The Woman Warrior Essay

In the aftermath of May Fourth, women writer mushroomed to the center stage of literary creation. They were a new type of women themselves and they created new types of women in their stories, too. This paper discusses the types of new women in Ling Shuhua’s “The Embroidered Pillow,” “After Drinking,” and Feng Yuanjun’s “Separation,” and their voices that contest, question, or ironize the possibilities available to them in the new era.

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.

Silence, Identity, and Naming! Some may feel that when someone says silence they’re automatically only referring to someone not speaking. But, that isn’t the case. Silence has so many different meanings. Silence can be within community, within religion and even within the relationship of a loved one.

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.

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."

In The Woman Warrior, Maxine Hong Kingston crafts a fictitious memoir of her girlhood among ghosts. The book’s classification as a memoir incited significant debate, and the authenticity of her representation of Chinese American culture was contested by Asian American scholars and authors. The Woman Warrior is ingenuitive in its manipulation of the autobiographical genre. Kingston integrates the value of storytelling in her memoir and relates it to dominant themes about silence, cultural authenticity, and the cultivation of identity. Throughout her work, Kingston reaches a variety of conclusions about the stories her mother told her by writing interpretations of her mother, Brave Orchid’s, “talk-story”. Brave Orchid’s talk-story is a form

The role of silence in text can be interpreted to various different meanings. The Chinese culture in The Woman Warrior embrace silence, as the people see it as being respectable and keeping privacy. Kingston incorporates the archetypal role of silence in The Woman Warrior to present how destructive the quality of silence can be, as it stifles identity and expression. From the beginning of the novel, the main protagonist Kingston is silenced from knowing the truth behind her family’s history. Her mother secretly mentions the talk-story of her aunt who was neglected and bashed upon because of her unexpected pregnancy.

     Women have played a tremendous role in many countries' armed forces from the past to the present. Women have thoroughly integrated into the armed forces; all positions in the armed forces should be fully accessible to women who can compete with men intellectually and physically.

Maxine Hong Kingston’s novel The Woman Warrior is a series of narrations, vividly recalling stories she has heard throughout her life. These stories clearly depict the oppression of woman in Chinese society. Even though women in Chinese Society traditionally might be considered subservient to men, Kingston viewed them in a different light. She sees women as being equivalent to men, both strong and courageous.

When it comes to combat assignments and the needs of the military, men take precedence over all other considerations, including career prospects of female service members. Female military members have been encouraged to pursue opportunities and career enhancement within the armed forces, which limit them only to the needs and good of the service due to women being not as “similarly situated” as their male counterparts when it comes to strength or aggressiveness, and are not able to handle combat situations.

This is a different sort of Pressfield book. Unlike the historical fiction genre in which he’s written such best-sellers as “Gates of Fire,” “The Afghan Campaign, and “The Profession,” “The Warrior Ethos” is the culmination of years of discussions Pressfield’s been having with Marines and others who were taken with the blend of courage-under-fire and humanity shown by Leonidas, Dienekes, Matthais, Gent, and the other characters in his books. “I wanted to give something back to our men and women fighting overseas,” Pressfield told Gazette, so I put together the best anecdotes and stories from all my research about the Spartans, Alexander's Macedonians, the Romans, and Rommel.”

The topic of women in combat is an ongoing debate that is currently being argued in many places, commonly in the United States. Women in combat next to men and a free women combat are two different perspectives in which women in combat are defined by their gender. Women in combat will provide help to those men who are to attend a combat. A free-women combat, on the other hand, prevents women from dying during combat due to not being allowed in combat. Since Women aren’t able to be included in any job in the military and have a right to be equally treated like men in combat, it’ll be unfair to more people. Women should be given the same right as men out in battlefields because “women serving in the armed forces has not wavered as warfare has changed, a clear sign that the necessity of women serving in combat is recognized.” In addition, “several other countries outside the U.S. already have women serving on the front lines.” Lastly, “Combat is nothing new to our women in the military. Several women have already given their lives serving in combat.” Women have, over the years, worked hard to get awarded the choice towards their career. Although it prevents more deaths, it’s also a sexist matter. Any job in the military should be a choice for women, it’s their career after all and they can make their own decisions.

In one section of the book, her mom tells her a story about a woman who invented white crane boxing. Despite being an adult, Kingston still continues to feel worthless when compared to Fa Mu Lan’s bravery and courage. After hearing the stories, she decides to fight against sexism and other injustices. In order to change her character and her figure, she decides to create an alternate image to be considered more powerful and unlike the typical Chinese woman. While Growing up, the narrator decides to obtain respect by going against the typically feminine characteristics of a female. At one point she remembers refusing to cook and when she would do the dishes, she would “crack one or two”(47). Furthermore, she would occasionally “burn the food”