Dissertations / Theses on the topic 'Amy Joy Luck Club'
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1
Golchin, Simin. "The Process of Identity Formation in Amy Tan's The Joy Luck Club : Amy Tan´s The Joy Luck Club." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-10648.
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Like most ethnic and multicultural narratives, Amy Tan’s The Joy Luck Club revolves around the development of an identity in which immigrant experience and all the questions of ethno- cultural identity that attend to it play central roles. The aim of this essay is to investigate the process of identity formation of the second-generation Chinese immigrant daughters who encounter Chinese culture at home while having the immediate experience of living in America, with a focus on the cultural, language and generational gaps that exist between the Chinese mothers and their American- born daughters. This study is guided by a theoretical framework that combines postcolonial theory and a number of established theories of identity construction including the concept of hybrid identity in order to analyze and explore the American-born daughters’ identity creation. Based on this analysis, this paper presents evidence that an identity formation process that involves cultural hybridization has occurred and the outcome of this identity formation is that of a hybrid identity.
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Balakireva, Victoria. "The Mah Jong Game of Life : Storytelling, Identity and Orientalist Discourse in Amy Tan’s The Joy Luck Club." Thesis, Malmö universitet, Institutionen för konst, kultur och kommunikation (K3), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-45260.
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This project examines the connection between the representations of Chinese American women and the Orientalist discourse, as depicted in Amy Tan’s The Joy Luck Club. Using a deconstructive and intersectional approach, the project focuses on four interconnected constituents that regulate the novel’s main structural and thematic elements: Narrative Structure; Mother-Daughter Relationships; Language, Writing and Identity; and Feminist Affirmations. The project’s aim is to understand the logic of the novel’s representation by juxtaposing and analyzing the contrasting arguments within each of the sections. Though somewhat inconclusive, this project addresses the ambiguity of Tan’s work in hopes of expanding the critical understanding of the novel.
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Curton, Carman C. "Women Becoming: a Feminist Critical Analysis of Mother-Daughter Relationships in Amy Tan's "The Joy Luck Club" and "The Kitchen God's Wife"." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500230/.
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This analysis of Tan's first two novels reveals that her female characters suffer from the strains critics like Amy Ling say result from the double paradox of filling the roles of mother or daughter as minority women in a white, male society. Recognizing this double paradox offers Tan's characters, and her readers, the opportunity to resolve the conflicts between mothers and daughters in The Joy Luck Club. Using the theories of psychologist Kathie Carlson helps readers understand how the protagonist of The Kitchen God's Wife resolves similar conflicts with her daughter and her own mother by seeking support from a mythic mother-figure, a Goddess of her own making.
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Hathaway, Rosemary Virginia. "Apart and a part : constructing identity in Maxine Hong Kingston's The Woman Warrior and Amy Tan's The Joy Luck Club." Connect to resource, 1991. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1261056219.
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Chen, Yongjiang. "From alienation to connection: the theme of alienation analyzed from a socialist feminist perspective in Amy Tan’s The Joy Luck Club." Thesis, Högskolan Dalarna, Engelska, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:du-16867.
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Wong, Ching-lun Helen. "Twice marginalized women's identities in a foreign land: an analysis of Jean Rhys's Wide Sargasso Sea and Amy Tan's the Joy Luck Club /." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31583994.
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Colón, Camille I. "Mother-daughter relationships in La casa de los espíritus and the Joy Luck Club an attempt to subvert patriarchal society in the quest for identity /." Diss., Connect to the thesis, 2004. http://thesis.haverford.edu/77/01/2004ColonC.pdf.
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Su, Suocai. "Inventing transnational Chinese American identities in Amy Tan's The Joy Luck Club, Shirley Geok-lin Lim's Among the white moon faces, and Shawn Hsu Wong's American knees." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1301632.
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My dissertation investigates how Chinese American writers invent transnational Chinese American identities in the 1980s and 1990s. In particular, I focus on Amy Tan's The JoyLuck Club (1989), Shirley Geok-lin Lim's Among the White Moon Faces: An Asian American Memoir of Homelands (1996), and Shawn Hsu Wong's American Knees(1995). 1 argue that Tan, Lim, and Wong challenge the conventional ideas of a singular, pure, and fixed identity but instead create Chinese American identities in the post-1965 era as multiple, hybrid, and constantly changing to accommodate to an open, diverse, and multicultural America. Specifically, in Tan's work, by describing both the conflicts and connections between the Chinese mothers and their American horn daughters, she represents a group of Chinese American women who transcend their cultural, generational, and linguistic differences to achieve an identity that connects the West with the East. In Lim's work, by portraying the domestic and international movements of herself as an immigrant, she reveals the long and painful process of negotiating multiple cultures and identities that enables her to change from a Chinese Malaysian to a new Asian American woman. In Wong's work, by focusing on how the fourth- and fifthgeneration of Chinese and/or Asian American men and women negotiate racial, ethnic, gender, and sexual identities, Wong meditates on what the term Asian American means in the new age. Together the three works reflect the range, diversity, and invention of contemporary Chinese American identities by Chinese American writers in the new era.Department of English
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Shultz, Rebekah Elizabeth. "The role of Taoism in the social construction of identity in The Joy Luck Club." CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2060.
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Wong, Ching-lun Helen. "Twice marginalized: women's identities in a foreign land: an analysis of Jean Rhys's Wide Sargasso Sea and AmyTan's the Joy Luck Club." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31583994.
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Liang, Jeff, and 梁士傑. "Language Diversity in Amy Tan's The Joy Luck Club." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/92714136345091858384.
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碩士國立中正大學
外國語文研究所
88
Amy Tan’s The Joy Luck Cub, like many other Chinese American writers’ works, has attracted widespread readers’ attention with its richness in linguistic and cultural complexities. The conflict between the mother and daughter narrators has long being discussed and interpreted by critics as Tan’s search for her Chinese cultural roots as a means of reconciling her American circumstances and Chinese identity. However, should Tan’s Chinese ethnicity immediately suggest her cultural identity when we interpret her work? In this thesis, I intend to analyze Tan’s treatment of language diversity in The Joy Luck Club and discuss the implied dialogue between Tan and her reader, which is carried out through the mother-daughter dialogues that take place among the multiple narrative voices in the novel. I draw heavily on Mikhail Bakhtin’s polyphony for the discussion of language as a social and ideological representation that reveals both the presences of specific speaker(s) and addressee(s) as well as the political context where such human interaction takes place. Chapter One discusses the form of the novel in terms of its narrative structure. The various narratives in the novel are identified as diverse discourses that dialogize and converge in thematic coherence. Chapter Two discusses the content of the novel’s languages. The diversity between Chinese and English languages is identified as one of the dominant themes and its function is discussed in terms of how it characterizes the conflict between the mother-daughter communication. Chapter Three discusses the implication beyond such a treatment of language diversity. The translation strategy is evaluated as a means of reconciling the mother-daughter conflicts, culturally and linguistically speaking. The significant message behind the mothers and daughters as speakers and addressees is then considered in the American sociolinguistic context as a dialogue between Tan and her English-dominant readers. The ultimate concerns of both the mother and daughter narrators are more located with their American circumstances than the mothers’ remote past in China. I suggest that the use of Chinese language and images in The Joy Luck Club functions more rhetorically effective than Chinese culturally patriotic. Tan’s treatment of language diversity is in effect subversive to the English-dominant language ideology in multi-cultural America. Chinese language and images are more intended to clarify the language situation of Chinese Americans, rather than be perceived as an exotic cultural other that provides a window on China for the mainstream American readers.
