喜福会人物简介
_喜福会_女权主义解读
许露丝,安梅的女儿,结识了白人医学大学生泰德,她不顾母亲的 反对和婆婆的种族歧视而坚持嫁给了英俊的泰德。受中美文化教育的 露丝在实际生活中把自己定位在中国传统女性身份上,一直让泰德决 定家中的一切事情。露丝的这种中国传统妇女的行为激怒了丈夫,丈夫 指责她毫无责任心并提出离婚。当得知女儿的婚姻无法挽回时安梅劝 女儿要振作起来,用自己母亲的悲剧来教育女儿,不要指望心理医生,
而是要勇敢面对,对自己濒临绝境的婚姻“但至少,你自己,也应该大声 说几句什么”。母亲是在对女儿进行心灵的浇灌,告诉她做人要振作,要 有主见,要显示出你的存在和价值,不要轻言放弃。曾把母亲的话当作 耳边风的露丝在婚姻危机时突然得到启发和力量,当泰德拿着离婚协 议书找露丝签字时,她明确告诉他她就住在这套老房子里,哪里也不 去。她用足全身力气大声说:“你反正不能就这样把我从你社会中拎出 去这么顺手一丢。”露丝找回了被婚姻埋葬的声音和自我,她采纳了母 亲的建议,决定不再软弱地顺从丈夫的安排在离婚协议书上签字,把自 己心爱的住所拱手相让,而是采取积极的行动维护自己的权益。许露丝 面对想把她一弃了之的丈夫变得强硬起来,这使她的丈夫慌乱而无对 策。虽然我们不知道他们的婚姻是否走到了尽头,但是许露丝找回了自 我,找回了尊严,找回了自我价值。
《喜福会》中的母亲-10页文档资料
《喜福会》中的母亲《喜福会》作为谭恩美的成名作与代表作,自问世以来,就登上《纽约时报》的畅销书排行榜,时间长达九个月之久,并被拍成电影,在全球发行。
她的小说之所以能引起人们的强烈关注,最重要的是其小说所关注与描写的,不是远离人间生活的妖魔邪神,而是与人间生活最近的人与人之间的关系。
母女关系是人类社会中最为重要的关系之一,已成为理论界、学术界所关注的焦点。
《喜福会》与谭恩美的其他几部小说都着力展示母女关系主题。
她自小与自己的母亲之间存在问题,相互之间造成了许许多多的伤害,所以她是从自我生活经历、情感深处出发来进行小说写作。
母女的故事在世界上许多家庭都发生过,许多家庭有过类似的烦恼,因此读起来倍感亲切,容易产生情感共鸣。
读者对于小说中的母女关系的解读也是多种多样。
NancyChodorow在她的《母性的产生》一书中这样描述母女关系:“母亲抚育女儿,而女儿长大后又成为母亲。
”她从分析心理学的角度出发,指出婴儿在早期发育阶段会有一种与母亲合二为一的情感依赖性,转而言之,婴儿主要是从与母亲的关系中使自我意识得到发展。
这一观点正可运用于研究《喜福会》中母爱之间的代系传承。
本文主要通过文本细读的方法,从第一代母亲的角度出发,着力于母爱的解读,把小说中的母爱分为三种类型:坚强的母爱、严厉的母爱和失却的母爱,分析小说《喜福会》中第一代母亲对女儿的爱影响到了第二代母亲与女儿的关系。
小说中第一代母亲对女儿所表现出来的母爱形式各不相同;而这些女儿们成为母亲后用她们所理解的母爱去爱自己的女儿,造成了母女间的隔阂,但这种隔阂最终在博大宽容的母爱下被消融,这种无比生动而真实的母女亲情让人感动深思。
这是谭恩美想表达的主题,也是她的创作的理想。
小说结构安排上,吴素云与吴精美这对母女处于整个小说的核心地位,她们之间的母女关系是小说中整个华裔母女关系的一个典型。
吴精美作为一个美国出生并长大的女儿不仅是故事的开篇,也是故事的结尾。
吴素云是小说里唯一没有讲述童年生活经历的母亲。
女性主义经典之作《喜福会》
女性主义经典之作《喜福会》前两天,一位其貌不扬的中年阿姨火了。
说到原因则是她的一场“逃离”,一场对于婚姻和家庭的逃离。
在过去的三十年里,这位苏姓阿姨一直和自己的丈夫貌合神离,生活的费用和开销也是AA制。
“我甚至连对沙发的使用权也没有!”视频里苏阿姨云淡风轻地语气难掩深深的落寞之情。
她在那辆自己购买的小汽车上,微笑地对大家说:“我发这个视频就是想唤醒那些和我一样的中国女性,要走自己的路,为自己活一次!”朴素直白的语言,却一下子戳中了无数中年女人的泪点,也同时让那些被生活里的琐碎消磨到浑浑噩噩的女人们警醒:作为女人我们究竟应该怎么样活着?如果你想弄清这个问题,我建议你翻翻《喜福会》(The Joy Luke Club)。
作为华裔小说家谭恩美的处女作,《喜福会》一经面市,便造成了巨大的轰动,斩获各类大奖,成为经久不衰的畅销书。
在书中,谭恩美通过塑造一个个饱满的女性形象,不仅表现出了母女之间的深情,也以母亲的悲惨命运和女儿们的不幸婚姻为切入点,讲述了她们如何遭受男权社会的压迫以及走向反抗的过程,逐步让读者明白:女性寻找自我的过程,是异常艰辛的,但是即便如此,我们仍然不能放弃,不能认命,应当让世界听到我们的声音,即使微弱,也是一种力量!1九岁那年,许安梅再次见到了自己的母亲,尽管此时,她在安梅的眼中形同陌路,但是她仍认出了她,安梅说:“我知道她就是我的母亲,因为我能感受到她的痛苦。
”在母亲离开的那些年里,她对于母亲所有的印象来自于外婆,那个生养了母亲的女人。
“永远都不要提你母亲的名字。
说她的名字无异于往你父亲的坟头啐了一口。
”安梅的母亲出现的时候,外婆已经提不起力气来骂她了,因为她已经病入膏肓。
她就这样出现在外婆面前,舅母用恶毒的话咒骂她,她不回嘴;舅舅抽了她一个耳光,她也只是把头低得更深了。
多年前,因为守寡失节,嫁给了有钱人做小老婆,母亲早已被这个家族驱逐。
即使她早已不被家族承认,当外婆病重时,作为女儿她仍顶着巨大的压力和漫天的谩骂回到母亲身边,用一种最极端的方式进行最后一次忏悔——“母亲在自己的手臂上割下一片肉,眼泪从她的脸上淌下,血,也搭啦搭啦地滴在地板上。
电影《喜福会》观后感
电影《喜福会》观后感《喜福会》观后感第一章:电影背景介绍《喜福会》是一部由导演黄晓明执导,讲述了一个富商团队举办婚礼,意外引发的一系列喜剧故事的电影。
