The movie, The Joy Luck Club, focuses around the lives of four Chinese mothers and their Chinese-American daughters. The story takes place a few months after Junes mother, Suyuan has died. The mothers and daughters hold very different principles, where the mothers are still very traditional to their Chinese upbringings the daughters are much more “American.” The movie can be viewed from the Feminist Literary Theory, since the 8 main characters are female. The women’s life stories are told through a series of flashback scenes that deal heavily with female gender roles and the expectations of women. While the mothers and their daughter grew up in vastly different worlds, some of their experiences and circumstances correlate solely due to that fact that they experienced them because they are females.
The first mother/ daughter pair whose experiences were shown are Lindo and Waverly. Lindo was born and raised in China, were women have very little rights, and no say in their futures. At a very young age Lindo was promised by a “matchmaker” to be married to a man when she was 15. She was told from the time she was a toddler that he “belonged” to her future husband, and was already his property and that she needed to act accordingly. At 15 she was forced to go marry a man she had very met, whose face she had never seen and whose age she didn’t know. She was expected to be subservient, obedient and dutiful wife who would produce a son for the Huang family. After her marriage her very, very young husband made it clear to her that he “was the husband and he made the rules” (The Joy Luck Club). When, through no fault of her own, she didn’t not produce a child with him all of the blame was placed on her and she was told if she continued to ...
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...f divorce knocks Rose out of her servile manner and brings about her old, strong personality.
Lastly, June and her mother Suyuan relationship is a culmination of all of the mothers and daughters relationships. Growing up they never saw eye to eye, they were blinded by what they assumed the other wanted of them. Each woman thought she had a role she needed to play in order to make everyone happy. The mothers felt as if their daughters were ashamed of them and the daughters felt as if they couldn’t measure up as perfect Chinese daughters and were thus a disappointment to their moms. All of the women were lost within what they thought was their feminine place in society.
Works Cited
The Joy Luck Club. Dir. By Wayne Wang. Perf. Ming-NaWen, Tamlyn Tomita, Lauren Tom, Rosalind Chao, Tsai Chin, France Nguyen, Lisa Lu, and Kieu Chinh. Hollywood Pictures. Film.
June is the first character that will be analyzed. First, she was just rebounding from her mother’s death. She had thought for a long time that she had never done anything to make her
Our mothers have played very valuable roles in making us who a we are and what we have become of ourselves. They have been the shoulder we can lean on when there was no one else to turn to. They have been the ones we can count on when there was no one else. They have been the ones who love of us for who we are and forgive us when no one else wouldn’t. In Amy Tan’s “Two Kinds,” the character Jing-mei experiences being raised by a mother who has overwhelming expectations for her daughter, causes Jing-mei to struggle with who she wants to be. “Only two kind of daughters,” “Those who are obedient and those who follow their own mind!”(476). When a mother pushes her daughter to hard the daughter rebels, but realizes in the end that their mothers only wanted the best for them and had their best interest at heart.
On a train in China, June feels that her mother was right: she is becoming Chinese, even though she never thought there was anything Chinese about her. June is going with her father to visit his aunt, who he hasn't seen since he was ten. Then, in Shanghai, June will meet her mother's other daughters. When a letter from them had finally come, Suyuan was already dead--a blood vessel had burst in her brain. At first, Lindo and the others wrote a letter telling the other sisters that Suyuan was coming. Then June convinced Lindo that this was cruel, so Lindo wrote another letter telling them Suyuan was dead. In the crowded streets of China, June feels like a foreigner. She is tall--her mother always told her that she might have gotten this from her mother's father, but they would never know, because everyone in the family was dead. Everyone died when a bomb fell during the war. Suddenly June's father's aunt comes out of the crowd. She recognizes him from a photograph he sent. June meets the rest of the family, having trouble remembering any words in Cantonese. They all go to a hotel, which June assumes must be very expensive but turns out to be cheap. The relatives are thrilled by how fancy it all is. They want to eat hamburgers in the hotel room. In the shower, June wonders how much of her mother stayed with those other daughters. Was she always thinking about them? Did she wish June was them? Later, June listens while her father talks with his aunt. He says that he never knew Suyuan was looking for her daughters her whole life. Her father tells her that her name, Jing-mei, means, "little sister, the essence of the others." June asks for the whole story of how her mother lost her other daughters. Her father tells her that though her mother hoped to trade her valuables for a ride to Chungking to meet her husband, no one was accepting rides. After walking for a long time, Suyuan realized she could not go on carrying the babies, so she left them by the side of the road and wrote a note, saying that if they were delivered to a certain address, the deliverer would be rewarded greatly. She got very sick with dysentery, and Canning met her in a hospital. She said to him, "Look at this face.