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Tzu-hui, Huang, and 黃慈惠. "Feminine Writings in Amy Tan's The Joy Luck Club." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/47386087010859537939.
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碩士國立高雄師範大學
國文教學碩士班
96
The Joy Luck Club is a remarkable novel of Amy Tan, a Chinese American writer. There are already countless discussions about this novel. However, this thesis is trying to discuss The Joy Luck Club from an untouched angle—feminine writings. Tan presents the quality of the feminine in the novel. Through writing, Tan manages to save the trapped maternal voice from the masculine. The maternal voice is allowed a chance to speak up in the novel. Thus, the American-born daughters regain power from the maternal voice, and they can break through their predicaments of lives. Feminine writings refer to a writing style. The intensions of feminine writings are to break through the traditional barrier and to overthrow the patriarchy system of literature. Virginia Woolf is the first one who appeals for writing a feminine sentence. Then, three French Feminists: Hélène Cixous, Luce Irigaray and Julia Kristeva encourage feminine writings and state their opinions individually. Cixous suggests that women should write their bodies. She argues that only women can truly understand the jouissance of the female. Irigaray stresses that mother-daughter relationship benefits from feminine writings. Kristeva highly emphasizes the idea of chora—a space shared by mother and baby. The chora is a special experience privileged to women. Therefore, maternal voice and maternal thinking are main characteristics of feminine writings. The Joy Luck Club illustrates the interactions and conflicts between the Chinese mothers and the American-born daughters. The text it -self is a chora. Through The Joy Luck Club, Tan implies readers that the maternal voice is the solutions to the daughters’ predicaments.
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Chen, Sharon Yu-ching, and 陳玉青. "The Identity-forming in Amy Tan's The Joy Luck Club." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/91382382679419021796.
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碩士淡江大學
西洋語文研究所
88
The thesis reveals the identity-forming in characters in Amy Tan’s The Joy Luck Club in terms of Lacanian theory of the gaze in The Four Fundamental Concepts of Psycho-analysis. The thesis begins by introducing Lacan’s idea of the gaze which is interpreted by Kaja Silverman. The identities of the mothers in China are formed in the standard of traditional Chinese restrictions on women in a patriarchal society, such as being a filial daughter, accepting the arranged marriage, and enduring extra-marital affairs. After encountering the difficulties, and unfair treatment, they still form their identities in light of traditional female roles even though they get the chance to emigrate to the States. While living in the States, the culture difference, existential problems and racial discrimination split their identities into two, ethnic and existential identities. The Chinese mothers try to keep their ethnicity by gathering together in the Joy Luck Club, which is the club activity of mah jong. When teaching their daughters, the mothers are trapped between the conflict of traditional Chinese rules and American social standards. On the one hand, they wish their daughters to be independent autonomies. On the other hand, the ways of traditional Chinese education influence them deeply. For the daughters, their mothers’ expectation and their Chinese ways of teaching are in conflict with what they have learned from the American education concerning individualism and free choices. Struggling between these two standards, the daughters unconsciously reject their Chinese heritage. However, after experiencing marital and existential problems, they learn about the valuable duality of their identity-orientations. For the mothers, their recollecting of the memories in China helps their daughters to give them more power which sustains the dialects of the ethnic and existential identities. Finally, the mothers and daughters realize their identities are characterized by duality, and thus, they are more ready to deal pragmatically with the uncertainty and conflict that life offers.
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Hsu, Ping-fu, and 許炳富. "Female and Mothering in Amy Tan’s The Joy Luck Club." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/74805962915988638587.
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碩士國立中正大學
比較文學所
97
This thesis discusses the idea of “mothering” as well as the mother-daughter relationship in Amy Tan’s The Joy Luck Club. In this novel, the four mothers teach their daughter how to spend their young life without regret. Before immigrating to America these mothers have experienced much loss; however, they swallow all their suffering so that their daughters can live well in the USA. The mothers have tremendous impact on their daughter. Chapter one of this thesis introduces my study motivation and direction; meanwhile, I would like to discuss the essential concept of “mothering” and the traditional women’s mothering of manners. Chapter two offers some theories of Nancy J. Chodorow’s and Adrienne Rich’s views of mothering; developing from feminist theories to psychoanalysis; further, I argue that mothering, under the influence of pre-Oedipal experience and patriarchal culture, is deeply affected by culture. In Chapter three, I attempt to analyze how the idea of mothering works in this novel and how it affects mother-daughter relationships. In general Amy Tan describes the conflicts between daughter and mother. Chapter four manages to adopt the connotation and identity of mothering between female and mother as a cultural point to further discuss the intercultural position which affects the mother / daughters’ relationship in the emigrant society. Chapter five sums up Amy Tan’s mothering practice and daughter’s resistance in this novel; thus, Amy Tan can be recognized not only as ‘a maternal writer’ but also as ‘a Chinese-American writer’.
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Hsu, Ai Ling, and 徐愛玲. "The Four Chinese Mothers in Amy Tan's The Joy Luck Club." Thesis, 1993. http://ndltd.ncl.edu.tw/handle/41728142768937938405.
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碩士國立政治大學
英國語文學研究所
81
Amy Tan's The Joy Luck Club was published and hit the best-seller lists in New York, San Francisco and L.A. in 1989. This novel deals with the stories of four Chinese mothers and their four American-born daughters. Due to her American -born-Chinese identity Amy Tan is qualified to present American- born-Chinese daughters convincingly. What triggers the study of this thesis is a question provided by a critic. Amy Ling doubts: Can a Chinese American growing up in America ever know what is Chinese? Before answering this question, another critic's viewpoint reinforces the motivation of this investigation. Carole Angiec remarks that the four Chinese mothers "are cleverly planned to cover every sort of Chinese woman's character and experience...." The main concern of this thesis is the image of the four Chinese mothers: are they typical Chinese female or not? To verify the four Chinese mothers' image, the focus of this thesis will be placed upon two parts: one is the respective analysis of the four Chinese mothers' characters; the other is general comparison between the four Chinese mothers and typical Chinese woman with respect to their identity and character traits.
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Nguyen, Minh-Triet, and 阮明哲. "The Roots of Miserableness in Amy Tan's The Joy Luck Club." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/76314353081813766849.
