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Marriage practices in different cultures
Marriage practices in different cultures
Marriage practices in different cultures
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The Woman Warrior: Memoirs of a Girlhood among Ghosts records Kingston’s struggle for self- expression. It is journey of a mute school girl who smeared paper with opaque black paint, the incommunicative adolescent who could not voice her sorrow to her mother, the inarticulate young adult who could only peep in protest to her racist employers eventually she becomes the adult artist who “talk story” in a “high and clear” voice. From the very beginning she was told to be silent especially in case of her aunt. As her mother instructs her: “you must not tell anyone…what I am about to tell you.” In addition she describes the silences of the individuals in her family, such as No Name Woman, her aunt Moon Orchid, the silence of her own childhood and …show more content…
Her parents were Chinese immigrants who came to the United States in search of a better life even in the United States life was very hard for them. Moreover, they had to do a lot of menial work in order to survive. Like other immigrant children, Kingston, too had to work in the family business. Her early life was surrounded by Chinese immigrants and her early years of education were better described as silent years as it was very difficult for a Chinese speaker to adjust in American school system i.e. in an English speaking world. All such confusion she describes in her …show more content…
She remains silent and keeps on waiting for her husband in China, who has remarried in America and settled in a new family. When she meets him after the period of long thirty years he greets her with cold interrogations: “What are you doing here?” and “Why you are here?”, and questions her intention: “What do you want?” Facing this situation she does not continue to accuse her husband and claim her right as a wife. It is her weakness that ruins her. She dare not say a word to a man who has made her widow and eventually insane. She has no strength to defend herself, no power to fight back, and no courage to claim the rights belonging to her. Obviously, Silence here implies the oppression and suffering of Chinese women as victims over a long period in a male-dominated
For Kingston, The Woman Warrior signifies more than five chapters of talk-stories synthesized together. Within each chapter of the memoirs, Kingston engraves the method in which she undertook to discover her discrete voice. The culture clash between her mother and Kingston accumulated her struggles and insecurities, resulting in Kingston’s climax during her tirade. However, what Kingston accentuates the most is that the a breakthrough from silence requires one to reject a society’s
Within Megan H. Mackenzie’s essay, “Let Women Fight” she points out many facts about women serving in the U.S. military. She emphasizes the three central arguments that people have brought up about women fighting in the military. The arguments she states are that women cannot meet the physical requirements necessary to fight, they simply don’t belong in combat, and that their inclusion in fighting units would disrupt those units’ cohesion and battle readiness. The 1948 Women’s Armed Services Integration Act built a permanent corps of women in all the military departments, which was a big step forward at that time. Although there were many restrictions that were put on women, an increase of women in the U.S. armed forces happened during
In the novel The Woman Warrior Maxine Hong Kingston uses ghosts to represent a battle between American and Chinese cultures. The two cultures have different views of what a ghost is. The Chinese believe the ghost spirits may be of people dead or alive. Chinese culture recognizes foreigners and unfamiliar people as ghosts because, like American ghosts, they are mysterious creatures of the unknown. Americans view ghosts as spirits of the dead that either help or haunt people. American ghosts may or may not be real. There spirits are there but physical appearance is a mystery.
In Miranda’s poem “Stories I Tell My Daughter,” she describes a girl who defends her identity and her honor when a boy at school questions her. Miranda states, “That day/ I took bloody sticks home to my mother,/ who said she expected nothing less/ from a girl/ who spoke/ to owls” (Indian Cartography 5-6). In the poem, “owls,” a symbol of intelligence and enlightenment, acts as a reminder of the important cultural connection between Native Americans and nature. The girl has reached enlightenment and new found strength because she realizes that she does not have to succumb to the white children’s abuse and she finally reacts to the exploitation. When referring to “mother,” one thinks of a caregiver and nurturer. The mother nurtures the daughter who has learned to defend herself and break social norms in order to protect her cultural identity. Finally, “bloody” implies violence and rage. When discussing indigenous poetry, the violence described typically refers to the bloodshed of the natives; however, ironically the blood in this poem results from an attack on a white person. Though Miranda does not encourage violence, she does encourage action from strong women when their cultural identities are being questioned. Likewise, Trask also connects strong women who break social norms with change. In her poem “Sons,” she addresses the social expectations of women and the familial obligations many of them abide by in their homes. Trask states, “I am slyly/ Reproductive: ideas/ books,/ history/ politics, reproducing/ the rope of resistance/ for unborn generations” (Light in the Crevice Never Seen 55-56). To begin, “resistance” refers to defiance and a refusal to conform. The speaker is assertively stating that she will serve as an activist for future Native Hawaiians who will
Imagination is a quality that everyone has, but only some are capable of using. Maxine Hong Kingston wrote “No Name Woman” using a great deal of her imagination. She uses this imagination to give a story to a person whose name has been forgotten. A person whose entire life was erased from the family’s history. Her story was not written to amuse or entertain, but rather to share her aunts’ story, a story that no one else would ever share. The use of imagination in Kingston’s creative nonfiction is the foundation of the story. It fills the gaps of reality while creating a perfect path to show respect to Kingston’s aunt, and simultaneously explains her disagreement with the women in her culture.