影片于2022年上映,主要演员包括黄晓明、杨颖、张艺兴等。
第二章:剧情梗概电影以张三和李四二人的婚礼为中心展开。
张三是一个富商,他的婚礼备受关注,但是在迎娶新娘的路上,车队迷路导致误入一个偏僻的村庄。
李四是一个出租车司机,他因为要接张三和新娘却迟到而困扰。
两人的命运相交,通过一系列的喜剧事件,他们最终解决了问题并成功完成婚礼。
第三章:人物角色介绍1:张三、富商,主角之一,婚礼备受关注。
2:李四、出租车司机,主角之一,因为迟到而感到苦恼。
3:新娘:张三的未婚妻,美丽善良。
4:新郎家人:对张三的婚礼有很高的期望。
5:乡村居民:偏僻村庄的居民,通过与张三和李四相遇,开启了一段有趣的故事。
第四章:剧情展开1:张三的婚礼开始前,车队迷路导致误入偏僻村庄。
2:李四接到任务要接张三和新娘,但是由于一系列的意外,迟到了。
3:张三和李四相遇,开始了一段有趣的旅程。
4:张三和李四面临各种困难和挑战,尝试解决问题。
5:最终,张三和李四成功地完成了婚礼,并获得了乡村居民的喜爱和祝福。
第五章:观影感受《喜福会》是一部充满笑点和温情的喜剧电影。
影片以富商婚礼为背景,通过一系列的喜剧事件,展现了人性的善良和乐观向上的力量。
同时,影片也反映了一些现实问题,例如追求财富的盲目和人际关系的纽带。
第六章:影片教育意义《喜福会》通过喜剧的方式传递了一些深刻的教育意义。
影片告诉我们,人生不是只有成功和财富才是最重要的,家庭和情感的温暖才是我们真正追求的东西。
同时,影片也呼吁人们关注他人的需要,关爱社会,通过善行来帮助别人。
第七章:法律名词及注释本文档未涉及法律名词及注释。
附件:1:电影《喜福会》剧照2:电影《喜福会》宣传海报。
浅析《喜福会》中的母亲形象
浅析《喜福会》中的母亲形象作者:张昕程淑娟来源:《海外文摘·学术版》 2020年第5期张昕程淑娟(天津理工大学,天津 300380)摘要:浅析《喜福会》中的母亲形象和各自形象的转变,并指出母女关系的冲突与融合是东西方文化的碰撞与交融。
关键词:母女关系;母亲形象;东西方文化;冲突;融合中图分类号:I712 文献标识码:A 文章编号:1003-2177(2020)05-0024-02《喜福会》是美籍华裔女作家谭恩美的第一部作品。
小说讲述了19世纪50年代移民旧金山的四位中国母亲的故事,她们通过打麻将认识彼此,并一起成立了一个俱乐部,名为“喜福会”。
她们每人都有一个女儿。
因为不同的文化背景,在美国长大的女儿和中国母亲有很多冲突。
尽管母女之间存在矛盾和问题,但血缘和爱,促使双方解决矛盾并最终相互理解和接受。
本文结合四对母女的生活经历以及文化背景,将浅析《喜福会》中的母亲形象。
1 背负伤痛的母亲吴宿愿是吴菁妹的母亲。
吴宿愿是个坚强又倔强的女子。
抗日战争时期,她带着两个孩子来到桂林,而国民党军官的丈夫只身去往重庆。
在那段日子里,吴宿愿与三个姐妹一起成立了喜福会,她们打麻将,品尝美食,畅所欲言。
可惜日军很快就要进攻桂林,宿愿不得不用一辆独轮车带着她的两个孩子和一些财物步行前往重庆。
路途遥远而漫长,为了减轻负担,她不得不一件一件地扔掉她的东西。
在去重庆的路上,轮子坏了,宿愿提着包袱的手也开始流血。
从桂林逃出来以后,她害上了痢疾,又因高烧和病痛而神志不清[3]。
她料到自己很快就会死去。
作为母亲,她不忍心看着孩子和她一起死去,一心期盼自己的孩子能有一线生机,便被迫把两个孩子留在路边,把所有财产都留给了双胞胎女儿,希望她的女儿能被好心人抚养长大。
后来宿愿得救,等她到达重庆后,发现丈夫已经去世了。
几次寻找女儿无果后,宿愿和第二任丈夫于1949年前往美国旧金山定居。
在旧金山,宿愿在教堂遇到了三个中国女人——许安梅、江林多和莹映,她们一起复兴了“喜福会”。
two kinds景梅的人物性格分析
two kinds景梅的人物性格分析《喜福会》是美国著名的华裔女作家谭恩美的第一部长篇小说,也是她的成名作,甫一出版即大获成功,当年曾经连续八个月荣登《纽约时报》畅销书排行榜,旋即改编为同名影片,影响深远。
小说描写了四位性格、命运各异的中国女性抛却国难家仇,移居美国,以及她们各自在美国出生、成长的女儿的生活经历。
作为第一代移民的母亲们虽已身在异国,却仍是彻头彻尾的中国女性,国难家仇可以抛在身后,却无法抛却与祖国的血脉亲情。
而在美国出生的女儿们,虽外表看来与母亲非常相像,却是在迥异于中华故国的价值观与环境下成长起来的,并不得不亲身承受两种文化与价值观的冲撞。
母女之间既有深沉执著的骨肉亲情,又有着无可奈何的隔膜怨恨,既相互关心又相互伤害。
不过,超越了一切的仍是共同的中华母亲,是血浓于水的母女深情。
在《喜福会》中展现的,是我们广大中国读者所笃知和熟悉的、中国式的传统的母女情:女儿们的孝顺,服从,忍耐,守礼,哪怕受到母亲的唾弃,但在母亲临终前,还是赶来送终,为了挽救母亲的生命,甚至不惜割下自己手臂上的肉给母亲作药。
而中国式的母爱,更是铺天盖地,震撼人心的伟大,是一种彻底、全部、忘我的牺牲,这在我们每个中国读者,也是深有体会的。
中国的母爱:从孩子生下来起,直到他(她) 成家,发展到近年父母们为儿女找对象、为他们张罗婚礼、婚房、办喜筵、生下孩子又帮助带,有的一家三口,做父母的都三四十岁了,却还要啃老过日。
可不管怎么,中国式的母爱,我以为是世上罕见的一种牺牲,她们之所以心甘情愿这样,是因为她们的母亲,母亲的母亲,就是这么一代一代过来的。
可那些美国女儿们:虽然也是黑头发黄皮肤,其中有一位已经有一半的白人血液,但她们生在美国,长在美国,是由“可口可乐和意大利面喂大的”。
她们不懂,或者只能讲不能读中文,也不了解中国,把“太原”错听成“台湾”,她们确是地地道道的美国人了。
这些美国女儿也笃爱着自己的母亲,却不能忍受她们中国母亲的铺天盖地、无孔不入的母爱。
叙事的魅力_浅析美籍华人女作家谭恩美的_喜福会_