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碩士中國文化大學
英國語文學系
103
The Joy Luck Club, published in 1989, marks a distinct growth of Asian American literature in the world. It explores the mother-daughter relationship in each particular case between Chinese immigrant mothers and their American born daughters. In this novel, people may initially feel empathic with women, who endure husband’s betrayal, sustaining survival in wartime more difficultly than men do, easily entrapped into dilemmatic situations which result in social misjudgments on their virtues, and treated as “bearing-machine” without respecting their value. Nevertheless, under the Buddhist view, those unconsciously curtain the roots of miserableness for all the figures. This thesis appreciates honoring women’s perseverance in all times but lagging behind her selfishness and stubbornness perceived in loving others. Besides, it discusses the ego in motherhood, which no one could believe in its existence. In Oxford dictionary, a mother refers to a woman in relation to a child or children to whom she has given birth. In real life, people always keep in mind that a mother lives for her child. A mother is consistently thought to sacrifice her whole life to better off her child’s life; however, maternal egoism turns out to spoil the love for her child. This thesis intends to explore the human characteristics as reflected in mother-daughter and husband-wife relationship in The Joy Luck Club and attempts to clarify the reasons of the characters’ misery. It also highlights the comparison between Western and Eastern parenting practices and investigates children’s psychology under different parental nurturance so that the outcomes of raising children with full development ensured can be recommended.
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Yang, Yun-ru Carrie, and 楊雲如. "Border Crossing：In-Between Cultural Identities in Amy Tan's The Joy Luck Club." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/28782393989958848196.
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碩士國立政治大學
英國語文學系
87
Amy Tan has created The Joy Luck Club a book with Chinese Americans' struggles and inner conflicts in American context. In this book, Tan manages four pairs of Chinese American mothers and daughters to demonstrate their conflicts in both generation gaps and cultural identities. In the searching of cultural identities, we see resistance, negotiation and ultimately the communication between the mothers and the daughters. This book successfully portraits the becoming process of the in-between cultural identities of the Chinese Americans. This thesis is divided into five parts: Introduction, three chapters, and Conclusion. Three chapters discuss the development of the characters via the themes of self-construction, language application, and the arrangement of time and space not only to abolish monolithic American cultural identity but also to motivate an equal valuation for Chinese identity. By exploring these themes in the life of the Chinese Americans in The Joy Luck Club, I would like to inspire a border perspective for Chinese Americans to reach their cultural identities.
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Huang, Jia-ling, and 黃佳玲. "Dialogism and Narrative Multi-perspectivism in Amy Tan’s The Joy Luck Club." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/56295946498485620366.
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碩士國立中山大學
外國語文研究所
86
The mother/daughter relationship has been analyzed in various literary works, and Amy Tan‘s multi-perspectival monologues in The Joy Luck Club explore into the complexity of mother-daughter dialogue by further intersecting it with the problematic of identity politics. With the notions of the “intra-monologue dialogicity” and the “inter-monologue dialogicity” developed by Stephen Souris, I trace each narrator’s process of (un)becoming and argue that the novel not only offers an universal statement on the mother/daughter bonding but also re-examines the universality of that boding through the lenses of ethnic and cultural differences. In the first chapter, I introduce some basic concepts of analysis to foreground the textual analyses of the following chapters. Approaching the narrative in terms of “intra-monologue dialogicity,” that is, the multiple discourses that co-exist within one‘s speeches, I examine the various voices embedded and incorporated in each monophonic narrative of the novel in Chapter One. In Chapter Two, I concentrate on the partiality as well as blindness of each narrator, the fragmented “truth” each of them provides, and the political unconscious of the (implied) reader that serves as the mediator between each seemingly decentered monologue, and between each seemingly incommunicative mother-daughter pair. Chapter Three studies the identity crisis that each narrator, as a hyphenated subject, goes through before she takes active measures to negotiate with the multiple positions she occupies. This thesis studies mainly the mother/daughter complex that has structured their hyphenated subjectivities. Communication is one way for the mother and daughter to reach mutual understanding. But only through constant self-inspection and the willingness to negotiate with the others, to understand and to respect each other’s differences can each of them bridge the cultural, ethnic, and generational barriers existing between them.
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Li, Yi-hsuan, and 李怡萱. "Cultural Identity Transformation: Jing-mei's Case in Amy Tan's The Joy Luck Club." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/98337675641628074931.
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碩士世新大學
英語學研究所(含碩專班)
97
Born in 1952 in Oakland, California, Amy Tan was Chinese immigrants Daisy and John’s daughter. Most of her works shows Chinese American’s life. She has published 7 novels. Published in 1989, her first novel, The Joy Luck Club, brought Asian American women to a broad readership. Besides winning a variety of literary awards and an excellent reputation, Tan adapted The Joy Luck Club into film. The film vision was directed by Wayne Wan and released in 1993. As an Asian American women writer, Tan presents not only gender but also ethnicity in her novels. The Joy Luck Club describes Chinese mother and American daughter relationship. Tan interweaves four pairs of mother and daughter narrations to compose sixteen short stories in four sections. Mothers’ stories are regarding women’s childhood and experiences under Confucian domesticity in China before the Republication Revolution in 1911. On the contrary, American daughters narrate how they argue with their mothers to get rid of their expectations. The protagonist, Jing-mei Woo, begins the story by substituting for her dead Mother’s seat of mah jong and ends with her father by fulfilling her mother’s dream of family reunion in China. Finally, Jing-mei Woo realizes her Chinese American identity from her return-home journey. From mother daughter relationship to father daughter relationship, this thesis explores Jing Mei’s cultural identity transformation that is influenced not only by her mother but also by her father. This thesis includes three parts. Chapter one presents how critics evaluate the gender issues and ethnic issues of The Joy Luck Club through mother daughter relationship. Chapter two uses Lacanian “Mirror Stage” to illustrate how parents influence Jing-mei’s cultural identity as the representative of a Chinese American woman author in Jing-mei’s four narratives. Chapter three explore how Amy Tan characterizes Chinese American women’s cultural identity through Chinese women’s situation in American society. Thus, we can understand Tan characterizes not only women but also men are victims in a Chinese patriarchal society that shows her stereotypes of Confucianism in The Joy Luck Club to American readers.
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Chuang, Ming-Hua, and 莊明華. "Motherhood in Amy Tan’s The Joy Luck Club and Toni Morrison’s Beloved: A Comparative Study." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/85403917581078277169.
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碩士靜宜大學
英國語文學系研究所
90
Both Toni Morrison and Amy Tan are ethnic female writers in America. Their works mainly present their concern on ethnic women: motherhood. Notably, the way they present and interpret motherhood is different from the white female writers. For a long time, people always take mothers for granted. Only a few people notice mother’s subjectivity in mothering. Traditionally, mothers are submerged by children’s desire and social expectations. However, Toni Morrison’s Beloved and Amy Tan’s The Joy Luck Club subvert the traditional presentation of mother. The protagonists in these two novels all have two identities: mother and daughter. They narrate their own stories. By narrating their personal experiences, they get subjectivity. Further, they accuse the deterioration and distortion of ethnic women in the American society. Besides, their stories help readers understand the difficulties of ethnic women’s rearing children in America. And further exploration of two novels, we find both their original culture and predominant culture in America influence their interpreting motherhood, and shape the unique motherhood.
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Chen, Ling-ying, and 陳怜縈. "Exploring Between-world Situations in Amy Tan's The Joy Luck Club and The Bonesetter's Daughter." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/87426916147936882750.
