Male And Female Relationships : The Gilb 's Love And The Love Of My Life

In contrast, during the era of The Story Yingying, the cultural norm for a woman was to be submissive, patient, and passive. Yingying upheld all of these cultural standards. After meeting Zhang for the first time Yingying showed no interest in him at all but overtime Yingying finally gave into Zhang and fell in love and they became engaged. Unfortunately, Zhang had to leave for a year to go take a civil service examination, but he promised her he would come back to her. She waited patiently and after a year, her fiancé returned but shortly after had to leave again to retake the examination. Again she waited patiently for his return, but he never came back. After waiting for years for her fiancé to return, she became eager to

Furthermore, instead of arranged marriages that only benefited the patriarchal head, intellectuals pushed for marriages based on love which would create happy and productive citizens . In addition, based on her mother’s experience, Bao Qin rejects arranged marriages and intends to only marry for love . After hearing of two concubines who drug Cousin Hu’s mother to feign adultery and gain the favour of her husband, Bao Qin is enraged by the historic “powerlessness of women, [the] barbarity of age-old customs, cloaked in tradition .” With the broad shift from tradition as well as her own personal experience, Bao Qin rejects traditional gender roles and seeks to create her own. Furthermore, as China became divided into separate spheres of influence and opened to international markets, British and American industrialization brought new ideas of opportunities for women, challenging established gender relations . With new economic opportunities and education, women could become self-reliant, broadening their choices and their role in society. Consequently, after disobeying her parents’ command to attend Mr. Liu’s funeral, Bao Qin was able to support herself by enrolling in a new teacher training department . Reducing patriarchal control, industrialization allowed children to head to schools and factories, no longer needing to rely on their parents for education and work . As a result, while foreign

In both essays, two common themes revealed are the dominance of man and to find the perfect female spouse to satisfy their male spouses need. Ideas that are being presented are girls need to stay girly and attractive and males cannot sustain friendship with females. Each author elaborates on what the ideal male or female is. The author Paul Theroux talks more about how society sees as a man in his essay “Being a Man” and uses metaphors and hyperboles to get through readers. While the author Judy Brady explains what the ideal female is viewed as in her essay “I Want a Wife” and uses satire and domestic ideology.

In this move, the Chinese community expects women to get married for procreation purposes. For instance, Wai Tung is being by his mother to get so that he can give her a granddaughter against his will. At the long last he gets married to satisfy his nagging parents to a female tenant. The movie creates a notion that a woman needs a man to achieve something in life because Wei Wei gets married to a gay landlord because she needs a green card. In this case, the marriage between Tung and Wei becomes a marriage of convenience. This scene portrays an aspect of China traditions that women are tools of sex in that part where Mr. Gao insists on throwing a wedding banquet for the couple. After the party and all the drinking, Wai Tung and Wei Wei are put to bed, and things get out of hand. Also, the movie reveals another purpose of female in traditional Chinese culture, which is human production. Tung’s father doesn’t care if his son is homosexual or not as long as he gets a grandchild. Tung’s parents only want Wei to give their family the next generation.

Kind Hearted Women (Sutherland, 2013) is a documentary that attempts to portray what it means to be a Native American in modern times. It uncovers how child abuse and domestic violence tainted the life of one woman on an Indian reservation. Robin Charboneau, the protagonist of the film, becomes a whistleblower of the dysfunctional tribal council system. As she seeks help and advocates for her family, she faces the scars from her own past and starts on a journey full of learning, growing and healing.

            The author makes a statement of her belief of men’s inclination to dominate woman through John’s treatment of his wife. Men who wish to have

As a professional woman who also contributes to the house income, she believes in an equal partnership of shared responsibilities and emphasizes the importance of honesty and openness between husband and wife. The dagger in Chonghui's heart is what helped her to survive her familial difficulties. For years after her marriage, Chonghui tolerated her husband's abuse,

