Fa Mulan In The Woman Warrior

These expectations increased when she was in the presence of “great power, [her] mother talking story” (20). In one particular situation, the narrator recalls her mother singing about Fa Mu Lan, the woman warrior. Although her mother expected her daughter to become a wife or a slave, the narrator had a different idea; she would “grow up a woman warrior” (20). As a young girl, she said that she “couldn’t tell where the stories left off and the dreams began” (19). This is the case in “White Tigers.” The narrator’s dream-state takes readers into the mind of a girl who attempts to please her mother and entire family by becoming a woman warrior. This is possibly an attempt to subside much of the harsh ridicule she receives from her mother due to cultural differences. Although this is a key factor in her early childhood, she learns to block out these criticisms as she grows older.

When Mulan returns home, she returns to the normal expectations of a woman which puzzles her comrades. “Traveling together for twelve years, they didn’t know Mulan was a girl. ‘The he-hare’s feet go hop and skip, the she-hare’s eyes are muddled and fuddled. Two hares running side by side close to the ground. How can they tell if I am he or she?’” (Frankel). Mulan relays the difference between men and women but also states that when both are faced with an obstacle like war, there really is no difference between them. Therefore, Mulan becomes a master of both the worlds of men and

Mulan, a tale of adventure and honor, is not only an engaging film to watch, but it also contains an amazing amount of historical accuracy concerning religions in China. The film Mulan is historically accurate in its portrayal of Daoist ideas, the expected behavior of women according to Confucianism, and Confucian relationships.

In The Woman Warrior, Maxine Hong Kingston blurs fiction and reality using a poetic, singsong writing style, blending sentences together using sentence structure and diction. She also relies heavily on symbols to reveal inner conflict that she had while growing up Chinese American, trying to determine what was authentically Chinese and what was illusion.

Having two identities is like mastering the dragon ways. In Maxine Hong Kingston’s 1976 The Woman Warrior, she retells about her autobiography in a fictional way and greatly magnifies the art of storytelling. Maxine introduces with the story about her unknown aunt and then transitioning to her favorite story about a woman warrior, Fa Mu Lan. Then she explores about her mother’s past, sister, and interaction with herself. She truly connects every part of the story and creates an identity for herself. The dragon passage illuminates Maxime’s identity and brings her stories into a whole where one must understand one part to find person’s identity.

A warrior woman is never accepted in a society. Marlow starts to describe the women in Congo, however, they are different from the European women. He starts by saying, “She carried her head high… Her face had a tragic and fierce aspect of wild sorrow…” (132). The women in Congo were confident and did not pay close attention to what men had to say. Regardless of what is happening to their people and country they still manage to become courageous and leaders. Then a man nervously whispers to Marlow, “If she had offered to come aboard I really think I would have tried to shoot her” (133). It shows that if a woman were to show her abilities to the world, people will be concerned and will not know what to expect. The book also suggests that women

A person who is brave enough to come out of their comfort zone and take risk, someone who never gives up even when things may seem impossible, a clever and creative mind, and to top it all with a heart that only means good; all mold together to make a hero.

Throughout the novel The Woman Warrior, by Maxine Hong Kingston, the past is incorporated into the present through talk-stories combined into each chapter. Kingston uses talk-stories, to examine the intermingling of Chinese myths and lived experiences. These stories influence the life of the narrator as the past is constantly spoken about from the time she is young until the novel ends and she becomes an adult. Kingston incorporates two cultures. She is not a direct recipient of Chinese culture, but she has her own sense of talk-story, that she learns from her mother, which tells the old Chinese stories with a sense of myth, in a new American way. This is a way of weaving two cultures together, bringing the Chinese past into her present American life.

Mulan is a Disney animated film that takes place in ancient China during Han Dynasty War. Mulan is a young girl in China, the only child of her honored family who struggles to find her identity and meaning in society. While Mulan is a lovable, spirited girl who doesn’t fit in with Chinese tradition because she speaks her mind and follow her heart. Being a girl who experience culture, gender role, and self-image demonstrated what a non- tradition person will do to bring honor to her love one’s and the family.

Maxine Kingston in “The Women Warrior” presents a traditional Chinese society that anticipates women not to decide what is best for them all by themselves. Kingston creates a woman who goes beyond this ritual culture constraint and who take up

The theme of “voiceless woman” throughout the book “the woman warrior” is of great importance. Maxine Kingston narrates several stories in which gives clear examples on how woman in her family are diminished and silenced by Chinese culture. The author not only provides a voice for herself but also for other women in her family and in her community that did not had the opportunity to speak out and tell their stories.

Maxine Hong Kingston once said, “I 've been writing since I was 7, but before that, I was orally making stories. This quote expresses Kingston’s fervor for writing and storytelling outside of her short story “White Tigers from the Woman Warrior”, which emphasizes the importance of literature, which is her art, by retelling her own childhood as the “fairy tale” of the Woman Warrior, Fa Mu Lan, and connecting it back to her own life. The introductory paragraphs, coupled with the word carving scene and the concluding final paragraphs, evoke Fa Mu Lan and present Maxine’s life as analogous to Fa Mu Lan’s life story. While it is understood that they did not know each other, Maxine complicates this “relationship”, for lack of a better word, by using a first-person narrative as opposed to a third-person narrative while retelling the “fairy tale”, which in turn complicates subjectivity of Maxine, and the relationship between Maxine and Fa Mu Lan. Moreover, the words in the word carving scene in the middle of the “fairy tale” are double symbols of suffering and of perfect filiality, which is a trait common in Chinese culture. By and large, these early on passages, and each section from there on, and the word cutting scene, utilize the literary devices of point of view and central symbol to influence the audience to acknowledge Maxine 's claim that Fa Mu Lan is her model, and that she, Maxine, is fruitful in taking after her case since they both have words "at their backs."

Maxine Hong Kingston's autobiography, The Woman Warrior, features a young Chinese-American constantly searching for "an unusual bird" that would serve as her impeccable guide on her quest for individuality (49). Instead of the flawless guide she seeks, Kingston develops under the influence of other teachers who either seem more fallible or less realistic. Dependent upon their guidance, she grows under the influence of American and Chinese schools and the role models of Brave Orchid, Fa Mu Lan, and Moon Orchid. Her education by these counselors consequently causes her to abandon her search for an escort, the bird to be found somewhere in the measureless sky,

Kingston begins The Woman Warrior by writing a story which started with her mother insisting that she “must not tell anyone...what I am about to tell you.” (Kingston 3). Kingston’s first written words are a defiance of this silencing. Silence is a motif that permeates the entirety of The Woman Warrior; Kingston

As Mulan’s father is enlisted to fight in the war, Mulan rebels against her gender role and speaks out on the drafting of her injured father who would unquestionably die to protect his country. Noticeably having crossed a line, she is shamed for her outburst and is now determined more than ever to bring her family honor. Mulan sets off to fight under her family’s name portraying the male role of a man named Ping. Under this role, Mulan begins to find her true identity, which is not necessarily that of a man, but of a single individual who is strong-minded and brave. As she prepares for war, Mulan leaves behind a flower pin from her hair and this flower reoccurs throughout the film. The flower represents her leaving behind this societal view of femininity as she