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碩士國立東華大學
創作與英語文學研究所
91
English Abstract Amy Tan has been viewed as one of the most important contemporary female writers in Asian American literature. Her first and foremost novel The Joy Luck Club (1989) has been favorably accepted by the mass market and the academic institution. Tan’s latest work The Bonesetter’s Daughter (2001) continues to draw a large readership. This novel, like The Joy Luck Club, bridges two different contexts: between mother and daughter, China and America, past and present. Both novels are characterized by her familiar technique of employing different narrative perspectives to tell stories and reveal secrets. Unlike The Joy Luck Club with the octet of characters, including four mother-daughter pairs, The Bonesetter’s Daughter aims at a matrilineage of three heroines. This thesis aims to analyze the intricate relationships between mothers and daughters in Tan’s two novels and the constantly evolving course, i.e., from resistance to reconciliation, in which the daughter heroines struggle for self-assertion through the maternal heritage in between-world situations. This thesis is divided into three chapters. The notion of double-voiced discourse is used to discuss the heroines’ voice and silence in chapter one, arguing that both voice and silence are ways of expression. Chapter two explores the dichotomy between the daughters’ Americanness and their mothers’ Chineseness and analyzes how the daughters orientalize their mothers in order to define their distinctiveness. The final chapter illustrates how the daughters express their ambivalent feelings toward their mothers in their contrasting demands for individuation and connection with them and how the maternal heritage provides some positive support for the daughters to solve their problems. Toward the end of the two novels, the unbreakable bond between mothers and daughters supersedes the generation and cultural gap.
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Chen, Hui-Mei, and 陳惠美. "Representing Chinese America in Fae Myenne Ng's Bone and Amy Tan's The Joy Luck Club." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/31700336007488957910.
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碩士國立交通大學
外國語文學系外國文學與語言學碩士班
98
This thesis deals with the two novelistic works of Fae Myenne Ng’s Bone and Amy Tan’s The Joy Luck Club. Both of the two authors aim at representing the neglected Chinese American history. In this thesis, I appropriate Kristeva’s “abject” and Freud’s “uncanny” to discuss and illuminate the issue of Chinese American identity in the American society. My argument is that in the formation of American citizenship, Chinese American community has always been positioned as the silenced, and by way of a “narrative of absence,” Tan and Ng are able to present the neglected history of Chinese America to the readers. Embedded in the seemingly personal and familial life sequences are the life struggles and sufferings of the Chinese American community. As Ping-chia Feng argues, a “narrative of absence” defamiliarizes and denaturalizes the reading of texts and thus propels the readers to see clearly those which are seemingly absent yet actually in existence. As the readers try to fill in the absence in the texts, they would discover this seeming absent Chinese American history.
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Sun, Chia-chun, and 孫佳均. "Emotional Alchemy: Storytelling in Amy Tan’s The Joy Luck Club and Cristina Garcia’s Dreaming in Cuban." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/50493805443095406197.
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碩士國立中山大學
外國語文學系研究所
93
Amy Tan’s The Joy Luck Club and Cristina Garcia’s Dreaming in Cuban propose the matrilineal narrative of woman suffering and spiritual growth. Multiple narrators tell personal stories about the past events to cope with their current concerns and coming difficulties. Their storytelling functions as a way of making sense of experiences and fashioning identity. The first chapter explores how the narrative activity enables the del Pino and Joy Luck women to construct a preferred version of personal experiences. They not only tell stories to create idealized self-images but also live their lives to justify the images. Though they portray themselves as capable women in personal stories, they often appear vulnerable and mentally unstable in reality. Such contradiction results from the traumatic events the women leave untold, and they resist telling partly because of their madness and partly because of their repudiation of the events. The second chapter will examine their traumatic experiences to understand how their emotional problems determine the representation of their personal narratives. Due to the early traumatic experiences, the women develop maladaptive schemas to cope with their negative emotions. The schemas, however, undermine their interpersonal relationships and prevent them from fulfilling the basic needs. While wrestling with their emotional problems, they unwittingly transplant schemas into the next generation. The third chapter examines how certain crucial moments in their lives enlighten the women to have awareness of their schemas at the core of their suffering. The death of the family members and serious mother-daughter disagreements provide the opportunity for the women to move beyond the limited way they used to perceive themselves and others. With an open and positive attitude, they relate the traumatic experiences to understand how their early suffering contributes to their present difficulties and outgrow what has troubled them before.
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Chang, Samuel Wei-chung, and 張維中. "Storytelling and Private Talk in Amy Tan's The Joy Luck Club, The Kitchen God's Wife, and The Hundred Secret Senses." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/21486602800320649321.
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碩士中國文化大學
英國語文學研究所
89
ABSTRACT Tracing the style of Chinese-American literary works, I find that most writers get used to utilizing the skill of storytelling to construct the form and plots of their novels. Amy Tan, a female Chinese-American bestseller, is a remarkable novelist among them. Tan's charming talent of telling stories is not only shown to readers but also is revealed through her characters─she tells stories to readers and her heroines in novels continuously tell stories to the other female characters too. As an Chinese reader in Taiwan, I think that Amy Tan, who gets a lot of good feedback from readers and makes great selling amounts in the publishing market, really catches Chinese and American readers' eyes and plays an important role in the history of Chinese-American literature. Reviewing The Joy Luck Club, The Kitchen God's Wife, and The Hundred Secret Senses, I found that the discourse of narration is the most particular trait. No matter what each character's monologues and multiple dialogues in The Joy Luck Club or various viewpoints of telling stories in The Hundred Secret Senses and The Kitchen God's Wife, all heroines create the encountered interrelationship, which is associated with characters, readers, and the author. Therefore, Amy Tan's employment of the act of multiple storytelling and monologue toward readers is the main feature of the narrative style in her novels. Focused on the discourse of narration, this thesis explores how it works in Tan's three novels with feminist approaches, and mainly reexamines the bonds between Amy Tan's narration and her female characters. Divided into five chapters, the thesis aims at analyzing storytelling, monologue, and private talk among heroines in Amy Tan's three novels in order to demonstrate the correlated bonds between the texts. In Chapter Two, the concept of storytelling in Tan's three novels are analyzed and defined. Through the monologue, storytelling, and "community of memory", the female selfhood is associated with characters, readers, and the author. All of them review their past, and find the true self in the present life. Chapter Three deals with collision and fusion in Amy Tan's novels, including the sphere of mother-daughter relationships and sisterhoods. It concentrates on studying why the private talk, including the share of personal stories and an exchange of private secrets, is constructed in womanhood, and moreover, it analyzes how the private talk functions among characters when they experience the process from miscommunications to understandings. Four pairs of mothers and daughters in The Joy Luck Club, and the sisterhood between Winnie and Helen in The Kitchen God's Wife; Kwan and Libby in The Hundred Secret Senses, are the target of my research. Moreover, Chapter Four studies the dilemmas of the ambivalent identity in Amy Tan's heroine and her creative writing. According to the cultural conflicts and ethnic confusions, it firstly explores Amy Tan's heroines' dilemma in between two cultures, and then draws attention to Amy Tan' dilemma in controversies of critics. Besides the explosion of a painful personal/family biography, do more possibilities of style show in Chinese-American literature? Therefore, Amy Tan's writing style and the problem of using Chinese mysterious materials toward Americans will be discussed in the Conclusion. This thesis studies monologue, storytelling, and private talk in Amy Tan's novels and analyzes the interrelationship between female characters she creates and Chinese-American literature. Because of Amy Tan's particular narratology, the conflictive female friends, sisters, mothers versus daughters, and even the author versus readers communicate with each other and achieve the unbroken bonds. Moreover, all of heroines could re-identify the self and reconstruct their ideologies for facing the lives in the present, and the future.
