...Summary and Analysis Jing-Mei Woo: A Pair of Tickets Jing-mei is on a train to China, traveling with her seventy-two-year-old father, Canning Woo. As the train enters Shenzhen, China, Jing-mei begins to "feel Chinese." Their first stop will be Guangzhou. Like her father, Jing-mei is weeping for joy. After her mother's death, a letter arrived from China from her mother's twin daughters from her first marriage. These were the two children whom she was forced to abandon on the side of the road in 1944. Jing-mei's father asked Auntie Lindo to write back to the girls and tell them that their mother was dead. Instead, Auntie Lindo took the letter to the Joy Luck Club. Together, the women answered the letter, signing Suyuan Woo's name to it. Jing-mei agrees that she should be the one to tell her half-sisters about their mother's death. But after dreaming about the scene many times, she begs Auntie Lindo to write a letter to the sisters explaining that their mother is dead. Auntie Lindo does so. The train pulls into the station, and the visitors are met by Canning's great-aunt. The reunion is emotional. Other relatives join them. Jing-mei wins her young cousin Lili over with instant photographs from her Polaroid camera. They soon arrive at a magnificent hotel, much grander than Jing-mei had expected. Jing-mei is anxious to have her first real Chinese feast; however, the native-born Chinese family decides that they want to eat American — hamburgers, French fries, and apple pie...
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...the test of time. Jane Eyre and The Joy Luck Club both connect the maternal figure and use the narrative language to tell the stories of the women in both novels. Charlotte Brontë has created a novel that is referenced often and allows coming of age novels to spring-board off of her beliefs. Amy Tan’s coming of age novel could stand to be the test of time and can be modeled after Jane Eyre. Jane Eyre not only stands the test of time by showing the importance of women in society through Jane, but also first person to iterate the importance that Charlotte Brontë draws the reader into the narrator’s feelings. The Joy Luck Club uses the narrative language which can stand the test of time for the future similarly to Jane Eyre and develop characters through first person. Often times Brontë does not mention Jane’s mother, however, when she does elaborate on a...
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...exact opposite effect and produce feelings of animosity, disaffection and estrangement. The texts ‘The Joy Luck club’ and ‘Devil wears Prada’ are both exemplary texts in depicting the interpretation of understanding and a lack of understanding which acts as a catalyst to belong. ‘The Joy Luck Club’ tells the story of four Chinese immigrants and their Americanised daughters who tell the stories of their mothers through four parables. ‘The Devil Wears Prada’ tells the story of a young woman, Andy, who in her newly gained job as a co-assistant in the chaotic unfamiliar world of high-end fashion, portrays the concept that understanding can nourish belonging or a lack of understanding can hinder belonging, thus portraying an absence of belonging. Belonging to a culture brings stability at a place. This aspect is widely expressed through the text ‘The Joy Luck Club’ with Jing-Mei as the focus. After the death of her mother, Jing-Mei is forced to carry on the role as the ‘fourth corner’ in the parable ‘Joy Luck Club.’ Through her barriers of lack of understanding and knowledge of her Chinese culture, it is evident from the outset that she doesn’t belong to the Joy Luck Club, and thus feeling a sense of isolation and displacement. This is evident through the quote, “Nobody says to me ‘come sit here, this is where your mother used to sit’” (pg 32). Throughout the chapter, Jing-Mei suffers silently as she receives criticisms for dropping out of school. The mood in this chapter is quite...
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...[pic] Chinese Traditional Woman Image --- the Chinese Mother in Joy Luck Club by 陆婉霖 A thesis presented to the School of English Studies of Xi’an International Studies University in partial fulfillment of the requirements for the degree of Bachelor of Arts May 18, 2011 Class: 2007-19 Advisor: 常莉 西安外国语大学 毕 业 论 文 开 题 报 告 |姓名 |陆婉霖 |性别 |女 |班级 |2007-19 |学号 |0701011921 | |论文题目： | |Chinese Traditional Woman Image --- the Chinese Mother in Joy Luck Club | |《喜福会》中中国式母亲体现出的中国传统女性形象 | |任务起止日期: 2010 年9 月1 日 至 2011 年 5 月27日 | |论文主要内容及参考文献： | |本文从跨文化交际和文学的角度对谭恩美的小说《喜福会》进行了分析。通过认知解读传统文化中的女性角色以及书中主人公的遭遇，使读者理解| |书中上一代母亲们的自我认知历程以及在此过程中所形成的价值观。文中展现了四个母亲和四个女儿的成长背景及人物性格，概述了每个人物所| |经历的不同境遇，分析了单独事件的文化原因及影响，从而呈现出典型的中国传统女性形象。文章从不同角度举出例子概括这一普遍的社会现象| |并且分析了母女冲突的原因并且从积极的角度对其结果给予了分析与展望。 | |参考文献： ...
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...Yamei Chen 1/16/2012 The Joy Luck Club, I’ve watched that movie many times, when I was a lot younger and also recently, because of my age, what I’ve experienced in life, each time I viewed the movie, my mind set are different as well, yet everything I watch this movie it brings tears into my eyes. When I was younger viewing the movie, which was very close to reality to what actually happen to women in China in the time, I think now when I view the movie, I’ve missed the whole point of the movie, it was really describing the relationship between mother and daughter in different time zone and culture background. “As cultural institutions, mass media often reflect some aspects of the society in which they operate. The critically acclaimed film The Joy Luck Club (1993) reflects diaspora experiences of Chinese immigrant women and depicts intergenerational tensions between Chinese mothers and their American-born Chinese daughters. It also reflects the struggles, dilemmas, and conflicts in the search for identity and self-development among Chinese and Chinese American women.” (Yea-Wen, C. (2007). The storyline is centered upon Jing-Mei Woo also referred as June, who struggles to deal with the recent death of her mother Suyuan Woo, throughout the movie. The movie takes place at a reception held on June’s behalf before her trip to China to meet her twin half-sisters who were abandoned by their mother many years ago. June struggles with her mother’s past which she never fully understood...
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...Oriental and African Studies in London I was fortunate enough to have David Birmingham as a thesis supervisor. I hope that some of his knowledge and understanding of Lusophone Africa has found its way into this book. I owe an equal debt to Shula Marks who, over the years, has provided me with criticism and inspiration. In the United States I learnt a great deal from ]eanne Penvenne, Marcia Wright and, especially, Leroy Vail. In Switzerland I benefitted from the friendship and assistance of Laurent Monier of the IUED in Geneva, Francois Iecquier of the University of Lausanne and Mariette Ouwerhand of the dépurtement évangélrlyue (the former Swiss Mission). In South Africa, Patricia Davison of the South African Museum introduced me to material culture and made me aware of the richness of difference; the late Monica Wilson taught me the fundamentals of anthropology and Andrew Spiegel and Robert Thornton struggled to keep me abreast of changes in the discipline; Sue Newton-King and Nigel Penn brought shafts of light from the eighteenthcentury to bear on early industrialism. Charles van Onselen laid a major part of the intellectual foundations on which I attempt to build. I must also pay tribute to the late F.M. Maboko, who introduced me to the joys and tribulations of fieldwork; I hope that many of the concerns of the old miners weinterviewed have fotmd a place in this work. The long period of gestation that finally resulted in the birth of this book would not have been possible without the...
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