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Gender roles in womens literature
Asian american literature influence
Gender roles in womens literature
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Chinese-American authors Frank Chin and Maxine Hong Kingston pioneered Asian-American literature. They condemn each other’s work for differences in cultural interpretation and dispute their own and each other’s prescribed gender roles given by both Chinese and American society. Chin and Kingston have differing views on their Chinese culture; in addition to their conflict on culture they criticize the others work declaring it to be a misrepresentation of each other’s heritage.
They have opposing views on male and female roles in Chinese culture and do not agree on what it means to be a Chinese-American in modern society. These differences lead to their literary and verbal assaults. Each author claims that their individual narrative accurately represents the history of Chinese-Americans, and it is their obvious differences of opinion that has brought about contention between the two.
Being Chinese-American neither makes an individual strictly Chinese, nor strictly American; their cultural identification began to form in their very different upbringings. Chin experienced a more traditional Chinese childhood that reinforced prescribed male and female roles in the family unit; he was exposed to racial prejudices and widespread poverty. Kingston grew up in Stockton, California. Stockton proved to be more progressive and welcoming, although not without difficulty, Kinston’s all American childhood did produce some prejudice. Kingston’s childhood did not lend itself to the ethnocentrism that a strictly Chinatown childhood would. This upbringing is where their dislike for each other’s narrative has its roots.
Frank Chin, growing up specifically in Chinatown in San Francisco, experienced a very different set of cultural prejudices and bias...
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...ewiston, N.Y.: Edwin Mellen Press, 2009.
Huntley, E. D. Maxine Hong Kingston: a critical companion. Westport, Conn: Greenwood Press. 2001.
Kim, Hyung-chan. Distinguished Asian Americans a biographical dictionary. Westport, Conn: Greenwood Press, 1999.
Madsen, Deborah L. "Chinese American Writers of the Real and the Fake: Authenticity and the Twin Traditions of Life Writing." Canadian Review Of American Studies 36, no. 3 (October 2006): 257-271. America: History & Life, EBSCOhost (accessed May 12, 2014).
Oishi, Eve. "The Asian American Fakeness Canon, 1972-2002." Aztlan 32, no. 1 (Spring2007 2007): 197-204. America: History & Life, EBSCOhost (accessed May 12, 2014).
Takaki, Ronald T. Strangers from a Different Shore: A History of Asian Americans. Boston: Little, Brown, 1989.
Wei, William. The Asian American movement. Philadelphia: Temple University Press, 1993
For example, in this article Tan recounts several times in which she was challenged by both professors and students about her portrayal of Chinese culture and Chinese men. However, she seems to have garnered the most criticism from other authors. On this topic, Tan
The first Chinese immigrants to arrive in America came in the early 1800s. Chinese sailors visited New York City in the 1830s (“The Chinese Experience”); others came as servants to Europeans (“Chinese Americans”). However, these immigrants were few in number, and usually didn’t even st...
Wong, Shawn, ed. Asian American Literature: A Brief Introduction and Anthology. New York: Harper Collins College Publishers, 1996.
This nation was relatively stable in the eyes of immigrants though under constant political and economic change. Immigration soon became an outlet by which this nation could thrive yet there was difficulty in the task on conformity. Ethnic groups including Mexicans and Chinese were judged by notions of race, cultural adaptations and neighborhood. Mary Lui’s “The Chinatown Trunk Mystery” and Michael Innis-Jimenez’s “Steel Barrio”, provides a basis by which one may trace the importance of a neighborhood in the immigrant experience explaining the way in which neighborhoods were created, how these lines were crossed and notions of race factored into separating these
[1] Chang Yao letter "A Brief History of American Literature" [M] Tianjin: Nankai University Press, 1999.
Amy Tan’s ,“Mother Tongue” and Maxine Kingston’s essay, “No Name Woman” represent a balance in cultures when obtaining an identity in American culture. As first generation Chinese-Americans both Tan and Kingston faced many obstacles. Obstacles in language and appearance while balancing two cultures. Overcoming these obstacles that were faced and preserving heritage both women gained an identity as a successful American.
Wu, Ellen D. "Asian Americans and the 'model Minority' Myth." Los Angeles Times. 23 Jan. 2014. Los Angeles Times. Web. 04 Feb. 2014. .
Eng, David L. Hom, Alice Y.. Q & A: queer in Asian America. Philadelphia: Temple University Press, 1998. Print.
The second and third sections are about the daughters' lives, and the vignettes in each section trace their personality growth and development. Through the eyes of the daughters, we can also see the continuation of the mothers' stories, how they learned to cope in America. In these sections, Amy Tan explores the difficulties in growing up as a Chinese-American and the problems assimilating into modern society. The Chinese-American daughters try their best to become "Americanized," at the same time casting off their heritage while their mothers watch on, dismayed. Social pressures to become like everyone else, and not to be different are what motivate the daughters to resent their nationality. This was a greater problem for Chinese-American daughters that grew up in the 50's, when it was not well accepted to be of an "ethnic" background.
Throughout their history in America, Asian immigrants have struggled in many different ways to encourage this country to accept and respect the diversity of its citizens. Through efforts in labor strikes and military aid such as that in World War II, the American society has gradually moved to accept racial minorities. Asian today have much more freedom than when they first began traveling across the Pacific. However, many still find that they are unjustly viewed by society and treated as “strangers from a different shore” (474).
Seward, George F. "Chinese Immigration." Making Connections: Reading American Cultures, IAH 201. Eds. Dvorak, et. al. Vol. 2. Ann Arbor: Primis, 1997. 760-62. 2 vols.
Oftentimes the children of immigrants to the United States lose the sense of cultural background in which their parents had tried so desperately to instill within them. According to Walter Shear, “It is an unseen terror that runs through both the distinct social spectrum experienced by the mothers in China and the lack of such social definition in the daughters’ lives.” This “unseen terror” is portrayed in Amy Tan’s The Joy Luck Club as four Chinese women and their American-born daughters struggle to understand one another’s culture and values. The second-generation women in The Joy Luck Club prove to lose their sense of Chinese values, becoming Americanized.
Yang, Gene Luen, and Lark Pien. American Born Chinese. New York: First Second, 2006. Print.
“Whenever she had to warn us about life, my mother told stories that ran like this one, a story to grow up on. She tested our strengths to establish realities”(5). In the book “The Woman Warrior,” Maxine Kingston is most interested in finding out about Chinese culture and history and relating them to her emerging American sense of self. One of the main ways she does so is listening to her mother’s talk-stories about the family’s Chinese past and applying them to her life.
On the other hand, keeping silent due to pressures from the white population means being shunned by the members of the Asian American population. I disagree with Chin’s ascertation that “years of apparent silence have made us accomplices” to the makers of stereotypes (Chin 1991, xxxix). I agree with Hongo’s argument that Chin viewpoint “limits artistic freedom” (Hongo 4). Declaring that those writers who do not argue stereotypes of the good, loyal, and feminine Chinese man or the submissive female, are in any way contributing to or disagreeing with them is ridiculous. Chin’s opinion that politics should be included in some aspect of every Asian American piece eliminates choice from writing topics for other writers. Authors are the voices of the people (whichever people they choose to represent) and should not be criticized for choosing to discuss issues other than those that Chin deems necessary.