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Tsai, Chiu Hui, and 蔡秋慧. "The Male Characters in Mother-Daughter Relationships in Amy Tan' s The Joy Luck Club and The Kitchen God's Wife." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/60373326423889297322.
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Wu, Ji-wei, and 吳紀維. "A Study on Second-Generation Chinese Americans’ Intercultural Communication and Cultural Identity by Examining Amy Tan’s The Joy Luck Club." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/92250340607099565340.
Full textAbstract:
碩士國立臺灣科技大學
應用外語系
103
The researcher is aimed to shed light on the intercultural communication and cultural identity by examining Amy Tan's widely-acclaimed novel The Joy Luck Club. By delving into this novel written by a second generation Chinese American, the researcher is able to reach some conclusions that are of great value in the field of intercultural communication. Therefore, people who are also interested in this field of study can gain useful insight into the issues confronted by second generation Chinese Americans. These issues revolve around the second-generation Chinese Americans' communication with their immigrant parents and also their cultural identity. Due to the fact that China is now an emerging and booming economic powerhouse, more and more people in China flock to the US harboring their American dreams, thus making intercultural communication an important issue that inevitably has a great impact on their daily life. The researcher investigates the issues related to intercultural communication based on Edward T. Hall’s high-context and low-context orientation and Hofstede's model of cultural dimensions with a view to getting a clear understanding of the fundamental factors that bring about the cultural difference. In addition, several social and cultural issues related to second-generation Chinese Americans have also been dealt with in this thesis paper. After a thorough comparison and analysis, the researcher has come to the conclusion that Amy Tan seeks to illustrate multiculturalism not as a hindrance, but a bridge through which cultural differences become complementary rather than conflicting with each other. In addition, the researcher is of the opinion that not only the mother-daughter relationships in The Joy Luck Club can fall into the category of intercultural communication but intermarriage where second-generation Chinese American daughters marry white husbands can also be described as intercultural to a certain extent, which is a point that the researcher tries to prove in this thesis paper.
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Hsiao, Ya-Wen, and 蕭雅文. "Peeling off Your Skin:A Search for Female Self-Identity in Amy Tan's The Joy Luck Club and The Kitchen God's Wife." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/39250862970496927617.
Full textAbstract:
碩士國立成功大學
外國語文學系
85
Peeling off Your Skin: A Search for Female Self-Identity in Amy Tan's The Joy Luck Club and The Kitchen God's Wife Abtsract Whether it is during the Exclusion period or even after the period inwhich they become the model minority, Chinese Americans are never really recognizedof their membership in the white American society. As many critics point out, they have always been agonized by their stereotypes in mass media, such as the evil FuMan-Chu or the emasculated Charlie Chen before the first half of the twentieth century. What is worse, not only do they suffer from racial discrimination in white America but are repudiated by their Asian homeland. And this between-world feeling lends a strong sense of loss as well as fragmentation in the works of most Chinese-American writers. But many appealing, accomplished writers--for example, Maxine Hong Kingston, Frank Chin, David Henry Heung, and Amy Tan--accordingly come to the fore in these decades. Most important of all, the Chinese- American females, given the racist, sexistcondition, are one of the major concerns in the works of many Chinese-American women writers. On the one hand, allured by the white melting-pot myth, they long for white acceptance as well as identification, a rebirth in the New World; on theother hand, conditioned by the dominant society's propensity to think the worst of their ancestors, they deliberately distance themselves from the devalued motherland.Amy Tan, another distinguished Chinese- American woman writer, continues to focus onthe intense, ambivalent relationship between Chinese mothers and the American-born daughters, as Kingston did. Divided into four chapters, this thesis tries to delve into the Chinese-American women characters' developments of the true self in Tan's two novels, The Joy LuckClub and The Kitchen God's Wife, from the feminist psychoanalytic perspective. InChapter I the fundamental Chinese Americans' background, Chinese-American literature, and the controversies among critics, with a brief introduction of Amy Tan, are offered.Chapter II and Chapter III deal with the two novels respectively, trying to discern ifthe second-generation daughters in them, in the end, develop theri true self, given the between-world dilemma. On account of Jiang Welei's significance in The Kitchen God's Wife, I'll also draw attention to her quest of the true self in the patriarchal old China, with short explanation of how sisterhood plays an important role in her life. Andin the concluding chapter IV I' ll make a contrast among second-generation women and between the Chinese mothers and their American-born daughters.
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Yin, Shih-chieh, and 鄞士傑. "Intersections of Gender,Power and Culture in Relationships of Mother-Daughter and Husband-Wife in Amy Tan's The Joy Luck Club." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/beweu4.
Full textAbstract:
碩士國立中央大學
英美語文學系
104
Other than the other Chinese American writers whose works aim to justify the stereotypical image of Chinese in White culture, Amy Tan’s The Joy Luck Club, composed of sixteen interwoven stories told by four couples of Chinese mother and American-born daughter, intends to examine gender identity of Chinese women grown up in different cultures and generations and the contour of power operation in relationships of mother-daughter and husband-wife through the double viewpoints as mother/daughter. Divided into four chapters, this thesis tries to delve into intersections of power, gender and culture in mother-daughter and husband-wife relationships of different generations from the angle of sociology. In Chapter I, a brief introduction of the trend and subject of the contemporary Chinese-American literature, the historical background of the novel and the definition of the three core elements-power, gender and culture are offered. Chapter II and Chapter III respectively discuss the intersections of the three elements in mother-daughter and husband-wife relationships of two generations. Chapter IV is the conclusion. The kinships of family and marriage are very common in the society. However, when two different cultures meet in the kinships, what will happen? Excluding or including each other? Meanwhile, under the different cultivations of cultures and thinking modes, what will the family and marriage of these heroines with dual-cultural background become? Taking family and marriage as the main axis, the thesis attempts to view the intersections, interlockings and inter-effects of familial and marital relationships in the novel under the male-dominant and patriarchal-centered context by Amy Tan’s portrayal of American and Chinese cultures in The Joy Luck Club. My research ultimately finds that through the conflicts and reconciliations between two heterogeneous cultures, which is presented as those between mother-daughter and husband-wife relationships, as the theme of the novel, Amy Tan bridges at first glimpse the seemingly independent and incompatible cultures and demonstrates the possibility of coexistence of heterogeneous cultures.
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Jenny, Wen-chuan Chu. "Impregnation, Anguish and Exuberance:The Repertoire of Chinese American Women's Transformation in Amy Tan's The Joy Luck Club and The Kitchen God's Wife." 2000. http://www.cetd.com.tw/ec/thesisdetail.aspx?etdun=U0021-2603200719105345.
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Chu, Jenny Wen-chuan, and 朱雯娟. "Impregnation, Anguish and Exuberance:The Repertoire of Chinese American Women’s Transformation in Amy Tan’s The Joy Luck Club and The Kitchen God’s Wife." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/61575041969616467774.