三部分是女儿们的叙述。虽然每个部分的开头 都有一小篇引言,有点像一部乐章的序曲,但 这十六个故事本身似乎没有明显的联系,它们 可以分开来读也可以重新组合,因为每个故事 自成一体、相对独立,也没有一个引人入胜的 高潮和结局。小说结构从单一时间的线形结构 发展为相互交错的立体结构,打破了人们已经 习惯了的“顺序、倒叙、插叙”的传统叙述模 式。文本的时间、空间跨度也很大,从二十年 代初的中国一直到八十年代的美国,整体上显 得有点杂乱不清。然而仔细分析一下,这也许 是谭恩美的精心布局和刻意安排。 首先,这种混乱和断裂感造成了审美经验 和接受过程中的非畅通性。和小说的主人公吴 精妹所说的“对于一开始就弄不懂的东西从来 就记不住”一样 " ,读者在阅读过程中也需要 不断梳理自己的头绪,这正好符合西方人眼中 东方的遥远而神秘的特性。如小说中的女儿嚼 着口香糖、喝着可口可乐、对母亲管教的反抗
"
起到了传统的第一人称限知视角或第三人称全 知叙述均不能起到的作用。
三、叙述视角
除了巧妙地安排叙述者外,谭恩美还十分 艺术地处理了叙述视角的问题。叙述视角,简 单地说是指叙述故事的着眼点,是作者叙述故 事的方式和角度,并通过这种方式和角度向读 者描绘人物、讲述事件、介绍背景等。《喜福 会》采用了第一人称回顾性叙述方式,让叙述 者与人物合一,使读者如听当事人娓娓道来, 内容均为各主要人物的亲见、亲闻、亲感,因 此鲜明生动、真切感人。在第一人称回顾性叙 述中,通常有两种眼光在交替作用,一为叙述 者“我”追忆往事的眼光,另一为被追忆的 “我”正在经历事件时的眼光。这两种眼光可 体现出“我”在不同时期对事件不同的看法或 对事件的不同认识程度,它们之间的对比常常 是成熟与幼稚、了解事情的真相与被蒙在鼓里 之间的对比 # 。如荧荧四岁时中秋节游太湖不 慎落水与家人失散的一段回忆就采用了经历事 件的眼光,她以小孩子支离破碎、呓语般的声 音,用孩子气的词语和简单重复的句式准确地 再现了她落水后的孤独和恐惧。这种限知视角 有利于对当事人进行局部化观察,取舍材料, 营造氛围,为她成年后在家庭中几度失去自我 的悲剧作了铺垫。在这段故事结束时有这样一 段话:“我记起那天发生的事情,因为它在我 生命中发生了许多次,同样的天真、诚实和躁 动,同样的好奇、恐惧和孤独。我怎么迷失了 我自己。” L M2. N 这里就采用了追忆的眼光, 叙述声音和叙述眼光统一于现在的“我”,表 明她已经能意识到并冷静地看待自己的迷失, 揭示了她对价值身份丧失的体会。 第一人称的叙述通常会受到时间、空间和 叙述角度等方面的限制,因此,谭恩美有时也 根据需要转换叙述人称。比如小说中偶尔插入 第二人称,把读者称为“你”,表现出某种强 烈的感情倾向,极大地缩小了读者与叙述者及 其讲述的故事之间的距离;她还经常会用到
喜福会4个故事简介[评电影《喜福会》中的母女冲突]
喜福会4个故事简介[评电影《喜福会》中的母女冲突][关键词]文化差异;矛盾冲突;文化融合;《喜福会》谭恩美是血管里流着中国血的“土生土长”的美国人。
电影《喜福会》中有4对移民母女,母亲们来自20世纪40年代的旧中国,受尽屈辱和苦难,为摆脱苦海,她们千辛万苦来到美国。
虽然身在异国,她们却从来不曾忘记自己的中国传统文化,并试图用中国的传统文化去教育女儿们。
可出生并成长在美国的女儿们对中国的传统文化知之甚少,她们很难理解母亲的中华文化及其思维方式,常常与母亲发生矛盾冲突。
本文通过对《喜福会》中母女由冲突、理解到包容的过程的分析来看中西方文化差异。
一、母女的矛盾冲突(一)教育观的冲突中国是个异常重视教育的国家,“书中自有黄金屋” 是流传至今的教育理念。
这种理念充分体现在《喜福会》中的母亲身上。
在母亲们漂洋过海来到美国的途中,她们暗暗发誓:“ 到了美国,我要生个女儿,女儿会很像我;但是在美国,她不需仰仗丈夫的鼻息度日;在美国,将不会有人歧视她,因为我要让她讲一口流利漂亮的美国英语;她会应有尽有,不会烦恼和忧愁;她会理解我的一番苦心,我定要她变成一只比期望还好一百倍的漂亮天鹅!”因此到达美国后,母亲对女儿们寄予厚望,在彼此的相互攀比中把希望寄托在女儿身上。
例如,晶妹的母亲为了让她学钢琴,情愿免费为楼下退休的钢琴教师做清洁工,而且她省吃俭用为晶妹买了一架旧钢琴。
这体现了中国母亲望女成凤的信念:为了女儿的未来,再苦再累也心甘情愿。
而对母亲们所做的诸多牺牲,推崇自由和个性的女儿们无法理解。
相反的,女儿们感觉她们的个性受到了压制,失去了个人自由,所以她们通过种种方法进行反抗。
因而女儿们在面对母亲们的批评时,激烈地反击:“一味地批评意味着你们希望的就是失败。
”(二)婚姻观的冲突在电影中,母女在婚姻观上也表现出了不同。
在女儿们看来:婚姻纯属个人私事,任何人不能干涉,包括自己的父母;而在母亲传统的中国观念中,儿女的婚姻向来都是父母之命,媒妁之言,个人根本无权选择。
喜福会人物介绍(课堂PPT)
Main Roles
erMSMuyuan Woo
Couple
Canning Woo
Friends in the Joy Luck Club
Jing-Mei Woo
Mr. Piano teacher Chongg
Lindo Jong
Couple
Tin Jong
3
The Character of Main Roles
• 高和顺 《中美文化的冲突与融合——对<喜福会>中母女 关系的文化解读》 青岛理工大学 2009
• 姜勇《沉默不是金——剖析<喜福会>母女关系》 中国 医科大 2002
• 程爱民. 论谭恩美小会版). 2001,(4)
• 刘海平,王守仁. 新编美国文学史(第四卷)[M]. 上海: 上海外语出版社,2002.
• [美] 谭恩美 著,程乃珊 译.喜福会[M]. 上海:上海译
文出版社, 2006.
