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Gender roles perception
Critical analysis on two kinds by amy tan
Gender roles perception
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Amy Tan’s short story Two Kinds revolves around Jing-mei, a young girl whose life consists of trying to please her mother and then resenting her. At a young age, Jing-mei aspires to greatness along with her mother. As time went on, Jing-mei began to rebel against her and the times when she attempted to see some kind of special talent in her. She continually never tries her best and dismisses her mother’s efforts. Through thoughts, conflict, and actions, the author reveals Jing Mei as a determined and independent girl who is unappreciative of others. The author’s use of thoughts help to characterize Jing-mei as determined. She is determined to be herself despite what her mother wants for her. Jing-mei states, “I had new thoughts, willful …show more content…
She works against her mother on many issues, doing what she wants to do and often times disobeying her. Her disobedience is shown in the rebellion against the nightly talent tests. She states, “So now when my mother presented her tests, I performed listlessly, my head propped on one arm. I pretended to be bored” (2). The fighting between Jing- mei and her mother also shows Jing-mei to be independent. She acts differently than her mother wants her to but Jing-mei refuses to change. She follows her own thinking and subsequently disobeyes her mother, saying, “‘I'm not going to play anymore,’ I said nonchalantly. ‘Why should I? I'm not a genius.’... ‘No!’ I said, and I now felt stronger, as if my true self had finally emerged. So this was what had been inside me all along. ‘No! I won't!’ I screamed” (6). Jing-mei thinks independently and refuses to do what others ask of her. Jing-mei does not waver in her disregard for her mother’s wishes for her and does not compromise or try to work out any issues. She says things without any remorse, only caring about herself, saying she “wished she were dead! Like them [sisters]”(7) and "then I wish I weren't your daughter, I wish you weren't my
“Only two kinds of daughters,” “Those who are obedient and those who follow their own mind!”(476). When a mother pushes her daughter to hard, the daughter rebels, but realizes in the end that their mothers only wanted the best for them and had their best interest at heart. In the beginning, Jing-mei, is “just as excited as my mother,”(469). Jing-mei eagerly hoped to make her mother proud. However, her mother’s obsession with becoming a prodigy discouraged Jing-mei.
Jing-mei 's mother wants Jing-mei to be a prodigy and get popular. Thus, the mother rents a piano for Jing-mei to help her achieve this. Many years later, Jing-mei finds the piano in a broken state, so she decides to have it repaired. She starts playing the song she used to play, “Pleading Child.” But to the right of “Pleading Child,” she finds a second song named “Perfectly Contented.” She starts to play both songs, “And after I [Jing-mei] had played them both a few times, I realized they were two halves of the same song.” (6) Jing-mei’s mother tells Jing-mei that there are two kinds of people: the respectful kind and the disrespectful kind. At that time, Jing-mei also finds out that there are two kinds of people inside her. She could choose to be the kind where the person is a prodigy and respectful, or be the kind that is ugly in the eyes of people. When she plays “Pleading Child” and “Perfectly Contented,” Jing-mei realizes that her identity had changed completely because of her laziness and beliefs. Jing-mei learns that there are two kinds of people in the world, and she should choose the right
Empress Wu’s rise to power was due to her unwavering determination and ruthless spirit. She first entered the palace as a thirteen year old concubine and from an early age she realized the importance of raising her status. Wu was ‘not just another imperial consort… she was very much a political fig...
In the stories told by Jing-Mei, Tan weaves in flashbacks and memories of Jing-Mei's own childhood experiences, including stories she has heard of her mother Suyuan's early life in China. These stories help to explain why she teaches her daughter the v alues of optimism and determination. As the reader encounters these flashbacks, Suyuan's tragic history is revealed. When the war reaches her town, Suyuan loses everything she owns, and in an attempt to save her own life by fleeing from China she is force d to leave her two twin babies behind on the side of the road in hopes they might have a chance at a good life. Jing-Mei recalls that her mother "had come here in 1949 after losing everything in China... but she never looked back with regret. There w ere so many ways for things to get better"(Tan 132). As Suyuan's past is revealed, the reader can not help but realize her determination, optimism, and strong will as she perseveres against the odds to establish a better life in America. Suyuan tries to pass on her virtues of determination, optimism, and perseverance to her American born daughter Jing-Mei. Jing-Mei's mother sees American movie stars performing on the television set and believes that with hard work and practice her daughter can aspire to the same stardom. Despite the constant protests of her daughter, Suyuan forces her to practice t...
Jing-mei finds her cultural identity when she becomes and adult. One half of her wants to be that perfect, obedient child that her mother wants. The other half wants to have attention from her mother. She is that “Pleading Child” and “Perfectly Contented” daughter. Although Jing-mei and her mother’s culture clashed, she was able to find who she really
Women go from being controlled by their parents to their husband and then their sons. If she is unfortunate enough to lose her husband, then she should either stay celibate or kill herself. Sister Xianglin is a perfect example of how women in the traditional Chinese and Confucian culture are discriminated against and take advantage of. For example, Sister Xianglin was never referred to by her real name, because no one knew or cared enough to know Sister Xianglin’s real name, her husband had died and yet people still refer to her as his property (227). Sister Xianglin was an extremely hard worker. Although she was “more capable than a hardworking man”, and yet she was not considered an equal (227). Even though she had run away from her mother-in-law, Sister Xianglin was forced to return with her, because she was still her husband's property (227). She had no control over her life and yet would constantly be blamed and tormented for
For many of us growing up, our mothers have been a part of who we are. They have been there when our world was falling apart, when we fell ill to the flu, and most importantly, the one to love us when we needed it the most. In “Two Kinds” by Amy Tan, it begins with a brief introduction to one mother’s interpretation of the American Dream. Losing her family in China, she now hopes to recapture part of her loss through her daughter. However, the young girl, Ni Kan, mimics her mother’s dreams and ultimately rebels against them.
