Traditional Chinese culture has historically been male-centred. In Imperial China, politics and business were almost entirely the affairs of men, while women were typically restricted to the home. Patriarchal values were even reinforced through religious experiences and ancestral worship, as the ancestors to whom an imperial emperor would make sacrifices to were almost exclusively patrilineal ancestors (Ebrey 18). When women were recorded in the early Chinese historical record, it was generally because they were considered to have caused problems for their male counterparts. For example, in Gender and Sinology: Shifting Western Interpretations of Footbinding, the author recalls a story recorded during the Zheng dynasty when the daughter of
In addition, the ghost of her aunt reflected on her childhood that she doesn’t want to be disowned by her family like the way they did her aunt. For example, when Maxine reaches her puberty age her mother warn her that she should not end up like her aunt “now that you have started to menstruate, what happened to her could happen to you. Don’t humilities us. You wouldn’t like to be forgotten as if you had never been born” (Kingston 5). This talk-story ghost of her aunt cannot be taken for granted because it brings disgrace to the family and this is why her mother exposed her to it from a young age.
Unlike Sojourner Truth, Qiu Jin in her except, Injustices to Chinese Women, was softer and more passive in term of language. Although the first half of Qiu Jin’s except also showed sorrow and sadness, it was not filled with anger like Truth’s except. The live of a Chinese woman back then was like a object, a “thing” instead of a human being. From being treated like a “useless thing” the moment they were born to being sold to different family as a wife in exchange for money for their family, Chinese women have no power in choosing their destiny. It is so sad to see how women have to be fit in with the traditional Chinese standard.
She states that maybe all the family members are actually on the trip and the loneliness is only imagined (Sinor, 2008). She questions the reality and begins to wonder whether the expressions made by her uncle are actually the truth. I found this section quite challenging and I had to reread it several times to ensure that it was just speculation. At one point, I thought that the author’s uncle did not actually die and that this story was imagined. However, in the end, I understood that the narrator was only searching for comfort and that the realization that her uncle was dead was difficult for her to accept, hence the confusion between reality and illusion.
Nandana was aware that “she did not like him. Her grandfather. He made her mother cry...” (71). Nandana’s apprehension was also revealed when she imagined her grandmother in a sari, sometimes in English. Nandana has a difficult time parting with familiar objects her father’s computer, desk and chair, and her dresser, which he had restored, painted and decorated with a
The Woman Warrior During early centuries, men received better treatment than women in terms of status socially and politically. Men have political position and runs a business while women stay behind or their home. Maxine Kingston “The Woman Warrior” novel is influenced by this historical event. Her book was an autobiography, and a compilation of folk story told by her Chinese mother. It was a representation of her life, her mother, and aunt in America.
When Chi Li first presents the idea of volunteering and sacrificing herself, her parents protest and justify that they love all six of their daughters, despite being deprived of “the joy and honor of having a son.” (Rosenberg, 332) This phrase indicates that having a daughter is not nearly as respectable as a son in ancient Chinese society. It is also mentioned that newborn daughters are killed by wealthier families as they would eventually grow up to become a burden on their family. The lowliest types of females in society were the ones sacrificed to the serpent. Every year, the officials searched for maidens whose loss would not be detrimental to society, so they choose the daughters of criminals or female slaves. (Rosenberg, 331) The sacrifice goes on for nine years before it is able to be stopped.
In Chinese culture, as Kingston demonstrates with this quote, women are expected to be subservient and meek, quite the opposite of Fa Mu Lan. By emphasizing the qualities of heroine Fa Mu Lan lauded by many in Chinese culture, yet are discouraged for women, Kingston calls attention to the dichotomy between story, or fantasy, and the real
As seen in Greenhalgh’s and Winckler’s book, the one-child policy resulted in many single daughters, who received all the attention from their parents and while it may have been a blessing to some, many of the “hottest and best paying jobs… are open exclusively to young women with good looks and sex appeal,” (Doc D). This statement portrays that women are thought of as objects, with prospective employers only looking at their physical appearance, not caring for their education of inner self. However, this also portrays the gender inequality exhibited by China, and shows that women in China only receive jobs because of how they look. This compares to Fitzpatrick’s article, as the practice of female infanticide, killing female infants, also became common practice in some area’s after the one-child policy was put into use (Doc E). It had long been known in China, that boys were more valuable than girls, and this practice further goes to show the chasm, between boys and girls in Chinese society.
This sense of careful design enhances Tan’s portrayal of traditional china with its rigidly structured hierarchies and social structures, its codified rituals, and its established protocols governing the lives of its people. By contrast, the American settings pulse with life, energy, and chaos. Whereas in China, the Joy Luck mothers had centuries of established convention dictating their behavior and America’s cultural practices are strange and unfathomable and these women who have left china specifically for the chance to start afresh in a new country far from the stultifying tradition of the old, find themselves reverting to the familiar customs of their faraway homeland. Barred for a variety of reasons from achieving the dreams of success that brought them to America, the mothers transfer their ambitions to their daughters in whom they hope to combine the best of Chinese and American culture. On those daughters, who grow up in Chinatown but attend American schools, rest the hopes of their immigrant