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THANK YOU
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?高和顺中美文化的冲突与融合对喜福会中母女关系的文化解读青岛理工大学2009关系的文化解读青岛理工大学2009姜勇沉默不是金剖析喜福会母女关系医科大2002?程爱民
Lesson Two
Roles and Relationship Analysis of Two Kinds
Course: Advanced English Name: 陈楠迪 Class 3
4
Jing-Mei Woo
• The daughter of Suyuan, was born in America • Does not understand her mother • Lacks ambition and just want to live as herself • Finishes her mother’s dream finding the twins
喜福会人物简介
The Joy Luck Club (1989) is a best-selling novel written by Amy Tan. It focuses on four Chinese American immigrant families who start a club known as "the Joy Luck Club," playing the Chinese game of Mahjong for money while feasting on a variety of foods. There are sixteen chapters divided into four sections, and each woman, both mothers and daughters, (with the exception of one mother, Suyuan Woo, who dies before the novel opens) share stories about their lives in the form of vignettes. Each section comes after a parable.In 1993, the novel was adapted into a feature film directed by Wayne Wang and starring Ming-Na, Lauren Tom, Tamlyn Tomita, France Nuyen, Ro salind Chao, Kieu Chinh, Tsai Chin, Lisa Lu, and Vivian Wu. The screenplay was written by Amy Tan and Ronald Bass.Contents [hide]1 Plot summary and Reception2 Criticism3 Characters3.1 Mothers3.2 Daughters4 Table of contents4.1 Feathers from a Thousand Li Away4.2 The Twenty-Six Malignant Gates4.3 American Translation4.4 Queen Mother of the Western Skies5R e f e r e n c e s6 External links[edit] Plot summary and ReceptionAs the novel opens Jing-Mei "June" Woo has just lost her mother, Suyuan, to an aneurysm. She is asked by her mother's three friends to take Suyuan'splace in their Mah-Jong foursome and their "Joy Luck Club". The novel unfolds with interspersed chapters by each of the three remaining members of the Club and their American-born daughters. Lindo and Waverly Jong began their war over Waverly's childhood chess stardom and the effects it has on every aspect of Waverly's adult life. An-Mei Hsu recounts the tragedy that gave her strength, and worries that her daughter, Rose, lacks the same determination. Lena St. Clair tries to care for her eccentric mother, while her mother recounts a secret history that has allowed her to see more de eply than her daughter imagines. Through it all, June Woo tries to piece together the stories that her own mother can no longer tell, and to be faithful to her mother's memory despite their sometimes rocky relationship. This story of the bonds between m o t h e r s a n d d a u g h t e r s h a s b e e n p o p u l a r w i t h f e m a l e r e a d e r s.[edit] CriticismThough her book has been widely praised by critics, it has been criticized byn o t e d A s i a n A m e r i c a n a u t h o r F r a n k C h i n f o r p e r p e t u a t i n g r a c i s t stereotypes.[1][2][3][edit] Characters[edit] MothersS u y u a n W o oDuring the Second Sino-Japanese War, Suyuan lives in Kweilin (Guilin) while her husband at the time served as an officer in Chungking (Chongqing). She starts the onginal Joy Luck Club with her three friends to cope with the war. On the day of the Japanese invasion, Suyuan leaves her house with nothing but a b a g o f c l o t h e s,a b a g o f f o o d,a n d h e r t w i n b a b y d a u g h t e r s.During the long journey, Suyuan contracts such severe dysentery that she feels certain she will die. Fearing that a dead mother would doom her babies' chances of rescue, she reluctantly and emotionally leaves her daughters under a barren tree, together with all her belongings, along with a note asking anyone who might find the babies to care for them. Suyuan then departs, expecting to die, but is rescued herself. She later remarries, comes to America, forms a n ew J oy L uck Club wit h thre e ot her Chin ese fe mal e imm igra nts she me t atchurch, and has more children. But her abandonment of the twin girls haunts her for the rest of her life. After many years, Suyuan learns that the twins were adopted, but dies of a brain aneurysm before she can meet them. It is her A m e ri c an-bo r n d au g ht er J in g-m e i w ho fu l fi ll s he r lo n g-c he r is h ed w i s h o f reuniting with her elder twin half-sisters.As Suyuan dies before the novel begins, her history is told by Jing-mei, based on her knowledge of her mother's stories, anecdotes from her father, and what the other members of the Joy Luck Club tell her.A n-M e i H s uAn-Mei is raised by her grandparents and other relatives during her early years i n N i n g b o a f t e r h e r w i d o w e d m o t h e r s h o c k s t h e f a m i l y b y b e c o m i n g a concubine to a middle-aged wealthy man after her first husband's death. This becomes a source of conflict for the young An-Mei, as her aunts and uncles deeply resent her mother for such a dishonorable act, and they try to convi nce An-Mei that she is not fit to live with her disgraced mother; now forbidden to enter the family home. An-Mei's mother, however, still wishes to be part of her daughter's life. After An-Mei's grandmother died, she lives with her mother in t he h ome of h e r m othe r's ne w hu sban d, W u-Ts in g. A n-Me i le arns tha t herm o t h e r b e c a m e W u-T s i n g's c o n c u b i n e t h r o u g h t h e m a n i p u l a t i o n s o f h i s favorite concubine known as Second Wife, who arranged a plan for An-Mei's mother, still in mourning for her original husband, to be raped by Wu-Tsing. The stigma left An-Mei's mother with no choice but to marry Wu-Tsing and become his new but lowly Fourth Wife. She laterlost her baby son to SecondW i f e,wh o c l ai m ed th e b o y a s h e r ow n c h il d t o e n su r e h er pl a ce i n th e household. Second Wife also tried to win over An-mei upon her arrival in Wu-Tsing's mansion, giving her a necklace made of "pearls" that her mother later revealed were actually opaque glass orbs by crushing one with her foot.Wu-Tsing is a highly superstitious man, and Second Wife took advantage of this weakness by making false suicide attempts and threatening to haunt him as a ghost if he did not let her have her way. According to Chinese tradition, a person's soul comes back after three days to settle scores with the living. Wu-Tsing, therefore, was afraid to face the ghost of an angry or scorned wife. After Second Wife used a suicide attempt to prev ent An-Mei and her mother from getting their own household, An-Mei's mother successfully committed suicide herself. She timed her death so that her soul would be due to return on the first day of the new year, a day when all debts must be settled lest the debtor suffer great misfortune. With this in mind, Wu-Tsing promised to treat his Fourth Wife's children, including An-Mei, as if they were his very own flesh and blood by an honored First Wife. When Second Wife attempted to disrupt this, An-Mei crushed the fake pearl necklace Second Wife gave beneath herfeet to show her awareness of all the deception and to symbolize her new power over Second Wife, who now fears and realizes the bad karma she brought upon herself.An-Mei later immigrates to America, marries, and gives birth to children. Hery o un g es t so n, Bi n g, d i es in a d r ow ni n g ac c id e nt a t a y ou n g ag e.Lindo JongLindo is a strong-willed woman, a trait her daughter Waverly attributes to her having been born in the year of the Horse. When Lindo was only twelve, she was forced to move in with a neighbor's young son, Huang Tyan Yu, through the machinations of the village matchmaker. She married him when she was sixteen. She soon realized that her husband was just a little boy at hea rt and had no sexual interest in her. Lindo began to care for her husband as a brother, but her cruel mother-in-law