As she gets off the train, Jing-mei starts to describe her surroundings once again. For example, she describes Guangzhou as “The landscape has become gray, filled with low flat cement buildings, old factories, and then tracks and more tracks filled with trains like ours passing by in the opposite direction. I see platforms crowded with people wearing drab Western clothes, with spots of bright colors: little children wearing pink and yellow, red and peach” (266). The colors mentioned go along with how Jing-mei described her mother wearing clothes that do not go well together. The colors are bright, much brighter than the colors she saw on the train. It could mean that she is getting closer to her mother by seeing her in other people in China. However, Jing-mei has not fully embraced her roots, which is understandable since that side of her has only just awoken. Again, Jing-mei is questioning herself when she and her father are going through customs. For example, she describes the long lines as “getting on a number 30 Stockton bus in San Francisco” (266). Immediately after making that connection, Jing-mei reminds herself “I am in China. I remind myself. And somehow the crowds don’t bother me. It feels right” (266). Jing-mei is allowing herself to drift away to what is comfortable. Reminding herself that she is in China, she begins to feel at peace and that it feels
Since "You could be anything you wanted to be in America" (Tan 348) Jing-Meis' mother thought that meant that you had to be a prodigy. While that makes "Everything [sound] too simple and too easily achieved; [Jing-Mei] does not paint a picture of her mother as ignorant or silly" (Brent). In fact, in the beginning, Jing-Mei and her mother are both trying to "Pick the right kind of prodigy" (Tan 349). "In the beginning, [she] was just as excited as [her] mother,"(Tan 349) she wanted to be a prodigy, she wanted to "become perfect [she wanted her] mother and father to adore [her]"(Tan 349). As she strived to achieve perfection she and her mother would try many different things to try and find the "right kind of prodigy" (Tan 349).
Jing-mei Woo has to become a member of the Joy Luck Club in place of her mother, Suyuan Woo, who passed away. Before Suyuan's passing Jing-mei does not know much about her mother, as the story continues to develop Jing-mei realizes how much she did not know about her mother and learns more and more new things about her on her journey of finding her sisters. “Your father is not my first husband. You are not those babies” (26), this quote is from Suyuan Woo and shows Jing- mei that her mother has a lot of secrets that she does not know about. “Over the years, she told me the same story, except for the ending, which grew darker, casting long shadows into her life, and eventually into mine” (21). This quote shows how Jing-mei did not know much
In the story "A Pair of Tickets," by Amy Tan, a woman by the name of Jing-mei struggles with her identity as a Chinese female. Throughout her childhood, she "vigorously denied" (857) that she had any Chinese under her skin. Then her mother dies when Jing-Mei is in her 30's, and only three months after her father receives a letter from her twin daughters, Jing-Mei's half sisters. It is when Jing-mei hears her sisters are alive, that she and her dad take a trip overseas to meet her relatives and finally unites with her sisters. This story focuses on a woman's philosophical struggle to accept her true identity.
An-Mei Hsu was born and raised in China, but not by her mother. Her mother became the concubine of another man when An-Mei’s father had died. So An-Mei and her little brother went to live with there grandmother who they called Popo. At the house in which they lived they were not aloud to talk about, or even speak of there mother and soon enough, An-Mei and her little brother had forgotten her altogether. But Popo becomes very sick, and An-Mei’s mother returns to the home. When she was there she cuts a piece of her arm off and puts it in to soup for Popo. This was to show great respect, and was also a way of trying to cure the sick. "Here is how I came to love me mother. How I saw my own true nature. What was beneath my skin. Inside my bones." (pg40) This is the point where An-Mei is thought about respect and honor. She saw what her mother had done for Popo, and found it in her heart to forgive her and love her again. From then on she wanted to make sure that her daughters would have honor, and respect for the family ways. "The pain you must forget, because sometimes that is the only way to remember what is in your bones." (pg41) She saw what her mother take a piece of her own flesh and give it to Popo in order to earn her respect and honor back.
In Amy Tan 's Two Kinds, Jing-mei and her mother show how through generations a relationship of understanding can be lost when traditions, dreams, and pride do not take into account individuality. By applying the concepts of Virginia Woolf, Elaine Showalter, and the three stages of feminism, one can analyze the discourse Tan uses in the story and its connection to basic feminist principles.
In her “Instructions for the Inner Quarter,” Empress Xu speaks of Chinese women with a positive, almost prideful stance, claiming that morality is “actually rooted in our very selves.” She places strong emphasis on moral character and cultivation of self, and portrays the traditional expectations of marriage and motherhood as something to aspire to. “An upright woman of pure character,” she writes, “can be made the wife of a great family.” The societal role of womanhood is presented with appreciation based on circumstance, rather than concern or condescension. Women are expected to be modest, dignified, gentle, and honest, amongst a litany of other qualities which Empress Xu believes are essential. She claims that “The moral nature being innate in our endowment, it becomes transformed and fulfilled through practice.” While Europeans found the Chinese to be “morally deficient,” Empress Xu boasted the strong morality that she believed existed in woman’s