Traditions in Chinese culture are long-rooted and are taken very seriously from generation to generation. However, there must always be room for modern change in order for society to grow and strive across the globe. In Bound Feet and Western Dress the conflict between Chinese traditions and modern change arises. With this conflict it is important to discuss the different meanings of liberation for men and women and they way in which Chang Yu-I was able to obtain liberation throughout her life. Liberation in China means two different things for a man and a woman because of the gender differences that are prevalent. In traditional China women are treated unequally and are simply seen as a piece of property to their husband. They must abide by his demands and remain a slave to his family and traditions. As Yu-I told her niece, "You must remember this. In China, a woman is nothing." For a Chinese man, liberation means becoming stronger, more powerful, and of higher prestige. While with a Chinese woman, liberation means being equal to that of a man and being able to live a life on her own terms rather than that of her husband's.
Liberation for a woman is more about being independent and being treated like she is of importance in this society. Traditionally, women are seen to be child-bearers and that is their main role in any marriage. For example, the woman is really only seen to be useful in that she can bare children for her husband, and even at that, the husband wishes that the child be male so that the family name and traditions may be carried on. If the child born is a female than she is seen to be of no use to their family because she will eventually become the property of her husband, his family, and traditions. A woman's liberation is far different from a man's because of the old Chinese traditions that have been established for generations.
Chang Yu-I understood woman's liberation as the tool for changing the Chinese culture. It was about a woman becoming her own person rather than the property of a man whom she must cherish under every circumstance. Yu-I believed that a woman's liberation was in finding her own independence and strength in Chinese society.
I will be explaining the role of women in society in Bound Feet and Western Dress. The Chinese have traditions that are generations old and are very serious in their culture. These Chinese traditions have been deeply established. In Bound feet and Western Dress, a dispute between Chinese traditions and Westernization of Chinese women begin to emerge. The women in traditional China were treated unequally and were basically looked upon as property for their husband. The women were taken in by the husband’s family and had to always obey their husband and also had to take orders from the husband’s family as well.
Although Mrs. Spring Fragrance has only lived in America for a short amount of time, her husband states “There are no more American words for her learning” (865). It is obvious through reading this statement that Mrs. Spring Fragrance has become quickly acquainted with not only the English language, but also with American customs and traditions. However, not every character in Mrs. Spring Fragrance adjusts to American culture as easily as Mrs. Spring Fragrance; some characters have a difficult time leaving their Chinese traditions of marriage and accepting that in America, love comes before marriage. Throughout Mrs. Spring Fragrance, Sui Sin Far describes the process that the Chinese characters experience as they slowly begin to alienate traditional Chinese culture and becoming Americanized through accepting American culture as their own.
The united States Declaration of independence states that all men are equal, but aren’t all women as well? Nowadays, the numbers for the population are at an increase for the support in gender equality, with the capture of feminist labels. The seek for equality between men and women, and criticize the privileges that arouse by gender differences. However in Old China, males control almost everything due to a patriarchal society. At that time, not only men, but also women are influenced by male chauvinism. In the Jade Peony, written by Wayson Choy, female characters are affected by an unequal perspective despite their age group.
In the patriarchal, Confucian influenced, Han dynasty, a woman’s role and social status was far from equal to that of a man. In Ban Zhao’s work Lessons for a woman she depicted the role of a woman, as a lower-class member of society. Hidden beneath the stereotypes of what a woman was supposed to be, Ban Zhao was a rarity of her time as she excelled as a historian and teacher.
Filled with images of Chinese women and their families, Unbound Feet brings these Chinese grandmothers to life. Their stories and testimonies endear them to today’s generation as women who struggled and conquered in the face of great hardship and trials. Unbound Feet is an outstanding contribution to the history of Chinese American women and their social experiences in the United.
Chen, Jo-shui. "Empress Wu and Proto-feminist Sentiments in T'ang China." In Imperial Rulership and Cultural Change in Traditional China, edited by Frederick P. Brandauer and Chün-chieh Huang. 77-116. Seattle: University of Washington Press, 1994.