expected Lindo to produce a grandson. She restricted most of Lindo's daily activities, eventually ordering her to remain on bed rest until she could conceive and deliver a child.Determined to escape this unfortunate situation, Lindo carefully observed the other people in the household and eventually formed a clever plan to escape her marriage without dishonoring herself or her family. She managed to trick her young husband's family that he was actually fated to marry another girl who was already pregnant with his "spintual child", and that her marriage to Huang Tyan Yu would only bring bad luck to the family. In reality, the girl in question was a mere servant in the household and indeed pregnant, but abandoned by her lover.Freed of her first marriage, Lindo decided to immigrate to America. She married a Chinese-American man named Tin Jong and has three children: sons Winston and Vincent, and daughter Waverly.Lindo experiences regret over losing some of her Chinese identity by living so long in America (she is treated like a tourist on a visit to China), however she expresses concern that Waverly's American upbringing has caused a barrier between them.Ying-Ying "Betty" St. ClairFrom a young age, Ying-Ying is told by her wealthy and conservative family that Chinese girls should be meek and gentle. She begins to develop a passive personality and repress her feelings as she grows up in Wuxi. Ying-Ying marries a charismatic man named Lin Xiao, not out oflove, but because she believed it was her fate. Her husband is revealed to be abusive and openly has extramarital relationships with other women. When Ying-Ying discovers that she is pregnant around the time her husband abandons her, she takesrevenge by killing his son before he is born and moving in with her poor relatives in the country.After ten years, she moves to the city where she meets an American man named Clifford St. Clair. He falls in love with her, but Ying-Ying cannot express the strong emotion after her first marriage. He courts her for four years before she agrees to marry him after learning that Lin Xiao had died, which she takes as the proper sign to move on. She allows him to control most aspects of her life, mistranslating her words and actions, and even changing her name to "Betty." They give birth to two children, one daughter, Lena and a stillborn son.Ying-Ying is horrified when she realizes that Lena has inherited her passive behaviors and trapped herself in a loveles s marriage with a controlling husband. She finally resolves to tell her daughter her story in the hope that she will be able to break free from the same passivity that ruined most of her young life back in China.[edit] DaughtersJing-Mei "June" WooJing-Mei has never fully understood her mother and seems directionless in life. During June's childhood, her mother used to tell her that she could be anything she wants; however, she particularly wanted her daughter to be gifted, like June's frenemy Waverly. At the beginning of the novel, June is chosen to replace her mother's seat in the Joy Luck Club after her mother's death. At the end of the novel, June is still trying to deal with her mother's death, and she visits China to see the twin half-sisters whom her mother had been forced to abandon when the Japanese attacked China.R o se Hs u Jo r da nRose is somewhat passive and is a bit of a perfectionist. She marries a doctor, Ted Jordan. After a malpractice suit, Ted has a mid-life crisis and decides to leave Rose, who he married, in part, to spite his mother. When Ted comes for the divorce papers, she finds her voice and tells him that he can't just throw her out of his life, comparing herself to weeds in his garden, once so beloved, now unkempt and filthy. She wants to hire a good lawyer and fight for possession of the house, which she eventually wins.Waverly JongWaverly is an independent-minded and intelligent woman, but is annoyed by her mother's constant cnticism. Well into her adult life, she finds herself restrained by her subconscious fear of letting her mother down. During theirc h i ld h o o d,J u ne a n d W a v e r l y b e c o m e c h i l d h o o d r i v a l s;t h e i r m o t h e r s compared their daughters accomplishments. Waverly was once a gifted chess champion, but quit after arguing with her mother, who used her daughters talent to show off.Lena St. ClairLena's husband, Harold, demands financial "equality" in their marriage. They are co-workers, but Lena is an associate while Harold is a partner, so he has a larger salary than she does. However, he insists that all household expenses be divided equally between them. Harold believes that by making everything equal, they can make their love equal as well, but Lena is frustrated with her life .[edit] Table of contents(Name of chapter is followed by the name of the narrator whose perspective is used for that chapter)[edit] Feathers from a Thousand Li Away"The Joy Luck Club," Jing-mei "June" Woo"Scar," An-Mei Hsu"The Red Candle," Lindo Jong"The Moon Lady," Ying-Ying St. Clair[edit] The Twenty-Six Malignant Gates"Rules of the Game," Waverly Jong"The Voice from the Wall," Lena St. Clair"Half and Half," Rose Hsu Jordan"Two Kinds," Jing-mei "June" Woo[edit] American Translation"Rice Husband," Lena St. Clair"Four Directions," Waverly Jong"Without Wood," Rose Hsu Jordan"Best Quality," Jing-mei "June" Woo[edit] Queen Mother of the Western Skies "Magpies," An-mei Hsu"Waiting Between the Trees," Ying-Ying St. Clair "Double Face," Lindo Jong"A Pair of Tickets," Jing-mei "June" Woo。
压迫中的沉默沉默中的力量——解读谭恩美的《喜福会》
琳娜 圣克莱尔, 她生于美国, 长于美 国, 自认为在学业、 智力、 工作能力等各方面 都能与丈夫平分秋色, 甚至在某些方面胜他 一筹 她一直以为她和哈罗德之间是平等的, 他们各付各的花销, 买房按各自挣钱的比例 付款, 双方平摊度假费用等等。 她以为“ 这样 能够消除依赖 一 平等……没有包袱地去 爱”但现实是残酷的, 小说中我们看到, 在经 济与社会地位上她无法实现同丈夫的真正平 等。 而且虽然如同她所说:“ 我对他言听计从, 毫无保留, 根本不在乎回报”但是后来她的 , 婚姻生活还是陷入严重的危机之中。 她的婚 姻, 以至于她的整个生活都在“ 美国式的‘ 账 目 均摊’ 的貌似平等的游戏规则下悄无声息 地松动着、 瓦解着”琳娜只是在心里抗议着 。 这所谓的平等。 她为公司出谋划策, 竭尽智 囊, 为什么都得不到承认,仅仅因为是他的 妻子, 她就不能受到提拔, 工资就只能是丈夫 的七分之一吗? 锚铁必纠的形式上的平等掩 盖了问题的实质, 那就是隐蔽、 更根深蒂固的 男权主义思维定式和人们早已习焉不察的男 权观念。 琳娜对这令她有苦难言的男权观念 的沉默与忍让把她推入了一个无言、 无奈、 无 望的境地。 她的沉默让她变得像个幽灵, 沉默 得让她丈夫看不见她。 而另一位女儿罗丝的婚姻也陷入困境。 她和丈夫就像她自己想象中的悲剧的男女主 角, 一个是勇敢的拯救者, 一个是屏弱的被拯 救者。 在十五年的婚姻生活中, 甚至在婚前恋 爱时, 丧失了主体性的罗丝总是重复着同样 一句话:“ 你决定。所有的事情总是泰德来决 ” 定。 当泰德向她提出离婚, 并想用一万美金将 她扫地出门时, 一向以丈夫的喜好为喜好的 罗丝突然间不知所措, 精神几乎崩溃, 她选择 去心理医生那里寻求安慰和解决办法。 然而 朋友的劝慰、 心理医生的治疗都起不了任何 作用, 因为她不知道离开了她苦心经营的家、 离开与她生活十五年的丈夫、 离开这个婚姻 她该做什么? 她还幻想着泰德送给她一万美 元是“ 因为他是真心爱我的, 他用他自己独特 的方式告诉我, 我在他心中的位置” 。 喜福会的母亲们不仅在中国遭受男权的 压迫和蹂踊, 在美国她们也难有喘息之机。 映 映的经历能充分说明男性权威的无所不在。 在旧中国, 她第一个丈夫对她不忠并最终遗 弃她, 使她时常陷入极度的痛苦、 憎恨与绝望 之中, 并以打掉腹中胎儿的方式表达了她对 夫权的不满与抗争(在第二次婚姻中, 圣克莱 尔赋予她新的姓名、 新的生日, 并且通过改变 她的身份及编造她过去的经历的方法给予她 另一个“ 自我”映映在美国的自我更显得沉 。 默隐忍, 而不想在中国那般有生气。 在同样一
喜福会人物介绍
Main Roles
Suyuan erMM Woo Couple Canning Woo
Jing-Mei Woo Piano teacher Friends in the Joy Luck Club
Mr. Chongg
Waverly Jong
Couple
Lindo Jong
Tin Jong
The Character of Main Roles
Lesson Two
Roles and Relationship Analysis of Two Kinds
Course: Advanced English Name: 陈楠迪 Class 3 冯婷婷 Class 4 Lecturer: Chen Hui
Contents
The Main Roles of Two Kind The Character of Main Roles The Mother-daughter Relationship of Two Kinds The Reasons for Two Kinds’ Collisions
Mother: suffered a lot in China, wanted her daughter has a perfect life Daughter: Americanized, wanted to be herself
References
• Shear, Walter. The Joy Luck Club-- Generation Dichotomy of Culture.1993. • Souris, Stephen. Only Two Kinds of Daughters:InterMonologue Dialogicity in The Joy Luck Club in Amy Tan, ed. Harold Bloom. Philadelphia: Chelsea House Publishers, 2000. • 高和顺 《中美文化的冲突与融合——对<喜福会>中母女 关系的文化解读》 青岛理工大学 2009 • 姜勇《沉默不是金——剖析<喜福会>母女关系》 中国 医科大 2002 • 程爱民. 论谭恩美小说中的母亲形象及母女关系的文化内 涵[J]. 南京师大学报(社会版). 2001,(4) • 刘海平,王守仁. 新编美国文学史(第四卷)[M]. 上海: 上海外语出版社,2002. • [美] 谭恩美 著,程乃珊 译.喜福会[M]. 上海:上海译 文出版社, 2006.
