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"The Lavatory Scene" in Maxine Hong Kingston's The Woman Warrior :a psychoanalytical interpretationZhou, Lu, Lucy January 2018 (has links)
University of Macau / Faculty of Arts and Humanities. / Department of English
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Multiple Identities/Multiple Narrative Strategies: Maxine Hong Kingston's The Woman WarriorDean, Gabrielle N. January 1989 (has links)
No description available.
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AN EXPLORATION OF SELF-CONSTRUCTION THROUGH BUDDHIST IMAGERY IN MAXINE HONG KINGSTON’S THE WOMAN WARRIORBilek Gage, Rosann M. January 2011 (has links)
No description available.
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Cease Fire: One Woman's Search for Self in a Culture of WarWettlaufer, Christine R, Ph.D. 18 May 2012 (has links)
Cease Fire is a war story told from one woman’s perspective. It’s about a farm girl and her battles fought as young soldier serving on a remote nuke site during the Cold War. It’s the interpretations of lived experiences, highs and lows of a military career fused with family life, and spanning over three decades. Like true war stories, Cease Fire has little to do with actual war. It is a sometimes humorous, but often tragic attempt to make peace and to make sense of the places, comrades and enemies that graced and plagued a career. First names and nicknames were used to protect the privacy of a few and render respect for the surviving children of a fallen two.
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How Femininity in Chinese and American Culture Confused and Established the Narrator's Identity in The Woman WarriorThunberg, Joanna January 2019 (has links)
This essay uses social constructionism and intersectionality to argue that the narrator in The Woman Warrior is experiencing feelings of identity confusion due to the different stereotypes of femininity that American and Chinese culture hold. The experiences are caused mainly by Chinese society, American society, her mother, and the talk-stories told in the book. She also establishes her identity through all four of these categories and comes to the conclusion that the concept of femininity is a stereotype and should not be adhered to as it furthers the patriarchal view of women.
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Authorizing the self : negotiating normality in contemporary American memoirLeaf, Patricia L. January 2010 (has links)
This study examines the contemporary American memoirs Goat (2004) by Brad Land, Prozac Diary (1998) by Lauren Slater, and The Woman Warrior: Memoirs of a Girlhood Among Ghosts (1976) by Maxine Hong Kingston to reveal how these texts push traditional thematic and genre boundaries as well as conceptions of minority identity. Their inclusion of fictional aspects, episodic structure, narrative excesses, and non-teleological endings work to enhance their status as sociocultural critique and protest.
This dissertation utilizes a social oppression angle within disability studies to demonstrate the overlapping processes and experiences of marginalization faced by these disparate protagonists who are dis-abled due to their undesired bodily variations and their failure to meet sociocultural standards of appropriate embodied behavior. Society is ideologically unwilling to accommodate or accept the differences the protagonists possess. Such a frame expands the artificial and culturally constructed notion of disability by illustrating the ways that discourse and ideologies of embodied normalcy intersect to constitute various minority identities as incompetent and
unworthy. The texts bear witness to each protagonists’ struggle to cultivate meaningful subjectivity and reject passive victim status; however, their resulting survivor subjectivities are both resistant to and complicit with hegemonic tenets.
This literary project augments ongoing work in minority, identity, autobiography, cultural, and disability studies that deconstructs essentialist paradigms while reinforcing the important cultural and literary work of contemporary memoir. Moreover, it fills a critical gap with respect to Goat and Prozac Diary, bringing these two texts into the critical discussion of autobiography. Finally, this dissertation illustrates that memoir is uniquely positioned within literary genres to navigate the interconnectedness of identity, subjectivity, and ideology, thus challenging readers to confront the injustice of a sociocultural structure that sanctions these inequities in the first place / Writing a better story : authorizing a vivid and valid self -- Lauren Slater's Prozac diary : the medical model and the suppression of the patient -- Maxine Hong Kingston's The woman warrior : the spectacular subjugation of the dually oppressed and dis-abled body -- The three memoirs : no prosthesis needed. / Writing a better story : authorizing a vivid and valid self -- Lauren Slater's Prozac diary : the medical model and the suppression of the patient -- Maxine Hong Kingston's The woman warrior : the spectacular subjugation of the dually oppressed and dis-abled body -- The three memoirs : no prosthesis needed. / Department of English
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Desire for the other in Maxine Hong Kingston's The Woman Warrior : Memoirs of a Girlhood among GhostsPan, Yu Lan January 2010 (has links)
University of Macau / Faculty of Social Sciences and Humanities / Department of English
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Translocation and female subjectivities in four contemporary narratives : Kingston’s The woman warrior, Magona’s To my children’s children and Forced to grow and Hoffman’s Lost in translationJoss, Elizabeth 12 1900 (has links)
Thesis (MA (English Studies))--University of Stellenbosch, 2009. / ENGLISH ABSTRACT: Drawing on theories of gender and subjectivity, this thesis explores the way in which
constructions of modernity as well as tradition are mapped onto geographical localities and thus
expressed through gender acts. The female protagonists in Maxine Hong Kingston’s The Woman
Warrior, Sindiwe Magona’s To My Children’s Children and Forced to Grow, as well as Eva
Hoffman’s Lost in Translation undergo either transnational translocation or imagined
translocation where they straddle multiple cultural contexts concurrently. The role of globalism
and modernity amplifies the female’s ambiguous position and therefore challenges her gender
identity as she takes on additional gender characteristics. This challenge, a result of translocation,
causes both the individual and collective nature of the subject to be emphasised and placed in
multiple cultures concurrently. The female’s subjectivity is under much tension as the cultures
she immerses herself in interlace but also clash. As a result of this, her sense of self is constantly
in flux as she attempts to achieve stability and coherence. This sense of a gendered, stable and
located self will, I argue, both dissipate and transmutate upon undergoing physical or imagined
translocation.
