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Confucianism and Filial Piety in Chinese Culture Essay
The status of women in contemporary Chinese society
The role of traditional Chinese women
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In Chinese culture, the theory of filiality always laid a substantial foundation for human’s performances and brains. As ancient Chinese word said, there are three ways to be unfilial, the worst is to not produce offspring, which illustrates the culture that parents generate a child, especially a son, to carry family name is extremely significant in Chinese culture. The film "The Story of Qiuju”, which was directed by a famous Chinese director, Yimou Zhang, implicitly demonstrated that filiality can be a symbol of the feudal society in China. For example, the position of sons must be more powerful in the most family; underground social status of Chinese women; and people’s superficial comprehension towards basic law in China. At the beginning …show more content…
Besides, the film provides a kind of deep-seated Chinese conventional culture and how the filiality played a key role in individuals’ mind in the Chinese feudal society. The essay applies some scholarly article to analyzes that the movie obscurely illustrates the unilateral understanding of filial piety from several people and different perspectives to abstract intense effects of traditional culture and ideas in the Chinese feudal society.
First, the movie demonstrates the unilateral understanding of filial piety from the female’s perspective of view in Chinese feudal society. In terms of the main protagonist of the movie, Qiuju is a representative of the majority female’s state in the Mid-20th century. “There was a striking continuity of ritual practice, especially an ancestor worship”(Zito, 336). In China, ancestor worship is very important to a Chinese family because Chinese people believe their ancestors can bless their family line can be inherited, and people hope their next generation is a son. At that time, because of the daughter, who had married with the son, does not belong to the original family but becomes a family member of her husband’s family, the only male can heir their family line. Therefore, people’s feudal thinking tends to be
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In terms of Qiuju, which is a typical female representative in initial China, whereas varying most of the women at that time, she has the courage to against with the traditional system to explore fairness and justice, although because of similar traditional ideas: priority of carrying on the family line in common
Chinese culture. It can be certain that the theory of filiality must be a historical value that influences Chinese people’s physical and mental life. Moreover, chief Wang as a typical man among numerous males who carries on absolute patriarchal ideas, as well as conventional bearing views. Overall, the director tends to reveal various factors causing by deeply traditional performance, which to call to action to alter people’s mind and enable individuals to gain a relatively proper standpoint to distinguish what filiality is and how to achieve filiality truly
Lessons for Women was written by Ban Zhao, the leading female Confucian scholar of classical China, in 100 C.E. It was written to apply Confucian principles to the moral instruction of women, and was particularly addressed to Ban Zhao’s own daughters. As her best remembered work, it allows the reader insight into the common role of a woman during this fascinating time-period. The work starts off by Ban Zhao unconvincingly berating herself, and claiming how she once lived with the constant fear of disgracing her family. This argument is rather implausible, for the reader already knows the credibility of Ban Zhao, and how important her role was in ancient China.
In her book, The House of Lim, author Margery Wolf observes the Lims, a large Chinese family living in a small village in Taiwan in the early 1960s (Wolf iv). She utilizes her book to portray the Lim family through multiple generations. She provides audiences with a firsthand account of the family life and structure within this specific region and offers information on various customs that the Lims and other families participate in. She particularly mentions and explains the marriage customs that are the norm within the society. Through Wolf’s ethnography it can be argued that parents should not dec5pide whom their children marry. This argument is obvious through the decline in marriage to simpua, or little girls taken in and raised as future daughter-in-laws, and the influence parents have over their children (Freedman xi).
Firstly, the relationship expectations in Chinese customs and traditions were strongly held onto. The daughters of the Chinese family were considered as a shame for the family. The sons of the family were given more honour than the daughters. In addition, some daughters were even discriminated. “If you want a place in this world ... do not be born as a girl child” (Choy 27). The girls from the Chinese family were considered useless. They were always looked down upon in a family; they felt as if the girls cannot provide a family with wealth. Chinese society is throwing away its little girls at an astounding rate. For every 100 girls registered at birth, there are 118 little boys in other words, nearly one seventh of Chinese girl babies are going missing (Baldwin 40). The parents from Chinese family had a preference for boys as they thought; boys could work and provide the family income. Due to Chinese culture preference to having boys, girls often did not have the right to live. In the Chinese ethnicity, the family always obeyed the elder’s decision. When the family was trying to adapt to the new country and they were tryin...
Chen, Jo-shui. "Empress Wu and Proto-feminist Sentiments in T'ang China." In Imperial Rulership and Cultural Change in Traditional China, edited by Frederick P. Brandauer and Chün-chieh Huang. 77-116. Seattle: University of Washington Press, 1994.
All through time, successive generations have rebelled against the values and traditions of their elders. In all countries, including China, new generations have sought to find a different path than that of their past leaders. Traditional values become outdated and are replaced with what the younger society deems as significant. Family concentrates on this very subject. In the novel, three brothers struggle against the outdated Confucian values of their elders. Alike in their dislike of the traditional Confucian system of their grandfather, yet very different in their interactions with him and others, begin to reach beyond the ancient values of Confucianism and strive for a breath of freedom. Their struggles against the old values lead to pain, suffering and eventually achievement for the three of them, however at a harsh price for two brothers.
In a village left behind as the rest of the China is progressing, the fate of women remains in the hands of men. Old customs and traditions reign supreme, not because it is believed such ways of life are best, but rather because they have worked for many years despite harsh conditions. In response to Brother Gu’s suggestion of joining communist South China’s progress, Cuiqiao’s widower father put it best: “Farmer’s have their own rules.”