One of the most striking features about Kingston's writings in The Woman Warrior is her use of poignant imageries—ghosts, sil...
Since people who have different identities view the American Dream in a variety of perspectives, individuals need to find identities in order to have a deep understanding of obstacles they will face and voices they want. In The Woman Warrior, Maxing Hong Kingston, a Chinese American, struggles to find her identity which both the traditional Chinese culture and the American culture have effects on. However, in The House on Mango Street, Sandra Cisneros clearly identifies herself as a Hispanic woman, and pivots to move up economically and socially to speak for her race. Even though both Kingston and Cisneros look for meanings of their identities, they have different approaches of reaching the full understanding.
Clashing swords, miraculous survivals, pain of loss, and heroic sacrifice are all terrifying yet thrilling moments in a battle. The strong possibility of death and the frailty of human life add into the suspense of battle. Yet the reasons behind the wars, death, and suspense can be overlooked. The stories behind the warriors who have died will not be told again, but the stories of warriors still alive are what give the men strength to continue fighting against impossible odds. Ultimately, the reason of why a man would risk his life in battle is for someone, or something, he loves. Like in Gilgamesh and the Iliad, women help encourage and influence the protagonists to be the heroes and protectors they are meant to be.
“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.
Kingston, Maxine Hong. "No Name Woman." 50 Essays: A Portable Anthology. 4th Edition. Ed. Samuel Cohen. Boston/New York: Bedford/St. Martins, 2011. 227-39. Print.
This paper primarily looks to focus on Mrs. Brewer’s private life as a mother and the emotional work she underwent within the home. Additionally, this paper will discuss how the emotional work of Pearl was the cause of the physical wear and tear on her body, or the embodiment of stress. First, I will present a descriptive profile of Pearl Brewer. Next, I will provide a brief methodological section. Then, I will discuss motherhood as a private aspect of life and source of stress for women. In this section, I will discuss how Pearl’s roles as mother, sole breadwinner, and wife combine within this aspect of private life to fit within the stereotypical description of the Strong Black Woman/Superwoman myth, and how, more importantly, emotional work required to uphold the role of superwoman has contributed to the “weathering” of Pearl’s physical b...
This critical article review will focus on Anh Hua's proposal that the text of Audre Lorde's bio-mythography Zami: A New Spelling of My Name depicts erotic, traumatic, and homeland embodied memories. Hua's argues that Lorde reflecting on these memories and revealing them to the audience encourages women, in particular, to be vocal instead of suppressing the events that contributed to their development. Covering these experiences during the time when her race, gender, and sexuality were looked down upon allow Lorde to heal and gain a sense of ownership. All in all, Hua highlight that the author's language encourages the audience to embrace and voice the oppressed events that people expect one to hold back. Speaking of these erotic, traumatic,
The Woman Warrior by Maxine Hong Kingston portrays the complicated relationship between her and her mother, while growing up as a Chinese female in an American environment. She was surrounded by expectations and ideals about the inferior role that her culture imposed on women. In an ongoing battle with herself and her heritage, Kingston struggles to escape limitations on women that Chinese culture set. However, she eventually learns to accept both cultures as part of who she is. I was able to related to her as a Chinese female born and raised in America. I have faced the stereotypes and expectations that she had encountered my whole life and I too, have learned to accept both my Chinese and American culture.
Cultures can shape the identities of individuals. Kingston identity was shape by Chinese and Chinese American culture. "No Name Woman," begins with a talk-story, about Kingston’ aunt she never knew. The aunt had brought disgrace upon her family by having an illegitimate child. In paragraph three, “she could not have been pregnant, you see, because her husband had been gone for years” (621). This shows that Kingston’s aunt had an affair with someone and the result was her pregnancy. She ended up killing herself and her baby by jumping into the family well in China. After hearing the story, Kingston is not allowed to mention her aunt again. The ideas of gender role-play an important role in both cultures. Kingston in her story “No Name Woman” describes some of the gender roles and expectations both women and men had to abide. Some of the gender roles in Kingston story have a semblance with the contemporary American culture.
The eponymous ghosts which haunt Toni Morrison's Beloved and Maxine Hong Kingston's "No Name Woman" (excerpted from The Woman Warrior) embody the consequence of transgressing societal boundaries through adultery and murder. While the wider thematic concerns of both books differ, however both authors use the ghost figure to represent a repressed historical past that is awakened in their narrative retelling of the stories. The ghosts facilitate this retelling of stories that give voice to that which has been silenced, challenging this repression and ultimately reversing it.