Full textAbstract:
博士國立臺灣師範大學
英語研究所
89
Impregnation, Anguish and Exuberance: The Repertoire of Chinese American Women’s Transformation in Amy Tan’s The Joy Luck Club and The Kitchen God’s Wife Abstract The repertoire of transformation is crucial for Tan’s Chinese American women to the mapping out of their positions and searching for their subjectivity. In this dissertation, I will argue that in Tan’s The Joy Luck Club and The Kitchen God’s Wife, these Chinese American women tend to become masters in the postmodern and post-colonial contexts. By possessing the subjective, the recognizable and the powerful positions, these Chinese American women encounter their challenges, constitute their identifications and reconstruct their histories. The phases of impregnation, anguish and exuberance in the repertoire of transformation enable these Chinese American women to experience, recognize and complement their positions in both Chinese and American societies, proposing several significant issues in the postmodern and post-colonial world and conjuring up the multi-faceted perspectives of the eclectic culture. The introductory chapter includes four postmodern perspectives and theories which foreground the subsequent argument: Jean Baudrillard’s concept of simulations, hyperreality and implosion; Jacques Lacan’s psychoanalysis on the Imaginary, the Symbolic and the Real; Michel Foucault’s power/knowledge and Friedrich Nietzsche’s the will to power. Different positive and negative criticisms help me to analyze the complicated structures and multiple narratives in Tan’s novels. Furthermore, I will expound that The Joy Luck Club and The Kitchen God’s Wife share the same subject matters which are adequate for me to be in the full-scale of re-interpretation and re-inscription in the novels. Chapter Two highlights the phase of impregnation which centers on three interrelated themes: a false concept of masculinity; the misrecognition of Tan’s Chinese American women’s subjectivity; and the idea of docile bodies. In Tan’s first two novels, the Chinese mothers receive, accept and obey the doctrines of their elders without resistance or any comment. They are raised and taught to be docile bodies in their patriarchal society. Their American-born daughters submit themselves to the simulations of American ideal models without question. They are educated and trained to be docile bodies in a white male dominated society. They only suffer from their misrecognition. The main concern of Chapter Three consists in the masculine myth, the function of language and the idea of “the death of God” in the phase of anguish. Tan’s Chinese American women confront the deepest, painful tragedies in their marriages; the language barriers of their cultural conflicts and the declaration of non-existence of God in their beliefs. They are encouraged to articulate silence and to express themselves as desiring productions, speaking subjects and autonomous individuals. Chapter Four analyzes how a will to transgression and transcendence is operated on a life of exuberance for these Chinese American women. Undergoing the third phase of transformation, I will tend to explore these Chinese American women’s potential power and energies to involve revolutions in their lifestyles, discourses, bodies and sexuality and, thus, to achieve the wish-fulfillment of their own. Nietzschean concept of the overman sets up a model for these Chinese American women to embody their personalities. Possessing the will to power, these Chinese American women become masters in the power positions of their cultures as well as societies. Moreover, Foucauldian concept of an “aesthetics of existence” opens up for a new way of these Chinese American women’s lives. They, thus, realize and cherish their Chinese heritage. The concluding chapter looks upon the doctrine of the eternal recurrence in repertoires of these Chinese American women’s transformation. To be precise, the process of impregnation, anguish and exuberance, at some point, reflects the doctrine of the eternal recurrence. Through the eternal recurrence of transformation, I proceed to applaud these Chinese American women like the overman who tries to break with conformity and overcomes himself in his culture as well as society.
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Li-Ya, Wang, and 王俐雅. "Culture, Language and Self in Maxine Hong Kingston''s The Woman Warrior , and Amy Tan''s The Joy Luck Club and The Bonesetter''s Daughter." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/84405817950354485880.
Full textAbstract:
碩士中國文化大學
英國語文學研究所
92
Abstract Maxine Hong Kingston and Amy Tan, two of the most successful contemporary Chinese American female writers, are engaged in providing voices from a minority female’s view point in America. In Kingston’s work The Woman Warrior and Tan’s The Joy Luck Club and The Bonesetter’s Daughter, the depression felt by females in a patriarchal society in China before WWII, the prejudice towards immigrant females in America, the conflict between American and Chinese cultures and two generations, and the difficulty in searching for a sense of self and identity are the main themes in their writings. In this thesis, I aim to examine how the Chinese culture creates conflict in the multiple cultures in America, especially where a gap and misunderstanding occurs between mothers and daughters. My thesis includes five chapters. Chapter One will briefly introduce the similarity of the two writers. Chapter Two will observe through Althusser’s theory how the patriarchal discourse in China depresses females by operation of State Apparatuses (SAs) and Ideological State Apparatuses (ISAs) and use Foucault’s theory to examine how the females subvert this power. Chapter Three will focus on the racism, sexism and cultural prejudice that the mothers and the daughters have to confront in the new land and explore why the cultural differences cause the severe conflicts between the immigrant mothers and their daughters. Chapter Four will focus on the purpose of employing story-telling and polyphony in the texts. Bakhtin’s theory on Dialogism and the function of language will be discussed to examine the exchanging of protagonists’ ideology and reconstruction of selfhood. The study will be devoted to the connection between the self, culture and language, to examine how the self forms itself in the influence of culture and reconstructs by employing language and an exchange of ideologies.
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Chiu, Szu Chieh, and 邱思潔. "Translation Strategies of Cultural Metamorphosis in Chinese-American Literature---On Chinese Translations of Amy Tan's "Joy Luck Club" and Maxine Hong Kingston's "The Woman Warrior"." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/46654269566800434011.
Full textAbstract:
碩士國立臺灣師範大學
翻譯研究所
94
Summary Intertexts are an obvious characteristic of Chinese American literature, which means English-speaking authors using English to describe stories related to Chinese culture or history. Proverbs, stories, or folktales told in these works are often different from the cognition of ordinary Chinese readers. In this thesis, I named this kind of difference as “cultural metamorphosis”. As a translator, how to deal with this kind of “cultural metamorphosis” in back translation? Should we render the text word for word to show respect for the authors? Or, should we modify the text to cater to the tastes of readers? No matter the answer is the former or the latter, what are the reasons of choosing a specific translation strategy? How do Taiwanese translators deal with the problem? The thesis tries to discuss the translation strategies of “cultural metamorphosis” through the Chinese translations of Amy Tan’s “Joy Luck Club” and Maxine Hong Kinston’s “The Woman Warrior”, both of which are classics of Chinese American literature. The Chinese translation of “Joy Luck Club” was translated by Yu Ren-rui and published in 1990. As to “The Woman Warrior”, two translations are available. One is Zhang-Shi’s version, and the other is Wu Qi-ping’s. Both of them were published in 1977. By utilizing Peter Newmark’s and Hans J. Vermeer’s translation theories, I explored the translation strategies of cultural metamorphosis through three aspects: authors, readers, and texts. It is hoped that the conclusions can serve as references for translators rendering similar texts. The conclusions are as follows: If the cultural metamorphosis belongs to the metamorphosis of information and facts, that is, “unconscious” metamorphosis, and the author is positioned as a popular writer who serves the general public, translators should modify the texts regarding the cultural metamorphosis, so as to fulfil the readers’ expectations. Amy Tan’s “The Joy Luck Club” is a case in point. On the contrary, if the cultural metamorphosis is the expressive creation of the author, that is, “conscious” metamorphosis, and the author’s position is more academic, serving the academic circles or educated people rather than the general public, translators should keep the original texts intact, so as to convey the messages of the author. Maxine Hong Kingston’s “The Woman Warrior” is a case in point. Key words: Chinese American literature, cultural metamorphosis, Amy Tan, Maxine Hong Kingston, translation.
