In Amy Tan's "Two Kinds" the mother and the daughter show how through generations a relationship of understanding can be lost when traditions, dreams, and pride do not take into account individuality. By applying the concepts of Julia Kristeva and other feminist thought, one can analyze the discourse Tan uses in the story and its connection to basic feminist principles. Jing-mei and her mother understand a symbolic language, however their semiotic language is very different. In fact up on realizing Jing-mei's "failure" to be a prodigy it causes her to reject that symbolic language and a double barrier is created to a healthy relationship with one another. By analytically approaching literature with psychoanalytical concepts, French feminists …show more content…
"…after seeing my mother's disappointed face once again, something inside of me began to die…I made high-pitched noises like a crazed animal, trying to scratch out the face in the mirror…I saw what seemed to be the prodigy side of me…The girl staring back at me was angry and powerful…I won't be what I'm not." Cutting out the important semiotic language that is unique to feminist discourse, this passage exemplifies some of the main principles that Kristeva and Cixous target in the feminist analytical approach. Booker defines this semiotic language as "language that relies not on the direct expression of preexisting meaning, but on the creation of emotional impressions and effects, though sound, rhythm, and related techniques." (pg. 486, Booker) The narrator is defining the term prodigy as a unique sense of self, a powerful force within her character. The symbolic language, apparent to Jing-mei's mother, relates the term "prodigy" as something defined by a patriarchal society that decides what a feminine prodigy should be. The tension becomes apparent to the reader in this stage of the story, as well as, a sense of unique ideology of the feminist idea of
The prejudice that the author brings forward strongly is the notion of feminism. The author’s main purpose of writing this novel is to examine the role of women played around
Body Paragraph 1: Topic sentence: As a child, Jing-Mei dreams of becoming a child prodigy
At first Jing-Mei grew in her dreams and desirers to be perfect for her family; “In all of my imaginings
Kingston’s use of declarative sentences highlights the stereotypes women face while simultaneously contextualizing information for the reader. Macauley and Lanning claim that “a string of declarative sentences”, especially when “built of cliches”, quickly become boring (Macauley and Lanning 58). These sentences have the effect of creating an impersonal situation devoiding the reader from a personal response. Kingston’s use of declarative sentences, however, aim to do exactly that. Kingston describes how her aunt was driven to commit suicide because the baby she was having was a girl, while for boys “there is some hope of
One day, Jing-Mei’s family and Waverly’s family meet and both mothers brag about how their daughters are very successful. After seeing her mom brag about her non-existent talents, Jing-Mei is determined to stand in the way of her mother's ambitions. A few weeks later, Jing-Mei participates in a talent show at a church hall, although she hasn't practiced and does not know any of the music. Halfway through the song, she realizes how badly she’s playing. The weak applause and her parents’ look of disappointment revealed the indisputable truth: Jing-Mei is not a musical prodigy.
Octavia Butler is an Afrofuturist, science fiction author who writes many dystopian stories that allude to questions about gender, social structures, and an individual’s ability to control her body and sexuality. When people think of speculative and science fiction they tend to think of nerdy white men writing stories about space and light sabers, but Octavia Butler challenges this stereotype herself by being one of the few African American women in this genre. In Octavia Butler’s speculative fiction short story “Speech Sounds” there is a reversal of gender roles and a strong idea of feminism that is portrayed through the main character Rye. There is also the use of simile and metaphor to help point out flaws in the social structure of the story and the world of the reader.
I had new thoughts, willful thoughts, or rather thoughts filled with lots of won’ts. I won’t let her change me, I promised myself. I won’t be what I’m not” (Tan 358). Instead of attempting to change who she is, she decided to change her attitude towards what was going on around her. Jing-Mei distanced herself from her mother's attempts at being a prodigy by becoming disinterested in their tests and learning the piano.
