regards to marriage. Their response to migrating from rural China to San Francisco could not be more diametrically opposed. Additionally, Sui Sin Far use one-sided supporting character such as, Adah Charlton, to broaden understanding of the main characters, and to illuminate about important aspect about them that they themselves do not reveal. Furthermore, Sui Sin Far’s use of a longing tone to depict both Sankwei desire for change, both by traveling and by learning new ways as well as Pau Lin longing
identities to embrace. He advocates for transnationalism, a new idea that says that one can and should identify themselves as belonging to separate and equally valuable cultures. This idea of transnationalism and hyphenated identity are challenged in Sui Sin Far’s Leaves From the Mental Portfolio of an Eurasian and by the character Mercedes from the film Lone Star. Randolph Bourne wrote Trans-National America in 1916 amidst the turmoil of World War I. During this time, there was a fear of immigrants
During the wake of gender politics in the early twentieth century, Gertrude Stein and Sui Sin Far wrote immigration narratives that feature characters who reject traditional gender norms. As female writers, the intersection of gender, sexuality, and cultural identities inform how each character uses, rejects, reacts to traditional notions of femininity and masculinity. While Mrs. Spring Fragrance by Sui Sin Far and The Good Anna by Gertrude Stein feature characters that challenge traditional gender
are often racist, religious fanatic, egotistical or self-righteous” (Kullmer). This description of Southern Gothic literature also fits other genres of post Civil War American literature. Works by authors such as Mark Twain, Charles Chesnutt, Sui Sin Far, Henry James, Kate Chopin, Zora Neale Hurston and Earnest Hemingway also contain characters, situation, and places revealing similar social controversies displaying racism, sexism, and egotistical behavior. In The Adventures of Huckleberry Finn
conflicts. In the early 1900’s both F. Scott Fitzgerald and Edith Maud Eaton or pen name Sui Sin Far comment about some of these struggles in their time. Fitzgerald highlights the difference between northern culture and southern cultures in his story “The Ice Palace”, while Far shows the clash between of the Chinese American and the white man in “It’s Wavering Image”. To illustrate these differences both Far and Fitzgerald use a women who is stretched between two different cultures,
marriage. Throughout Mrs. Spring Fragrance, Sui Sin Far describes the process that the Chinese characters experience as they slowly begin to alienate traditional Chinese culture and becoming Americanized through accepting American culture as their own. In the beginning paragraphs of Mrs. Spring Fragrance, Sui Sin Far introduces readers to the Chin Yeuns and their beautiful 18-year-old daughter, Mai Fwi Fan, who goes by her American name, Laura. Sui Sin Far describes the Chin Yeuns as living “in a house
Mrs. Spring Fragrance, in Sui Sui Far’s The Inferior Woman, can be read as a subversive narrative as a means to comprehend the reasoning behind the rising American popularity of material Orientalism amongst white women during the 1870s and 1920s. Mari Yoshihara, a scholar in American studies with an emphasis on Asian relations, claims that “the material culture of Orientalism packaged the mixed interests Americans had about Asia—Asia as a seductive, aesthetic, refined culture, and Asia as foreign
In Sui Sin Far’s “Mrs. Spring Fragrance”, she illustrates how new Chinese immigrants adapt and assimilate to American culture during the 20th century. Far portrays the dealings that the Chinese characters in the story experience as they steadily acknowledge the American society as their own. She demonstrates how they are immersed in the American culture, yet indicates how they are still established in their Chinese custom. In the beginning of the story, Mr. and Mrs. Spring Fragrance are embracing
This read was overall very eye opening for me because I had never really thought about the prejudices that whites had towards the Chinese. Mrs. Spring Fragrance is a collection of short stories written by Edith Eaton. She took the pen name Sin Sui Far to embrace her Chinese heritage and these short stories have a strong focus on Chinese characters. In class we were shown a passage from “Leaves from the Mental Portfolio of a Eurasian” which showed us one of Eaton’s own experiences. “I cannot reconcile
“‘There’s no good reason to kill someone. The act of taking away life is equally evil.’” (Ishida 78.8). This value-shattering quote given by Kuzen Yoshimura from Sui Ishida’s Tokyo Ghoul (2011-2014) gives quite the weight to the value of a sentient being’s life. A ghoul and a human can enjoy life, such as reading a book with a steaming cup of coffee, to the same extent. However, who deserves this luxury of life is decided by the opinions of everyone. Humans prattle on about the monstrosity of ghouls
practice that the media used to segregate a group of people and ascribe certain stereotypes to fulfill a certain idea that was comfortable to them. The assimilation of various races in American culture was discouraged and to be avoided, an idea that Sui Sin Far reinforced in her short story “It’s Wavering Image”. The newspaper article that was written through the lens of a white man interpreted Chinese culture in a fallacious way, making it a spectacle and exploiting the trust between races. In addition
adaptions. The novel Journey to the West or Monkey King tells of a simian’s revolt against Heaven, of its defeat by the Buddha, and of its later being recruited as pilgrim to protect the monk Tripitaka on its quest for scriptures in India (Lai, 1994). So far, Monkey King has become one of the most enduring Chinese literary characters, it has a colorful cultural history and varied background. Monkey King is also considered by some scholars to be influenced by both the Hindu deity Hanuman from the Ramayana
and the mulatto use the white man to achieve this dream at all costs, as it is “essential to avoid falling back into the pit of niggerhood.” He acknowledges, however, that the driving force for their desire is mostly financial. Mayotte Capécia’s Je Suis Martiniquaise provides him with an example of a Negress in relations with a white man. Capécia’s novel proves Fanon’s claims, in that she loved André for his white features, which was key to his power, wealth, and privilege. We are then introduced
The Confesion de los Moriscos is a surprisingly remarkable text. It was composed during the first years of the seventeenth century, around the time, 1609, when the Moriscos were expelled from Spain. It is found in one extant Manuscript copy, dating from the second decade of the century, in a volume of Quevedo’s works that once belonged to Salazar y Castro. Astrana believed that the manuscript is autograph, thus positively attributing the Confesion to Quevedo. Crosby, on his part, questioned the paleographic
Obasan is a novel written by Japanese Canadian author Joy Kogawa that was first published in 1981. Although it is a fictional story, Obasan is heavily influenced by the real life events of Kogawa who was born in Vancouver in 1935 and was, along with her family, interned and persecuted during World War Two. Obasan chronicles the life of a Canadian Japanese family during World War Two from the perspective of Naomi, who was a third generation, little girl at the time of the events. The story uses a
Due to California’s geographic location and rich history, it is a state that can efficiently depict the immigrant experience theme. Although an immigrant, also known as an irregular migrant, can come from any nation or ethnicity, there seems to be a commonality in their treatment. The following collection of excerpts and literary works focus on the perspective of the treatment of irregular migrants and the bevy of effects that follow. For the effects of oppression, as seen throughout history, do
The four words constituting the first line of Inferno 34, however, are and are not Virgil's own words. On the most obvious level, these words are his own in that the text attributes them to him. At the same time, they are not his, since they are a quotation of the first line of a hymn by Venantius Fortunatus.3 And yet, the last word, inferni, must be attributed to Virgil under all respects, for he utters it without borrowing it from the hymn that Venantius Fortunatus wrote in honor of the cross and