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Tsai, Ying-ling, and 蔡英鈴. "From “Fighting the Mother” to “Daughtering the Mother:” A Study of Mother-Daughter Relationships in Amy Tan''s The Joy Luck Club and The Bonesetter''s Daughter." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/64867448684220052845.
Full textAbstract:
碩士國立高雄師範大學
英語學系
93
This thesis aims at interpreting mother-daughter relationships in Amy Tan’s The Joy Luck Club and The Bonesetter’s Daughter through Luce Irigaray’s perspective to explore the two works’ similar process of the daughters’ “fighting their mothers” and their difference in whether the daughters’ attitude transforms into that of “daughtering their mothers.” As a contemporary Chinese American writer, Amy Tan has the freedom to reveal the fault in American ideology in the interaction between mothers and daughters and places it within the Chinese American context. The autobiographical characteristic of Amy Tan’s writing makes us believe that she is in some senses writing about her relationship with her mother in fictional forms. Therefore, this thesis focuses on the daughter’s viewpoints to explore the reasons for the conflicts between the daughter and her mother, the consequence of the daughter’s breaking away from her mother, and the possibility of the daughter’s turning back to love her mother. Chapter One offers the dominant theme of this thesis, the theoretical background of Luce Irigaray’s perspective, and the cultural and personal background of Amy Tan’s creation. Tan’s being a contemporary Chinese American writer makes Irigaray’s theory applicable in the Chinese American context. Chapter Two scrutinizes the ground that causes the conflicts between these Chinese mothers and American daughters. The “rules” in the western symbolic order make the daughters antagonistically break away from their mothers for the male-defined maturity. Thus, conflicts between mothers and daughters are inevitable in western society. In The Joy Luck Club and The Bonesetter’s Daughter, the different cultural backgrounds between mothers and daughters just enlarge the fractures between them. Chapter Three presents the predicaments in these American daughters’ lives out of their fighting their Chinese mothers. According to Luce Irigaray, the prohibition of the daughters’ love for their mothers in the western symbolic world does harm to the daughters’ identity and subjectivity, which leads to numerous difficulties in the daughters’ lives. Chapter Four examines the possibility of the daughter’s turning back to love and further daughter her mother, which helps the daughter overcome her quandaries in life. Besides, in the Chinese American context, the daughter’s identifying herself as her mother’s daughter enables the daughter to identify herself as a Chinese American. Chapter Five sums up the main arguments of this thesis and interprets the meaning of writing The Joy Luck Club and The Bonesetter’s Daughter to the author Amy Tan. In the epigraphs of the two novels, Tan dedicates both of her works to her mother and her grandmother. The different developments of the two novels just record the process of Tan’s maturity through her exploration of her relationship with her mother, which suggests that every woman who is also a daughter can attain her genuine maturity through sincerely exploring her relationship with her mother.
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Lo, Pei-Shu, and 羅珮恕. "The Auto-Criticism of Language in a Polyphonic Novel: the Dialogic Interaction between the Chinese Mothers and their American-born Daughters in Amy Tan's The Joy Luck Club." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/65394424085363519436.
Full textAbstract:
碩士國立成功大學
外國語文學系
86
<喜福會>在美國造成轟動, 登上暢銷排行榜, 並獲得很多批評家高度 肯定. 可是這本小說的結構安排使得讀者很難弄清楚故事中人物的關係, 因為常常得由某個故事跳讀到另一故事. 這缺乏單一主軸情節的去中心式 結構將小說分成四部份, 每個部份先前置一段插曲小故事為導言, 再接四 則由不同主角敘述各自的回憶故事. 譚恩美這樣的結構安排,可用巴赫汀 的對話理論加以闡釋. 巴赫汀認為小說的結構本身就像一個多音言 語. 這個言語匯聚了多樣的言語型態. 這些言語型態並非只是抽象的語言 組成, 而是不同意識型態的呈現.他們無法和整個語言情境抽離. 例如: 語言環境背後所裝載的社會價值觀.這些異質的語言, 在多音小說這個戰 鬥場內, 彼此交談, 但衝突對峙. 可是, 唯有與異議他者 對話,在衝突中 才能自我檢視,批判,並改變信念與行為,進而對自我更加了解. <喜福 會>就是多音小說, 其中眾多敘述者表達各自觀點, 彼此對話. 因此,為了 簡化眾聲喧嘩的對話情形, 我依據巴赫汀理論中語言必然存在的發話者/ 受話者(我/他)關係將眾聲略化成這二音: 母親們與女兒群的聲音( 我/ 他).這二個具有發話者/受話者關係的聲音在他們的語言活動中,意識形態 交鋒對話,並期待對方回應.於互動過程中,母女們對峙衝突,經過溝通,以 致於後來改變彼此態度與關係. 於本論文的二到四章,我將說明中國母 親與其華裔美人女兒間的互動對話過程.這三章分別用來略分眾聲為二音. 呈現二音如何互動,及互動結果.至於序論會有巴赫汀對話理論主要論點的 介紹.結論中,我則以霍爾對屬性看法重申巴赫汀認為對話中他者對我的重 要性與影響.霍爾亦認為他人迥異觀點也助於自我另番了解與自我屬性重 建. The Joy Luck Club received high praise from many critics after it made its big hit in America and became a best seller. But some readers felt that its schematic structure forced them to move too often from one story to another to get a clear idea of who is related to who. This decentered structure encompasses four sections, each consisting of four stories told by different narrators and each introduced by a brief prefatory story. The schematic structure resulting from Tan's decision to let multiple narrators speak from their own angles of vision can be justified by Bakhtin's concepts of a polyphonic novel. A multivocal novel is a novelistic discourse conglomerating a diversity of speech types. According to Bakhtin, these diverse languages are not abstract linguistic constituents, but the representations of varying consciousnesses, because a language is inseparable from its total situation, such as its social values. These heterogenous consciousnesses or languages, juxtaposed in the arena of a polyphonic novel, exert dialogical verbal interaction, addressing one another and thus encountering the tensionof conflicts and struggle. They are, as a result, provided with a chance to examine, criticize, and reconceptualize themselves. Only in the light of the Other can a language be led to become more aware of itself. In other words, an ideological language is by nature dialogical; it wants to be heard, understood, and answered. The Joy Luck Club, with its multi-perspectival form, allows a plurality of narrators to speak from their own points of view and thus to address one another. However, in order to simplify my representation of the whole process of the dialogic interaction between the Chinese mothers and their Americanized daughters, I will generalize the voices of these multiple narrators into two categories on the basis of Bakhtin's notion about the addresser- addressee relation of an utterance: the languages of the Chinese mothers and their American-born daughters. Related to the dialogical addresser-addressee relationship, the mothers and the daughters, signifying two discrepant value systems, speak to each other, yet also anticipate a responsive answer from the Other. Therefore, Bakhtin's concepts of dialogics account for Tan's arrangement of multiple narrators, which causes the decentered structure of The Joy Luck Club. The whole process of the conflicting dialogical interaction between the Chinese mothers and the American-born daughters will be illustrated in chapters two to four. All of the three chapters are aimed at the generalization of multiple languages into two categories, at how the two languages dialogically inter-animate, and at the result of their conflicting dialogue and their reconceptualization of themselves. As for my Introduction, I will introduce Bakhtin's crucial notions about the auto-criticismand dialogical nature of language. In my Conclusion, the significance of the Other related to Self is highlighted because only through the difference of the Other can a language be illuminated.