According to Confucian philosophy, a family that is run well demonstrates that the state is also governed well. Confucianism philosophy was upheld, demonstrating a patriarchal society with a great emphasis on societal class and rigid gender lines, traditions and customs with a heavy emphasis on male heirs to continue the legacy of a family. Comparing Li Ang’s novel, The Butcher’s Wife and Zhang Yimou’s movie, Raise the Red Lantern, Confucian philosophy is clearly represented and shown and the leading female characters battle the oppression forced upon them due to their inability to support themselves. Because Confucian philosophy implies women and daughters are treated as objects instead of human beings, daughters are raised as objects to barter and are never given the chance to learn to gain independence. Without independence, women are forced to depend on their fathers and or their husbands without a choice in whatever matter. Men in a patriarchal society victimize women and oppression of women is largely affected by the socio-economic structure of a male-dominated society. Some say, in order for women to become liberated in a male dominated society, they must gain economic stability. In my opinion, due to the socio-economic settings of many of the works we have read, the female characters do not necessarily need the financial stability to receive their freedom; these women utilize their own mind and bodies to gain power and liberation. The oppression of women can be better explained using Jean-Paul Sartre’s theory of existentialism and Simone de Beauvoir’s existentialist feminism theory.
Lessons for Women was written by Ban Zhao, the leading female Confucian scholar of classical China, in 100 C.E. It was written to apply Confucian principles to the moral instruction of women, and was particularly addressed to Ban Zhao’s own daughters. As her best remembered work, it allows the reader insight into the common role of a woman during this fascinating time-period. The work starts off by Ban Zhao unconvincingly berating herself, and claiming how she once lived with the constant fear of disgracing her family. This argument is rather implausible, for the reader already knows the credibility of Ban Zhao, and how important her role was in ancient China.
The Chinese people experienced rapid changes, in government and their own culture in the 20th century. In the book, Wild Swans, by Jung Chang, she depicts the experiences of not only oppression and suffering, but the development of the communist revolution, under Mao. Also, to show how the Chinese people, women in particular, fought against impossible odds by interweaving historical and personal stories from the twentieth century China.
...Also an important quote is when she says, "But today I realize I've never really known what it means to be Chinese. I am thirty-six years old" (857). Even though she was in her 30's and still had that identity crisis, it was uplifting knowing that all it took for her to resolve that conflict was one meeting with her sisters.
...ime. Majority of the women in the novel overcame the tough traditions of women treatment in ancient Chinese culture. The ancient Chinese culture believed that women should fall under patriarchy and strict ethics. This gave women no opportunity to move up the social class ladder. Being treated poorly effected would often affect women. Women like Lindo represent the power of escaping the oppressive atmosphere. Lindo decided to leave when she saw the Huang couldn’t control her anymore. Women had to be able to find their own independent identity. Ying-Ying is an example of this since she always wished to be found by someone, but inevitably she realized that she was her solution to finding her wholeness. Today modern women can express their thoughts, independence, and creativity. Aid should be continually provided for liberating women from oppression and discrimination.
Is it because he was a woman that he cried out at the sight of a child being harmed? Did he not cry out at the death of his wife because she was a woman? The role of the female in this story reveals a sense of inferiority towards women. These questions that the story raises show how women were viewed as inferior and weak in the eyes of the Chinese culture.
In her article "The body as attire," Dorothy Ko (1997) reviewed the history about foot binding in seventeenth-century China, and expressed a creative viewpoint. Foot binding began in Song Dynasty, and was just popular in upper social society. With the gradually popularization of foot binding, in the end of Song Dynasty, it became generally popular. In Qing Dynasty, foot binding was endowed deeper meaning that was termed into a tool to against Manchu rule. The author, Dorothy Ko, studied from another aspect which was women themselves to understand and explained her shifting meaning of foot binding. Dorothy Ko contends that “Chinese Elite males in the seventeenth century regarded foot binding in three ways: as an expression of Chinese wen civility,
Women usually worked as secretaries or on the assembly line because “bosses felt that young women were more diligent and easier to manage” (p. 56). Men, however, were either in a high managing position in the factory or worked in the lowest of jobs available, such as a security guard or driver. It was interesting to learn that about one-third of all of China’s migrants are women. These women go to the factory towns to work, but also, a majority of them leave their homes to see the world and experience life on their own for the first time. Chang makes a point that “to some extent, this deep-rooted sexism worked in a woman’s favor” (p. 57). The statement is supported by the idea that women are less treasured in their families; therefore, they had more freedom to do what they wanted with little care from the family. Shockingly, Chang noticed that no woman ever complained about unfair treatment. “They took all of these injustices in stride” (p.58). The women were grateful for the opportunity leave home and gain a sense of freedom; injustice was not a prominent
Ko, Dorothy. "The Body As Attire: The Shifting Meanings of Footbinding in Seventeenth-Century China". Journal of Women's History. Winter 1997, Vol.8:4.