Gender consists of the behaviors, and attitudes in which a group considers proper for each sex. Within China, the male children grow up to take over the land, or home and take care of their parents. They also are the ones that bring in the family, and carry on the family’s last name. When the Chinese government introduced the one-child policy, this made most men, want and desire to have male children. Then started the men throwing out Chinese children and the women to begin to leave the female children or abort them because a daughter was not acceptable. This shows that the males held the dominant position within Chinese society because of the fact they inherit everything, and are to take care of the parents when they become elderly. Also, in Chinese culture the women are more submissive, and throughout history were always the one that was sold, had arranged marriages and other more seen as someone’s property other than someone’s daughter. But because of the stigma against female children, they have predicted that in 2020 that around thirty million adult males to be unmarried. Some say that women are being held more precious and valuable, but as shown in the documentary, many women are being kidnapped and sold to men without wives. This leads to violence, and these women constantly living in a fearful and abusive environment. In the documentary, they also showed us a man that works to find these missing, or kidnapped women. Another person that spoke to us was a woman that he rescued, she was barely rescued because the whole village tried to fight off the police and detective. This resulted in her having to leave her son with the man. This shows us that within Chinese culture men just believe the female gender is meant to be submissive, and have no
Even though Suyuan Woo is not alive her story is told through her daughter, Jing-mei “June” Woo. In the beginning of the novel readers witness June realizing how little she really knows about her mother and her heritage when she joins the other members of the club her mother founded called Joy Luck. Jing-mei struggles with the division between who she is and who her mother wants her to be. ""Only two kinds of daughters." She shouted in Chinese. "Those who are obedient and those who follow their own mind!" Only one kind of daughter can live in this house. Obedient daughter."" (153) Suyuan yells this when Jing-mei refuses to practice the piano after her embarrassing performance in the talent show. She wants her mother to realize that she doesn't have to be a genius to be special, but Suyuan do...
The fact that the fictional mothers and daughters of the story have unhappy marriages creates a common ground on which they can relate. However, marriage has different meanings for each generation in this book. In the mothers’ perspective, marriage is permanent and not always based on love. Especially with their marriages in China, which was a social necessity that they must secretly endure in order to be happ...
From the beginning of the novel, we hear Suyuan Woo tell the story of "The Joy Luck Club," a group started by some Chinese women during World War II. June explains while remembering the memories of her mother, " 'We feasted, we laughed, we played games, lost and won, we told the best stories...we could hope to be lucky. That hope was our only joy,' " (12). The mothers grew up during perilous times in China. They were raised to never forget an important outlook of their life, which was, "to desire nothing, to swallow other people's misery, to eat [their] own bitterness" (241). For many years, the mother did not tell their daughters their stories until they were sure that their fractious offspring would listen. By then, it is almost too late to make them understand their heritage that their mother left behind in China. It seems that their family's legacy cannot seize their imaginations after years, decades, and centuries of blissfulness and sorrow.