喜福会
母亲丙 (安美阿姨 An Mei) 女儿丙(露丝 Rose)
【他只会更将你视为理所当然】
安美(An Mei):
借由母亲屈辱的一生 和自杀一事,学会了 在不公平的命运前大 声喊叫,深切体悟出 要珍惜、尊重自己的 价值、
罗丝(Rose): 嫁入豪门后心甘情愿付
出和妥协,放弃深造的 机会,甚至贬低自我, 不再有主见,在婚姻中 被丈夫忽略。听完母亲 的故事,明白珍惜自己 才会被人珍惜的道理后, 重新肯定了自我价值, 挽救了婚姻。
了 小 说 《 喜 福 会 》 (
年 , 谭 恩 美 根 据 外 婆 和 母 亲 的 经 历
年 出 生 于 美 国 加 州 奥 克 兰 。
美 ( ) , 著 名 美 籍 华 裔 女
a The Joy Luck
,作
异样人生
谭恩美在《命运的反面》里自述曾 在十六岁时,为了新交的男友,和 母亲发生了激烈争吵。母亲把她推 到墙边,举着切肉刀,刀锋压在她 喉咙上有20分钟。最后,她垮了下 来,哭泣着求母亲:“我想活下去, 我想活下去。”母亲才把切肉刀从 她脖子上拿开。在叛逆的青春期, 她出过两次车祸;被人用枪指着抢 劫,几乎被强奸;受到死亡威胁, 几乎被泥石流冲走。20多岁那年, 她最好的朋友在生日那天被入室抢 劫者捆绑勒死,她被叫去辨认尸体, 从此中途辍学,放弃博士学位。 晚 年的母亲还告诉她一个秘密:她在 中国大陆有3个同母异父的姐姐。这 个秘密深深震撼了谭恩美,成了她 创作的主题。
母亲丁 (苏 Su Yuan) 女儿丁 (君 June)
【我对你没有期许,只有期盼,期盼你拥有更好的。】
苏 (Su Yuan):
抗战时期被迫遗弃一对 双胞胎女儿,到美国后 再婚,她将所有希望放 在女儿君身上,希望把 她塑造成一个有别于自 己能成为白人社会所接 受的高雅女性。
时空流转女性蜕变——解读《喜福会》中女性形象
河南农业2015年第7期(下)谭恩美(Amy Tan ),著名美籍华裔女作家,第一部长篇小说《喜福会》获得了“全美图书奖”等一系列文学大奖。
《喜福会》采用倒叙和插叙的手法,讲述了四位母亲和女儿的故事,作品中女性形象的蜕变以时空流转为主要标志。
一、女性形象的蜕变(一)母亲时代的女性:外圆内方,外柔内刚生活在封建思想压迫下的林多母亲外圆内方,语重心长地告诉女儿既要懂得封建妇道,做一个合格的媳妇,又要有自己的主见,遵从内心深处的召唤。
林多母亲跟女儿住在一起,但从此母亲用着“你是别人家的人”的态度来对待她,诸如提醒她“别吃那么快,人家会不要你”,处处不忘提醒着,她已不再是母亲家的人。
母亲这样说,不是不再爱她,只是不敢对已经不属于自己的人有任何奢望。
她越是长成亭亭玉女,母女俩越是经常泪眼婆娑、对看无语。
到了她得要离开母亲去婆家的前一天,母亲跟她说“你耳朵比我大,将来一定比我有福气。
以后不管发生什么事,绝对不要忘了你自己是谁。
”深受封建社会,尤其是封建家庭之害的安梅妈妈外柔内刚,表面上看一味地软弱忍让,内心却集聚了正义的力量,最终爆发———当觉得自己的力量不足以保护女儿的时候,她以牺牲自己换来女儿的强大。
安梅4岁离开妈妈,因为外婆家也无法承受妈妈“在丈夫尸骨未寒之际远嫁富人”带来的耻辱,将她扫地出门,撤销其在家谱中的位置。
直至外婆弥留之际,妈妈回来歃血救母,仍然没能改变家人对她的看法。
外婆去世了,妈妈又一次被逐出家门,这次,安梅坚定地跟随妈妈来到了她的新家———原来她是一个富家老爷的四姨太太,妈妈原本去给过世的爸爸烧香求福,却被老爷的二姨太太看上。
二姨太为了续上自家的香火,稳定自己的地位,安排老爷强暴安梅妈妈生下了一个儿子,又夺走声称是自己的孩子。
当女儿第一次见到二姨太太的时候,又险些被二姨太太的一条玻璃做的“珍珠项链”给收买了,受到极大的侮辱。
母亲自觉懦弱,选择以死亡换来安梅的强大,安梅没有辜负母亲的期望,来到了美国,寻求自己的幸福。
《喜福会》中的人物语言分析
《喜福会》中的人物语言分析
《喜福会》是一部由莫言所著的小说,讲述了在二十世纪六十年代,一个叫做喜福会的小镇上发生的故事。
小说中的人物语言有很多种,有些人物用现代普通话,有些人物用方言,有些人物用文言文,还有些人物用俗语或者是新词。
•喜福会:他是小镇的领导人,他用的是现代普通话,表现出自己的统帅能力和领导才能。
•老实:他是一个农民,他用的是方言,表现出自己的朴实和谦虚。
•铁干:他是一个医生,他用的是文言文,表现出自己的文雅和学识渊博。
•珍珠:她是一个妓女,她用的是俗语和新词,表现出自己的活泼和自由。
总的来说,人物语言在小说中起到了很重要的作用,它能够帮助读者更好地了解人物的性格和特点,同时也能够增加小说的真实感和生动性。
喜福会-人物与情节
Hsu Family
8
7
Mother An-mei Hsu
A member of the Joy Luck Club Learned important lessons from her widowed mother Lost her youngest son Maintains a certain faith in the human power of will and effort
The newest member of the Joy Luck Club Found her mother's long-lost twin daughters Never fully understand her mother
5
Mother Lindo Jong
A member of the Joy LuckJoy Luck Club Lost her twin daughters in China
Revived the Joy Luck Club in San Francisco
Woo Family
Sacrifice Kindness
Daughter Jing-mei Woo
Taught her daughter the power of invisible strength
Daughter Wavely Jong
The youngest of Lindo's children
Won chess tournaments
Fears that her daughter may have lost Chinese identity Fears that she herself may have become too assimilated
《喜福会》——从女性主义角度解读母女的心路历程
《喜福会》——从女性主义角度解读母女的心路历程摘要:美籍华裔女作家谭恩美的处女作《喜福会》以女性叙述为主体,讲述了在男性中心主义统治下四对华裔母女的种种遭遇及压迫,淋漓尽致的展示出母女们从忍耐、顺从到觉醒并反抗的心路历程。
透过对作品中四队母女的命运和心理分析,并结合女性主义批评文学理论,文章将为新时代、新女性的前景发展提供参考。
关键词:女性主义;喜福会;从属;觉醒华裔作家谭恩美在1989年创作的《喜福会》一经出版即获得极大地成功。
当年曾荣登《纽约时报》畅销书排行榜,连续八个月之久,成为美国四大畅销书之一。
这位女性作家以其敏锐的观察力和细腻的笔调塑造出四对栩栩如生的母女形象,将它们痛苦而复杂的身心经历有条不紊的向读者依次展开。
小说字里行间包含着作者对女性在父权制社会中所遭受的压迫所表现出来的同情、愤慨和对种种压迫的强烈抨击。
谭恩美颠覆传统的以男性为阅读对象的叙述策略,创造了一个以母女关系为基础,以女性为主的世界。
从古至今,无论在西方世界或在东方世界,男性一直作为统治中心而主导着由女人和男人共同组成的社会,而女性从来都是处于从属地位且被边缘化。
中国封建社会要求女人遵守“三从”,即未嫁从父、既嫁从夫、夫死从子,“四德”,即妇德、妇言、妇容、妇功。
在这样的男性主义世界中,女子失去平等权利,没有话语权,没有属于女性的文学历史,她们的思想受男权社会的控制,并将自我屈服的理念传与后代。
受女性主义影响,《喜福会》中,作者通过揭示两种时代,两种社会中女性的“他者”形象,展示男权社会给妇女带来的深切苦难,谭恩美赋予了四对母女极大的勇气打破沉默,清晰地发出自己的声音。
时代虽有进步,女权主义仍在发展,但女性争取独立的话语权,建构属于自己的历史、身份的道路依旧阻碍重重。
路漫漫其修远兮,吾将上下而求索。
一、旧中国男性统治下母亲们的挣扎女性主义的先驱弗吉尼亚.伍尔夫在《自己的房间》中提到,“没有经济独立,女权就将无从谈起”。
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The Joy Luck Club (1989) is a best-selling novel written by Amy Tan. It focuses on four Chinese American immigrant families who start a club known as "the Joy Luck Club," playing the Chinese game of Mahjong for money while feasting on a variety of foods. There are sixteen chapters divided into four sections, and each woman, both mothers and daughters, (with the exception of one mother, Suyuan Woo, who dies before the novel opens) share stories about their lives in the form of vignettes. Each section comes after a parable.In 1993, the novel was adapted into a feature film directed by Wayne Wang and starring Ming-Na, Lauren Tom, Tamlyn Tomita, France Nuyen, Ro salind Chao, Kieu Chinh, Tsai Chin, Lisa Lu, and Vivian Wu. The screenplay was written by Amy Tan and Ronald Bass.Contents [hide]1 Plot summary and Reception2 Criticism3 Characters3.1 Mothers3.2 Daughters4 Table of contents4.1 Feathers from a Thousand Li Away4.2 The Twenty-Six Malignant Gates4.3 American Translation4.4 Queen Mother of the Western Skies5R e f e r e n c e s6 External links[edit] Plot summary and ReceptionAs the novel opens Jing-Mei "June" Woo has just lost her mother, Suyuan, to an aneurysm. She is asked by her mother's three friends to take Suyuan'splace in their Mah-Jong foursome and their "Joy Luck Club". The novel unfolds with interspersed chapters by each of the three remaining members of the Club and their American-born daughters. Lindo and Waverly Jong began their war over Waverly's childhood chess stardom and the effects it has on every aspect of Waverly's adult life. An-Mei Hsu recounts the tragedy that gave her strength, and worries that her daughter, Rose, lacks the same determination. Lena St. Clair tries to care for her eccentric mother, while her mother recounts a secret history that has allowed her to see more de eply than her daughter imagines. Through it all, June Woo tries to piece together the stories that her own mother can no longer tell, and to be faithful to her mother's memory despite their sometimes rocky relationship. This story of the bonds between m o t h e r s a n d d a u g h t e r s h a s b e e n p o p u l a r w i t h f e m a l e r e a d e r s.