui. However my attention is not placed on who wrote what, I am not interested in gender analysis or feminist concern, but I will focus on the content of the narration which is an alternative writing no so much to the male narrative as to the mainstream narrative based on longstanding emotional anesthesia. Narrative enters now a different dimension, more than ever the line between literature and fiction comes loose, directly cutting into the state of the subject. Fiction here contain more truth than fact, the journey into the inner-self is dramatic because it’s not bound to the past