...not reach perfect contentment without her mother giving her the chance to realize what she really wanted. The two songs maybe the opposites but as Jing-mei played them, she noticed that they were two halves of the same song. Suyuan and Jing-mei like the songs are pretty much alike, but still they make a perfect melody. It means that without the other, one can never be a better person. Both of them shaped each other.
The main characters in this story are a generation of mothers and their daughters. This story is told in sections as a narrative, where each chapter is recounted by a different woman. The mothers speak of their experiences growing up under the strict conditions in China. They told of how their marriages were predetermined and how they had to do as any male ordered. The daughters, on the other hand, being raised under American ways, told of their hardships with pressure given to them by their mothers. They spoke of American husbands, equality between both sexes, and how they’d rather believe that their futures could indeed be controlled.
The Joy Luck Club daughters incontestably become Americanized as they continue to grow up. They lose their sense of Chinese values, or Chinese tradition in which their mothers tried to drill into their minds. The four young women adopt the American culture and way of life, and they think differently than their traditional Chinese mothers do, upsetting the mothers greatly. The daughters do not even understand the culture of their mothers, and vice versa. They find that the American way of thinking is very different from that of the Chinese.
In desperation, mother An-Mei Hsu describes her frustration over her own mother-daughter relationship in Amy Tan?s The JoyLuck Club. Four Chinese born mothers and their four American born daughters tell stories from their own point of view about their relationships with one another: mother-mother, mother-daughter, and daughter-daughter. The way these stories weave in and out of the past and present, and how these women?s lives unfolded tell much of what women are taught to think of themselves, and how it shapes their lives. How a mother hopes to give her daughter strength, respect for herself, and a bond between mother and daughter, as told by the mothers, is reflected back by how each daughter processes what she perceives her mothers? lessons to be.
Kingston uses the story of her aunt to show the gender roles in China. Women had to take and respect gender roles that they were given. Women roles they had to follow were getting married, obey men, be a mother, and provide food. Women had to get married. Kingston states, “When the family found a young man in the next village to be her husband…she would be the first wife, an advantage secure now” (623). This quote shows how women had to get married, which is a role women in China had to follow. Moreover, marriage is a very important step in women lives. The marriage of a couple in the village where Kingston’s aunt lived was very important because any thing an individual would do would affect the village and create social disorder. Men dominated women physically and mentally. In paragraph eighteen, “they both gav...
Mother-Daughter Relationships in Amy Tan’s Joy Luck Club In the Joy Luck Club, the author Amy Tan, focuses on mother-daughter relationships. She examines the lives of four women who emigrated from China, and the lives of four of their American-born daughters. The mothers: Suyuan Woo, An-Mei Hsu, Lindo Jong, and Ying-Ying St. Clair had all experienced some life-changing horror before coming to America, and this has forever tainted their perspective on how they want their children raised.
In The Joy Luck Club, the novel traces the fate of the four mothers-Suyuan Woo, An-mei Hsu, Lindo Jong, and Ying-ying St. Clair-and their four daughters-June Woo, Rose Hsu Jordan, Waverly Jong, and Lena St. Clair. Through the experiences that these characters go through, they become women. The mothers all fled China in the 1940's and they all retain much of their heritage. Their heritage focuses on what is means to be a female, but more importantly what it means to be an Asian female.
Throughout Amy Tan’s novel, The Joy Luck Club, the reader can see the difficulites in the mother-daughter relationships. The mothers came to America from China hoping to give their daughters better lives than what they had. In China, women were “to be obedient, to honor one’s parents, one’s husband, and to try to please him and his family,” (Chinese-American Women in American Culture). They were not expected to have their own will and to make their own way through life. These mothers did not want this for their children so they thought that in America “nobody [would] say her worth [was] measured by the loudness of her husband’s belch…nobody [would] look down on her…” (3). To represent everything that was hoped for in their daughters, the mothers wanted them to have a “swan- a creature that became more than what was hoped for,” (3). This swan was all of the mothers’ good intentions. However, when they got to America, the swan was taken away and all she had left was one feather.