The cultural ideals of the daughters and their mothers are different and difficult to reconcile, however this conflict, as shown in The Joy Luck Club and The Kitchen God’s Wife can be resolved through storytelling. One major tenet in Confucianism is filial piety which requires children to show absolute respect and obedience to their parents or guardians. However, in America, the relationship between a child and an adult is much more relaxed. In the Joy Luck Club, Jing-mei was forced by her mother to try to find something she was talented in such as piano playing. However, after a failed recital Jing-mei refuses to practice and her mother’s outburst epitomizes the cross-cultural differences, “Only two kinds of daughters...Those who are obedient
In the 18th century, China was influenced by various teachings of philosophers and beliefs that the society had placed emphasis on. Filial piety (xiao) was a major practice around this period when it was strongly carried inside and outside the household. Filial piety is not only the guiding principle of Chinese ethics but it also played an affirmative role in determining the Chinese lifestyle; it was practiced daily in the family and in other areas such as education, religion and government. It was the central root of Chinese morals and the society was constructed upon the principles of xiao, which certainly became the premises of Chinese culture and the society. In Confucianism, the approach of respect, fidelity, and care toward one’s parents and elder family members is the origin of individual ethical behaviour and social agreement. One must put the needs of parents and family elders over self, spouse, and children (Encyclopaedia Britannica, 2011). Many philosophers and rulers such as Mencius and Chu Hsi also focused on filial piety, applying the virtue to marital life, family, death, and politics. Filial piety was demonstrate in various literatures such as “Dream of the Red Chamber”, “Six Records of a Floating Life”, and “The Classic of Filial Piety” which demonstrated the roles of individuals in Chinese society including politics.
The fact that the fictional mothers and daughters of the story have unhappy marriages creates a common ground on which they can relate. However, marriage has different meanings for each generation in this book. In the mothers’ perspective, marriage is permanent and not always based on love. Especially with their marriages in China, which was a social necessity that they must secretly endure in order to be happ...
Li Yu's Male Mencius's Mother epitomizes the normalization of homosexuality through the characters' strict adherence to Confucian gender norms. While initially a condemnation of homosexuality citing the rebelliousness towards the divine design of heterosexuality and the complementary nature of male and female, the story instead romanticizes the self-sacrifice and devotion of the homosexual relationship of two men. The presentation of the homosexual relationship is designed to maximize the acceptance of homosexuality through the application of heterosexual components, such as the definition of a "male" and "female" to Jifang and Ruilang respectively. Jifang establishes his dominance as "male" through his taking of a wife and fathering a child, while Ruilang accepts his "female" definition through the physical transformation of castration and psychological transformation into the Confucian chaste wife and dutiful mother.
...ime. Majority of the women in the novel overcame the tough traditions of women treatment in ancient Chinese culture. The ancient Chinese culture believed that women should fall under patriarchy and strict ethics. This gave women no opportunity to move up the social class ladder. Being treated poorly effected would often affect women. Women like Lindo represent the power of escaping the oppressive atmosphere. Lindo decided to leave when she saw the Huang couldn’t control her anymore. Women had to be able to find their own independent identity. Ying-Ying is an example of this since she always wished to be found by someone, but inevitably she realized that she was her solution to finding her wholeness. Today modern women can express their thoughts, independence, and creativity. Aid should be continually provided for liberating women from oppression and discrimination.
...ith Jing Mei and her mother, it is compounded by the fact that there are dual nationalities involved as well. Not only did the mother’s good intentions bring about failure and disappointment from Jing Mei, but rooted in her mother’s culture was the belief that children are to be obedient and give respect to their elders. "Only two kinds of daughters.....those who are obedient and those who follow their own mind!" (Tan1) is the comment made by her mother when Jing Mei refuses to continue with piano lessons. In the end, this story shows that not only is the mother-daughter relationship intricately complex but is made even more so with cultural and generational differences added to the mix.
The early part of the novel shows women’s place in Chinese culture. Women had no say or position in society. They were viewed as objects, and were used as concubines and treated with disparagement in society. The status of women’s social rank in the 20th century in China is a definite positive change. As the development of Communism continued, women were allowed to be involved in not only protests, but attended universities and more opportunities outside “house” work. Communism established gender equality and legimated free marriage, instead of concunbinage. Mao’s slogan, “Women hold half of the sky”, became extremely popular. Women did almost any job a man performed. Women were victims by being compared to objects and treated as sex slaves. This was compared to the human acts right, because it was an issue of inhumane treatment.
Kingston uses the story of her aunt to show the gender roles in China. Women had to take and respect gender roles that they were given. Women roles they had to follow were getting married, obey men, be a mother, and provide food. Women had to get married. Kingston states, “When the family found a young man in the next village to be her husband…she would be the first wife, an advantage secure now” (623). This quote shows how women had to get married, which is a role women in China had to follow. Moreover, marriage is a very important step in women lives. The marriage of a couple in the village where Kingston’s aunt lived was very important because any thing an individual would do would affect the village and create social disorder. Men dominated women physically and mentally. In paragraph eighteen, “they both gav...
The film Hero depicts one of the most culturally rich and diverse country, China. China is one of the largest countries in the world with the long profound history. It is also the most diverse country in terms of language, religion, rituals, traditions, and beliefs. The film Hero has an unusual movie theme, it repeats similar events through flashbacks and with different outcomes. The tale is about the nameless warrior and the triumph of Qin’s idea of unifying China. The king invites the warrior to honor him for defeating his three most dangerous enemies, who are often proclaimed as the unbeatable warriors. The film is a cultural description of Chinese traditions. It has expanded my understanding of Chinese culture by portraying the spectacular