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Pan, Torng-liang, and 潘同亮. "The Cultural Conflict and Integration in "The Joy Luck Club"." Thesis, 1996. http://ndltd.ncl.edu.tw/handle/85764196355769458398.
Full textAbstract:
碩士政治作戰學校
外國語文學系
84
The purpose of this thesis is to probe the family problems which occurred in the four immigrant families in The Joy Luck Club and discover a key for solving these problems.This thesis is divided into four chapters and seven sections. In chapter one, I portray the struggle of early Chinese immigrants in America, and discuss how negative stereotypes of Chinese developed. Then I discuss the popularity of Chinese American literature in recent years and analyzes its dominant subject matters. In addition, I also present some literature reviews. In chapter two, I separately discuss the four mothers and four daughters' marital problems in terms of culture: eastern Confucianism and American feminism. In chapter three, I depict the mother-daughter relationship; I show how Tan portrays how mother-daughter conflicts occur and how they become resolved. Chapter four discusses the immigration of Chinese to the many corners of the globe in their search for a better life. Because different places have different cultures and customs, adapting to different circumstances can be a tangled problem. These problems include language, marriage, and family ethics. I hopee this study could offer a key to these problems.
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Pan, Tong Liang, and 潘同亮. "The cultural conflict and integration in The joy luck club." Thesis, 1996. http://ndltd.ncl.edu.tw/handle/14999939476564593619.
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Chiu, Ya-Li, and 邱雅莉. "Beyond Dread: The Postcolonial Fear and Transition in The Joy Luck Club." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/96c6vy.
Full textAbstract:
碩士國立彰化師範大學
英語學系
106
This thesis aims to explore the fear of the heroines in Amy Tan’s The Joy Luck Club and analyze the relief of dread. The study adopts postcolonial perspective, mainly with the notion of Other, to examine the fear of the characters and delves into the development of the heroines with Peter Barry’s three-stage model of postcolonial literature. The thesis consists of five chapters. The first chapter summarizes critical reviews on The Joy Luck Club and briefs the backgrounds of the author and novel, providing a comprehensive understanding of the text. Chapter Two builds up a theoretical framework for the thesis. First, the postcolonial fear is explicated with the concept of Orientalism. Secondly, the hegemony and aphasia under representation are subsequently expounded. Finally, the postcolonial writing and its three-stage model which includes the unquestioning acceptance of mainstream culture, the claim for partial rights of genre, and the achievement of cultural independence are discussed in the last part of the chapter. Chapter Three focuses on the fear of the heroines. Owing to the instillation of cultural hegemony, the characters subconsciously look down on themselves for the identity of Other, giving rise to an inferiority complex and fear. Thus, they dare not resist the discrimination in society and the exploitation in marriage. Eventually, they lose themselves in dread. Chapter Four illuminates the conversion of the heroines. This chapter analyzes the transition of the characters under two diverse cultural hegemonies with three-stage model of postcolonial literature, which includes Chinese-American daughter’s internal colonization of white supremacy and the Chinese mother’s ideological oppression of patriarchy. In the beginning, the heroines adopt an obedient attitude toward the hegemony. However, under constant oppression, they are awakening to think about their value and rights. Finally, they take the plunge and retrieve their voice and pride, controlling their own lives. Chapter Five concludes the theories and analyses, affirming the significance of the novel. Overthrowing the obedient stereotype of Chinese, Tan successfully shapes the image of courageous fighter and conveys the thought that self-respect and self-confidence could be the best strategies for overcoming dread and creating Joy and Luck.
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Hsiao, Chia-ling, and 蕭嘉鈴. "Translating the Style of Chinese American Literature: A Case Study of The Joy Luck Club." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/51044705224669490385.
Full textAbstract:
碩士國立高雄第一科技大學
應用英語所
97
In recent years, Chinese-American writings have been blooming in the West, and Chinese-American writers have earned a significant position in the Western literary world. In the second half of the twentieth century, for example, Maxine Hong Kingston’s work, The Woman Warrior: Memoirs of a Girlhood Among Ghosts (1976) brought Chinese-American writings into a new phase, as an ethnic literature in the mainstream. Later, the publication of Amy Tan’s The Joy Luck Club (1989) and its adapted movie have attracted even more attention around the world. Though Chinese-American literature is part of American literature, they are quite different in nature. Many Chinese-American writings are featured with bilingual and bicultural characteristics. Chinese-American writers, like Amy Tan, often include things both about China and the United States in their works, such as culture, value and expressions. These elements are significant in this kind of literary work. The theme and style of The Joy Luck Club are the main causes of its success. Style is one of the important spirits in literary works and is often arranged purposefully by an author. In Chinese-American writings, the bilingual and bicultural features are a unique style. Therefore, it is important to keep the style in the translation, or the work will be tasteless. In this thesis, Tan’s The Joy Luck Club and its Chinese translation by Taiwanese translator, Yu Ren-rui, serve as examples to examine whether or not the bilingual and bicultural features are preserved in the Chinese translation.
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Wendy, Shu-Wen Fan, and 范淑雯. "Translation Strategies of the Multilingual Text：Amy Tan’s The Joy Luck Club and The Bonesetter’s Daughter." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/34876998975273752987.
Full textAbstract:
碩士輔仁大學
翻譯學研究所在職專班
97
Abstract This thesis consisting of three chapters and a conclusion focuses on the translation strategies of the multilingual text in Amy Tan’s novels, especially The Joy Luck Club and The Bonesetter’s Daughter. The first chapter presents the motivation of this topic and the literature review. The second chapter introduces the multilingual text which the novel consisted of together with both the different languages and accents. And the third chapter, the core of this thesis, further discusses Chinese American Literature and, in particular, Amy Tan’s writings：The Joy Luck Club, The Kitchen God’s Wife, The Bonesetter’s Daughter and The Opposite of Fate. In this chapter I analyze the two translations of The Joy Luck Club and The Bonesetter’s Daughter respectively in Taiwan and Mainland China in terms of the following topics: 1. Translation of the Code Switching 2. Wade-Giles (Romanized) spelling 3. Ignoring of the various aspects of the different languages 4. Additions, Omissions and Mistakes 5. Other Languages 6. Pidgin English 7. Sign Language 8. Cultural Deformation Translation is not an easy task, and there is no fixed strategy for it. However, I believe, a translator should both fully honor the author and refer to the original text no matter whether it is reasonable or not. In a nutshell, this thesis aims to help future translators when encountering any similar problems for translation to find some guidelines, and hopefully, this modest analysis can offer some useful suggestions in the future to those who are interested in multilingual text translation.