A double theoretical framework will be beneficial to offer critical analysis regarding the rhetoric illustrated in “Breakthrough” and “I am a Black Woman”. The two theoretical frameworks that will be used are: The Womanist theory theoretical framework and Aristotle’s ethos, pathos, and logos theoretical framework. Aristotle’s framework will focus on three core factors in directly analyzing both works: ethos (ethics and credibility), pathos (emotion and value), and logos (logical reasoning and comparisons). In addition, the Womanist theory will also be compared and distinguished with the three Aristotle frameworks by including three versions of the Womanist theory: womanish behavior and grown up expressions, the love for women sexually and/or non-sexually, and the parallelism to a Womanist being a feminist as to purple is being of lavender. Also, the diverse “loves” of a black woman can be expressed through pathos by a black woman’s emotions for certain things and people.
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
Both her and her mom want her to be a prodigy of Beyonce. Both of their parents want them to become a prodigy of somebody. Jing-Mei’s mom wants her to be a prodigy of Shirley Temple. One other allusion in “Two Kinds” and modern day society is Peter Pan. Peter Pan never wants to grow up and neither does Jing-Mei.
Exposing Foundations: Psychoanalysis and Gender in Mulvey and Butler Woman… stands in patriarchal culture as signifier for the male other, bound by a symbolic order in which man can live out his phantasies and obsessions through linguistic command by imposing them on the image of woman still tied in her place as bearer of meaning, not maker of meaning. 6 In “Visual Pleasure and Narrative Cinema” (1975), Laura Mulvey points out that psychoanalytic theory can “advance our understanding of the status quo, of the patriarchal order in which we are caught” (2). To understand why woman is only “the bearer of meaning, not the maker of meaning” in this order, I will turn to a very small fraction of Lacan’s psychoanalytic philosophy. Here we find that
Feminist literary theory, as a term, gained currency during the mid-1980’s, the term feminist literary criticism had previously been applied. Conventionally, criticism was used to refer to a practical approach to literary study, i.e. the close reading of texts; while theory referred to the interpretation, evaluation and examination of the philosophical and political underpinnings of the texts. Today, criticism and theory appear simultaneously in feminist anthologies and the feminist literary theory includes both, practical and theoretical, approaches to literature (Encyclopedia of Feminist Theories, 261). As mentioned by Code, the function of the feminist literary theory is “analys[ing] the role that literary forms and practices, together with the
Family in Chinese Culture As shown in Amy Tan's short stories A Pair of Tickets, Immortal Heart, and Two Kinds, one can see the importance of family in Chinese culture. In the piece A Pair of Tickets, it is shown how hard Jing-mei's mother Suyuan looks for the twin babies she is forced to leave behind. Her effort is shown when Jing-mei's father recalls the travels, saying, "We went to many different cities, back to Kweilin, to Changsha, as far south as Kunming. She was always looking out of one corner of her eye for twin babies, then little girls" (Tan, A Pair of . . . " 163, 164).
Jing Mei, while portrayed as an obedient child, is only willing to listen to her mother to a certain extent. Throughout the story, it is consistently hinted that Jing Mei would eventually explode against her mother as an attempt to free herself from her mother’s chains. In addition, after the fiasco at the piano recital, she eventually derives further from her mother’s wishes as she “didn 't get straight A...didn 't become class president...didn 't get into Stanford...dropped out of college.” (54). On the flip side, Jing Mei’s mother is a stereotypical Chinese parent who is fully determined to ensure her daughter’s success in a new environment.
Julia Kristeva is a psychoanalyst and feminist writer who talks about what she calls the “semiotic” and the “symbolic”; for her, all signification is made up of these two elements. On the one hand, the semiotic element can be associated with Lacan’s pre-mirror stage, understanding the “mirror-stage” as the moment when the child starts to “see himself, to find himself” in the mirror. So according to Kristeva, the semiotic element comes before this moment, it is associated with the maternal body which is, according to professor Kelly Oliver “the first source of rhythms, tones and movements for every human