Ni Kan 's Defiance Of The Motherland

In the story “ Two Kinds” Amy Tan presents the theme ¨Be grateful for what you have when you have it because nothing is forever¨ through the main characters Ni kan and her mother and also through foreshadowing. Tan takes the reader through a story of a girl and her mother as they both individually learn a good life lesson.

In the story “ Two Kinds” Amy Tan presents the theme ¨Be grateful for what you have when you have it because nothing is forever¨ through the main characters Ni kan and her mother and also through foreshadowing. Tan takes the reader through a story of a girl and her mother as they both individually learn a good life lesson.

Even though it deviates from traditional patriarchal culture, women like men have sexual needs. The traditional sex script shows men as aggressive and women as passive. Yet, although viewed as negative, the Jezebel image shows women expressing their sexual needs and desires. The music group TLC and poet Maya Angelou popular culture expressions positively express women’s sexual needs. In one of their early songs “Ain't Too Proud to Beg”, TLC positively tells the story for African American women who are comfortable with expressing their sexual needs. They see it as natural and a given right to be participants in their sexual experience. In a more subtle tone, Maya Angelou poem, “Phenomenal Woman,” speaks about a women’s ability to attract men. The woman in Angelou’s poem is not hypersexual like the standard depiction of Jezebel; instead, she is confident with herself and her sexual needs. The notion of women’s sexuality is not negative or unholy. TLC and Maya Angelou both manage to express a positive reality of a long-standing negative impression of women’s sexuality in their popular culture

As a result, Winnie isn't treated the same as males, demonstrating her struggle of being a female. Using Jesus as a reference, she states that society appeals more to men: “When Jesus was born, he was already the song of God (322).” While Winnie states this, she mentions her inauspicious early life and how it contradicts with the advantageous male figure. “I was the daughter of someone who ran away, a big disgrace (322).” These statements show a dichotomy between the two genders as a figurative line divides them like Trump’s dream border. It represents the border that women cannot cross due to society’s norms or else they will be persecuted for not abiding by the status quo. In Winnie’s society, women are held as frail, household figures, not recognized as an empowering group. Even if women pursue this liberation, people begin to forget what they have accomplished. Thus, Tan’s message to readers to how immediate change —when rushing or skipping an imperative step— is inefficient. To provide change for women, Tan encourages readers to complete the first step: revamp their own stereotypes of women before changing society’s. By doing so, they become empowered, inspiring other women and impacting their beliefs on gender roles. This is Tan’s lesson all constructed under one found

In Amy tan’s short story called Two Kinds, there are many examples of conflict. These include; Chinese versus American culture, a parent’s wishes versus her child’s wants, and the pursuit of material success versus contentment. However, this essay will only address the conflict between the story’s mother and her daughter’s personalities. Theirs is a struggle with old-world pride against new age independence.name the characters. But the author takes pains to show their good qualities as well, so the story redeems these two characters in the end.

Jessica Anderson aims to develop this dual understanding through the exploration of two main themes: the quest for self-knowledge, and the consequences of gendered societal repression. In this essay I will explore these themes, and how much Nora and the audience respectively finally

Edna St. Vincent Millay, “I, being born a distressed woman”, introduces a new perspective on trivial concepts such as gender, sexuality, lust, Intimacy and human relationship, ultimately challenging social standards. The speaker brings forth the idea of engaging in intercourse to fulfill her sexual “needs and notions” (2) without being bound to the expectation of forming an emotional and serious relationship. Through insight and logical reasoning, Millay battels pushes beyond social boundaries and standards by challenging the idea of sexuality and as a result of “being born a woman” (1). Millay uses elements of imagery and diction to express human sexuality and insightful reasoning in order to challenge societal standards.

For you sake”’ (Tan, 1989). At the end of the story, Ni Kan continues to disappoint her mom, but states “Unlike my mother, I did not believe I could be anything I wanted to be, I could only be me” (Tan 1989). Ni Kan’s mother’s intentions was not to put her daughter down, but rather to bring her to her potential. Unfortunately, Ni Kan has interpreted her mother’s actions to be demeaning whenever she did not live up to her expectations.