[edit] CriticismThough her book has been widely praised by critics, it has been criticized byn o t e d A s i a n A m e r i c a n a u t h o r F r a n k C h i n f o r p e r p e t u a t i n g r a c i s t stereotypes.[1][2][3][edit] Characters[edit] MothersS u y u a n W o oDuring the Second Sino-Japanese War, Suyuan lives in Kweilin (Guilin) while her husband at the time served as an officer in Chungking (Chongqing). She starts the onginal Joy Luck Club with her three friends to cope with the war. On the day of the Japanese invasion, Suyuan leaves her house with nothing but a b a g o f c l o t h e s,a b a g o f f o o d,a n d h e r t w i n b a b y d a u g h t e r s.During the long journey, Suyuan contracts such severe dysentery that she feels certain she will die. Fearing that a dead mother would doom her babies' chances of rescue, she reluctantly and emotionally leaves her daughters under a barren tree, together with all her belongings, along with a note asking anyone who might find the babies to care for them. Suyuan then departs, expecting to die, but is rescued herself. She later remarries, comes to America, forms a n ew J oy L uck Club wit h thre e ot her Chin ese fe mal e imm igra nts she me t atchurch, and has more children. But her abandonment of the twin girls haunts her for the rest of her life. After many years, Suyuan learns that the twins were adopted, but dies of a brain aneurysm before she can meet them. It is her A m e ri c an-bo r n d au g ht er J in g-m e i w ho fu l fi ll s he r lo n g-c he r is h ed w i s h o f reuniting with her elder twin half-sisters.As Suyuan dies before the novel begins, her history is told by Jing-mei, based on her knowledge of her mother's stories, anecdotes from her father, and what the other members of the Joy Luck Club tell her.A n-M e i H s uAn-Mei is raised by her grandparents and other relatives during her early years i n N i n g b o a f t e r h e r w i d o w e d m o t h e r s h o c k s t h e f a m i l y b y b e c o m i n g a concubine to a middle-aged wealthy man after her first husband's death. This becomes a source of conflict for the young An-Mei, as her aunts and uncles deeply resent her mother for such a dishonorable act, and they try to convi nce An-Mei that she is not fit to live with her disgraced mother; now forbidden to enter the family home. An-Mei's mother, however, still wishes to be part of her daughter's life. After An-Mei's grandmother died, she lives with her mother in t he h ome of h e r m othe r's ne w hu sban d, W u-Ts in g. A n-Me i le arns tha t herm o t h e r b e c a m e W u-T s i n g's c o n c u b i n e t h r o u g h t h e m a n i p u l a t i o n s o f h i s favorite concubine known as Second Wife, who arranged a plan for An-Mei's mother, still in mourning for her original husband, to be raped by Wu-Tsing. The stigma left An-Mei's mother with no choice but to marry Wu-Tsing and become his new but lowly Fourth Wife. She laterlost her baby son to SecondW i f e,wh o c l ai m ed th e b o y a s h e r ow n c h il d t o e n su r e h er pl a ce i n th e household. Second Wife also tried to win over An-mei upon her arrival in Wu-Tsing's mansion, giving her a necklace made of "pearls" that her mother later revealed were actually opaque glass orbs by crushing one with her foot.Wu-Tsing is a highly superstitious man, and Second Wife took advantage of this weakness by making false suicide attempts and threatening to haunt him as a ghost if he did not let her have her way. According to Chinese tradition, a person's soul comes back after three days to settle scores with the living. Wu-Tsing, therefore, was afraid to face the ghost of an angry or scorned wife. After Second Wife used a suicide attempt to prev ent An-Mei and her mother from getting their own household, An-Mei's mother successfully committed suicide herself. She timed her death so that her soul would be due to return on the first day of the new year, a day when all debts must be settled lest the debtor suffer great misfortune. With this in mind, Wu-Tsing promised to treat his Fourth Wife's children, including An-Mei, as if they were his very own flesh and blood by an honored First Wife. When Second Wife attempted to disrupt this, An-Mei crushed the fake pearl necklace Second Wife gave beneath herfeet to show her awareness of all the deception and to symbolize her new power over Second Wife, who now fears and realizes the bad karma she brought upon herself.An-Mei later immigrates to America, marries, and gives birth to children. Hery o un g es t so n, Bi n g, d i es in a d r ow ni n g ac c id e nt a t a y ou n g ag e.Lindo JongLindo is a strong-willed woman, a trait her daughter Waverly attributes to her having been born in the year of the Horse. When Lindo was only twelve, she was forced to move in with a neighbor's young son, Huang Tyan Yu, through the machinations of the village matchmaker. She married him when she was sixteen. She soon realized that her husband was just a little boy at hea rt and had no sexual interest in her. Lindo began to care for her husband as a brother, but her cruel mother-in-law expected Lindo to produce a grandson. She restricted most of Lindo's