In this film, Bernardo with two things, simply stresses the conflict between Chinese and Western cultures. The first thing is distinguished. Under the influence of Western culture, the social status of traditional Chinese women has been improved obviously. For Wen Xiu and Pu Yi's divorce. From the perspective of feminism, the film interprets the spirit of the embroidery against the patriarchal society. In the film, Wen Xiu (3) proposed divorce because of the unbearable polygamy system,, and Pu Yi always favored Wan Rong (4), which led to Wen Xiu proposed divorce. In this scene, we can speak of the conflict between the modern women's independent thinking and the traditional marriage system. For thousands of years, the feudal system based on Confucianism, the oppression of women is harsh, the Chinese women for thousands of years have been living under the weight of feminist society, there is no freedom in terms of. In particular, the concept of chastity of Chinese women is expected to be very robust, and now still retains the chastity arch. This is the reason why those who, after the death of her husband, never built a woman remarried. The arch is the era of female oppression complaints. In Chinese history, the polygamous marriage system existed until it was deleted in modern times. In Chinese history, only men can divorce a woman, never a woman can divorce a man, especially in patriarchal

Chapter twenty-eight develops some insights into the relationship between Bao-yu, Dai-yu, and Bao-chai. There are some discreet hints that Bao-chai should be Bao-yu’s wife, especially when Yuan-chun, the Imperial Consort, sends gifts to the Jia family and the presents for Bao-yu and Bao-chai complement each other perfectly, but Dai-yu’s gift is different from theirs. Even Dai-yu undermines herself saying that “I’m not equal to the honour. You forget, I’m not in the gold and jade class like you and your Cousin Bao. I’m only a common little wall-flower” (65). A part of me wishes that Dai-yu would be more self-confident and accepting of herself because then there would be less arguments between her and Bao-yu and prevent her inevitable, dark fate

In his short story “Modern Love”, Boyle portrays a modern relationship and a change in gender roles where Breda takes the stereotypical role of a male as the dominant partner in the relationship and the narrator submits to her wishes.

I read the chapter from Mei Ng’s novel twice to comprehend its gist. I experienced a variety of emotions towards the different characters of the story. I felt sympathy and awe when I read Bell’s story. The reason I felt sympathy for Bell is that she never experienced love; she waited for it throughout her life. She attempted to acquire love by being the obedient child and the servile wife. I couldn’t help myself but feel pity as she ended up not believing in love. I was in awe of her accomplishments in overcoming the hardships she faced as a child in China and as an immigrant wife of a bigot expat husband. The scheme of Bell’s father to arrange the marriage of his

For a long time, men and women have been dealing with the controversy of gender roles. In modern day, the battle for gender equality has been more known. In the story “Guys Suffer from Oppressive Gender Roles Too”, the author Julie Zeilinger explains how males are held to a more macho standard, but do have prevalent emotions. If we were to let go of these rigid rules about what is manly, there would be no standard for any gender. If that was reality, men shouldn’t have to feel humiliated about staying home, and if their companion makes more money than they do. Zeilinger talks about how males detach themselves from some emotions, and live a “life nub to a true range of human emotion” so they can meet this masculinity standard. However if males

Jing-mei’s inability to connect with her mother arises from her upbringing. Mrs. Woo pushed Jing-mei to extremes with her parenting and failed to realize the lasting trauma it had on her daughter. Jing-mei as a fragile child wants nothing more than for her “mother and father [to] adore [her]” (233). The developing girl is looking for acceptance through her parents, but Mrs. Woo does not understand the positive reinforcement required in those early stages of development. Instead

Another aspect of cultural conflict is that humility and obedient are considered as the traditional virtues of the Chinese culture. Children should unconditionally obey their parents because parents have the ability and willingness to teach and control their children. For example, according to Jing-mei’s mother, Jing-mei has to practice piano assiduously. She would not be punished if she devotes all her effort to playing piano. We can clearly see this point in her mother’s word in the quarrel, “Only two kinds of daughters, those who are obedient and those who follow their own mind! Only one kind of daughter can live in this house. Obedient daughter” (461). But Jing-mei cannot understand this, because she is not familiar to Chinese culture. As a consequence of Jing-mei cannot understand her mother, she does not cooperate and has rebellious attitude against her mother. In the story, Jing-mei decided, “I didn’t have to do what my mother said anymore. I wasn’t her slave. This wasn’t China. I had listened to her before and look what happened. She was the stupid one” (460). As described above, Jing-mei cannot understand the humility and obedient of Chinese culture, even they are recognized as the

Jing-mei realized that she was an ordinary individual and that she would not let her mother’s expectations change that. She no longer believed that she “could be anything [she] wanted to be, [rather she] could only be [herself]” (Tan 44). In using a limited, first-person point of view, Tan is able to show Jing-mei’s emotional progress of following her mother’s dreams to finally realizing her own dream.