The play, “In the chest of a woman”, written, directed and published in 2008 by the Ghanaian playwright, Efo Kojo Mawugbe, told the story of a female character who deviated from society’s constructed norms. The protagonist, Nana Yaa Kyeretwie, came to the forefront to challenge society’s notion that men should lead while women follow. This was evident as Nana Yaa exhibited macho characteristics. The hilarity of the text coupled with the feisty and cunning nature of Nana Yaa made the text stand out as my favourite. This paper seeks to offer an intrinsic analysis of the play, illustrating a society that promotes sexism, sexist exploitation and depression. The paper will use the feminist literary theory adopting key concepts: patriarchy, heteronormativity and queer theory in highlighting these instances.

By showing how two women bonded by acknowledgement of the truth, she shows how society considers women to be unimportant and often to follow a certain role in their lives, thus letting men dominate what they can or can’t do.

To tie this together, with wealth and power, an insensitive male culture is able to exploit the harmony of the world he dominants, which is a significant point made in feminist movements. Sylvia and the young man take on an expedition into the woods to find the white heron. The young man hopes to seduce Sylvia to gain more knowledge of the prized white heron. When the seduction occurs, there are several poignant emotions that the author describes of the young girl, which directly leads the reader into the second perspective which is “her initiatory journey.” Young Sylvia is thrust into a yearning for womanhood, which is depicted in the story “the woman’s heart, asleep in the child. This part is important because of its portrayal of a masculine device at using the innocence of a young girl’s heart to obtain his needs.

In the pieces Wet Road (2006) and Bridge of Sighs (2008), Weare focuses on the intimacy that occurs in heterosexual relationships. In both of the pieces, her dancer’s movement reflects tenderness, vulnerability, and desire. Although these emotions are present, aggression also tends to be an emotion presented as well; displaying that violence is also present relationships. But the way aggression is portrayed in the pieces vary among sexes. Weare portrays male and female aggression differently in both pieces by either having the males in her pieces reinforce or disrupt the dominant and aggressive stereotypical roles society depicts men of having. Thus in order to do so, Weare has the males in her pieces physically express how aggression and dominance are portrayed and relationships are the basis of this dominating

Womanhood is personified as a commidity which is echanagle within male centeretd discourses and ascribes within novelistic discourses as a consumerable commidity. The experiences of coloured womanhood is eprsonfied through Behns characterization of iomoindia, whose sole acts of selc-determination is to death. The characters of colour within this piece of novelistic discourse are sex tropes, which are vsustain extrememe sexual vioelence. Aphjra wiritings iplore the responder to explore the correlation between imagings of woman of colour being used as sex tropes, which are vicitims and suffer violence and examine those representation of conteparies media. Utimaley, manifesting a sense that this personification fo woman of colour is not libertory and that woman of colour in modern

Sylvia Plath’s “Daddy” explores the power imbalance of gender relations and the negative effects of oppression on women in a male-dominated society. The speaker’s portrayal of the patriarchal system as her “daddy” describes the infinite power enforced through hegemony on women and how women are “chuffed up as Jews” into slavery, suppression, and loss of self-identity. The use of children’s discourse with words like “achoo” and “gobbledygoo” portrays the speaker as having a child-like innocence, which ironically proves that young girls lose their innocence when socializing into expected roles of women in marriage and childbearing. The holocaust imagery in “I think I may well be a Jew” allegorically represents the historical victimization of

Gender roles can have the ability to dictate one person’s power over another. When sexuality is explored, a person is either left satisfied or unsatisfied with the outcome. In Aimee Bender’s two short stories “Appleless” and “On a Saturday Afternoon”, gender roles are misused and even reversed. Typically men have control over sexualized situations, but the opposite is true in “On a Saturday Afternoon”, making this one of the main differences between the two experiences. These stories can be compared by looking at two women and the differences in their actions, behaviors, and experiences. Decisions are made in order to distinguish power between people. Concerning gender roles in these stories, the power of women challenges the power over women in two different ways. These choices that are made show the differences, effects, and inequalities of gender within similar eras of time. In “Appleless” and “On a Saturday Afternoon”, Aimee Bender utilizes parables to explore power and control within gender where the main gender role is both illustrated using a woman that is being overpowered and a woman that is overpowering and by illuminating the destructive outcomes when dominance is used negatively.