daily activities, eventually ordering her to remain on bed rest until she could conceive and deliver a child.Determined to escape this unfortunate situation, Lindo carefully observed the other people in the household and eventually formed a clever plan to escape her marriage without dishonoring herself or her family. She managed to trick her young husband's family that he was actually fated to marry another girl who was already pregnant with his "spintual child", and that her marriage to Huang Tyan Yu would only bring bad luck to the family. In reality, the girl in question was a mere servant in the household and indeed pregnant, but abandoned by her lover.Freed of her first marriage, Lindo decided to immigrate to America. She married a Chinese-American man named Tin Jong and has three children: sons Winston and Vincent, and daughter Waverly.Lindo experiences regret over losing some of her Chinese identity by living so long in America (she is treated like a tourist on a visit to China), however she expresses concern that Waverly's American upbringing has caused a barrier between them.Ying-Ying "Betty" St. ClairFrom a young age, Ying-Ying is told by her wealthy and conservative family that Chinese girls should be meek and gentle. She begins to develop a passive personality and repress her feelings as she grows up in Wuxi. Ying-Ying marries a charismatic man named Lin Xiao, not out oflove, but because she believed it was her fate. Her husband is revealed to be abusive and openly has extramarital relationships with other women. When Ying-Ying discovers that she is pregnant around the time her husband abandons her, she takesrevenge by killing his son before he is born and moving in with her poor relatives in the country.After ten years, she moves to the city where she meets an American man named Clifford St. Clair. He falls in love with her, but Ying-Ying cannot express the strong emotion after her first marriage. He courts her for four years before she agrees to marry him after learning that Lin Xiao had died, which she takes as the proper sign to move on. She allows him to control most aspects of her life, mistranslating her words and actions, and even changing her name to "Betty." They give birth to two children, one daughter, Lena and a stillborn son.Ying-Ying is horrified when she realizes that Lena has inherited her passive behaviors and trapped herself in a loveles s marriage with a controlling husband. She finally resolves to tell her daughter her story in the hope that she will be able to break free from the same passivity that ruined most of her young life back in China.[edit] DaughtersJing-Mei "June" WooJing-Mei has never fully understood her mother and seems directionless in life. During June's childhood, her mother used to tell her that she could be anything she wants; however, she particularly wanted her daughter to be gifted, like June's frenemy Waverly. At the beginning of the novel, June is chosen to replace her mother's seat in the Joy Luck Club after her mother's death. At the end of the novel, June is still trying to deal with her mother's death, and she visits China to see the twin half-sisters whom her mother had been forced to abandon when the Japanese attacked China.R o se Hs u Jo r da nRose is somewhat passive and is a bit of a perfectionist. She marries a doctor, Ted Jordan. After a malpractice suit, Ted has a mid-life crisis and decides to leave Rose, who he married, in part, to spite his mother. When Ted comes for the divorce papers, she finds her voice and tells him that he can't just throw her out of his life, comparing herself to weeds in his garden, once so beloved, now unkempt and filthy. She wants to hire a good lawyer and fight for possession of the house, which she eventually wins.Waverly JongWaverly is an independent-minded and intelligent woman, but is annoyed by her mother's constant cnticism. Well into her adult life, she finds herself restrained by her subconscious fear of letting her mother down. During theirc h i ld h o o d,J u ne a n d W a v e r l y b e c o m e c h i l d h o o d r i v a l s;t h e i r m o t h e r s compared their daughters accomplishments. Waverly was once a gifted chess champion, but quit after arguing with her mother, who used her daughters talent to show off.Lena St. ClairLena's husband, Harold, demands financial "equality" in their marriage. They are co-workers, but Lena is an associate while Harold is a partner, so he has a larger salary than she does. However, he insists that all household expenses be divided equally between them. Harold believes that by making everything equal, they can make their love equal as well, but Lena is frustrated with her life .[edit] Table of contents(Name of chapter is followed by the name of the narrator whose perspective is used for that chapter)[edit] Feathers from a Thousand Li Away"The Joy Luck Club," Jing-mei "June" Woo"Scar," An-Mei Hsu"The Red Candle," Lindo Jong"The Moon Lady," Ying-Ying St. Clair[edit] The Twenty-Six Malignant Gates"Rules of the Game," Waverly Jong"The Voice from the Wall," Lena St. Clair"Half and Half," Rose Hsu Jordan"Two Kinds," Jing-mei "June" Woo[edit] American Translation"Rice Husband," Lena St. Clair"Four Directions," Waverly Jong"Without Wood," Rose Hsu Jordan"Best Quality," Jing-mei "June" Woo[edit] Queen Mother of the Western Skies "Magpies," An-mei Hsu"Waiting Between the Trees," Ying-Ying St. Clair "Double Face," Lindo Jong"A Pair of Tickets," Jing-mei "June" Woo。