In addition, this thesis examines the manner in which globalism allows for the dissolving of
boundaries and explores the extent to which the ambiguous position these female protagonists
occupy enables them to reformulate and refashion their gender identity as well as write
themselves away from the marginalised positions they inhabit. I will further explore how female
subjects are compelled to take on additional feminine or masculine attributes upon translocation,
seeming to become androgynous in the reformulation of their gender identity for a certain period
of time. I will argue that protagonists supplement their gender in order to obtain a sense of
belonging in a specific cultural context which requires this alteration of gender, and argue that
this is also a means by which they liberate themselves from the marginal positions they occupy
in their ethnic culture where sexism and prejudice are prevalent. However, I will demonstrate
that modernity does not only provide them with liberation and autonomy, but that simultaneously
it is also restrictive on the subject’s gender identity. Finally, this thesis explores whether the
female protagonists are able to use their ambiguous positioning strategically in order to generate coherence of the self yet, concurrently, maintain fluidity between multiple cultural boundaries of the self. / AFRIKAANSE OPSOMMING: Hierdie verhandeling gebruik geslags- en subjektiwiteitsteorieë om ondersoek in te stel na die
maniere waarop konstruksies van moderniteit en tradisie uiting vind in geslagshandeling.
Dieselfde teorieë word gebruik om ondersoek in te stel na die invloed van geografiese plasing op
geslagshandeling. Die vroulike protagoniste in Maxine Hong Kingston se The Woman Warrior,
Sindiwe Magona se To My Children’s Children en Forced to Grow, sowel as Eva Hoffman se
Lost in Translation, ervaar elkeen óf transnasionale translokasie, óf verbeelde translokasie,
waardeur hulle vele kulturele kontekste tegelykertyd in die dwarste beset. Die rol van
globalisering en moderniteit versterk sonder twyfel die vroulike protagonis se dubbelsinnige
posisie, en haar geslagsidentiteit word in twyfel getrek soos sy addisionele geslagseienskappe
aanneem. Hierdie vertwyfeling – die gevolg van translokasie – veroorsaak dat beide die
kollektiewe sowel as die individuele aard van die subjek benadruk word, en gelyktydig in
meervoudige kulture geplaas word. Die protagonis se subjektiwiteit verkeer onder baie spanning
omdat die kulture waarin sy haarself verdiep onderling vervleg is, maar tog ook bots. Derhalwe
is haar beskouing van haarself voortdurend vloeibaar en veranderend terwyl sy probeer om
samehorigheid en stabiliteit te bewerkstellig. Ek is van mening dat hierdie sin van 'n
“geslaghebbende”, stabiele, gelokaliseerde self verdwyn en/of transmuteer wanneer dit fisiese of
verbeelde translokasie ondergaan.
Gevolglik ondersoek hierdie verhandeling dus ook die manier waarop globalisme die ontbinding
van grense tot gevolg het, sowel as die mate waartoe die dubbelsinnigheid van die vroulike
protagoniste se posisie hulle toelaat om hul geslagsidentiteit te herformuleer en te herontwerp, en
hulself weg, of uit, die gemarginaliseerde posisies wat hulle beset te skryf. Ek wil ook kyk na die
maniere waarop die vroulike subjek genoop is om, as gevolg van translokasie, addisionele
vroulike of manlike karaktertrekke aan te neem, met dié dat dit blyk dat die protagoniste vir 'n
ruk lank androgene eienskappe in hul geslagsidentiteit toon. Ek argumenteer dat die protagoniste
hul geslag aanvul, nie net sodat hul aanklank binne 'n spesifieke kulturele konteks kan vind nie,
maar ook as 'n manier waarop hul hulself kan bevry van die marginale posisies waarin hulle hul
in 'n etniese kultuur, waar seksisme en vooroordeel gedy, bevind. Nietemin wil ek ook aantoon
dat moderniteit nie bloot net bevryding en selfstandigheid aan die vroulike protagoniste bied nie, maar dat dit ook tegelykertyd beperkings op die subjek se geslagsidentiteit plaas. Die uitkoms
van hierdie tesis is om te bepaal of die vroulike protagoniste in staat is tot die strategiese gebruik
van hul dubbelsinnige posisionering, wat koherensie van die self sal meebring, en tog
terselfdertyd vloeibaarheid tussen verskillende kulture sal behou.
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Changing stories and moving bones : correlation of Chinatown and mother-daughter relationships in Kingston's The Woman Warrior and Ng's BoneFujii, So 04 June 2012 (has links)
This thesis argues for significant correlations in the politics of representation of Chinatown and mother-daughter relationships in two literary texts by Maxine Hong Kingston and Fae Myenne Ng. The two novels do not follow traditional representations of Chinatown and provide critical representations of Chinatown and mother-daughter relationships. First, Kingston's The Woman Warrior reveals how the heroine demystifies a powerful image of her mother and a mystic image of Chinatown in a process of establishing her autonomy. Second, Ng's Bone describes how the heroine tries to free her mother from a dismal image of Chinatown to live her own life outside Chinatown. The analyses of representation of Chinatown and mother-daughter relationships rely on close readings of the textual motifs through a psychoanalytic framework and cultural theories. / Graduation date: 2012
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