Joy Luck – College Essay Example

convey the possibility of a female-centric version of the patriarchal moral and ethical tradition being transferred from mother to daughter. The characters in this novel illustrate the lack of knowledge, indifference, and essentiality of love by sharing their individual life tales that are eventually brought to America. Similar to the ritual system in Confucianism, this tradition passed down through generations is not directly communicated but instead meant for observation, absorption, comprehension leading towards transformation and preservation. Through a Taoist lens, breaking up the novel into four parts each containing narratives about four mothers and daughters bears symbolic importance. Despite differing from its depiction in the book where there are five directions inclusive of an active center in Taoism; here within these sixteen stories lies the dynamic nucleus.

For instance, the death of Jing-Mei Woo's mother disrupts the balance of the four places at the Mah Jong table. Thus, Jing-Mei is compelled to take her mother's place at the table in order to restore equilibrium and support the central dynamic of the Joy Luck Club ritual (Tan, 19, 22). Similarly, in Amy Tan's "Two Kinds," the central conflict and symbolism underscore the notion that achieving the American Dream is akin to playing a game (Tan, 19, 22). Hence, due to her mother's demise, the structure of the first section becomes unstable and Jing-Mei finds herself narrating all four Woo stories in her mother's absence.

Confucianism and Taoism both arose as reactions to times of strife. In times of peace, Confucianism usually prevails, whereas Taoism becomes prominent in moments of war or hardship. Jing-Mei's mother founded the Joy-Luck Club amidst a war. Even though the

Joy Luck Club is a ritualistic practice, author Amy Tan interweaves her own experiences and identities into its narrative, particularly in shaping Jing-Mei Woo's character in her first novel "The Joy Luck Club" (Tan, 21). The book depicts relativism that aligns with Taoist ideologies, demonstrated by instances where they were criticized for holding feasts while city dwellers starved despite their own familial losses (Tan, 11). Drawing parallels to this perspective is Chuangtze - a Taoist who stunned his neighbors by celebrating life through song and dance after his wife passed away; he comprehended the relative nature of life and death (Yutang, 180). This reinforces how a Taoist finds worth in harnessing an understanding of relativity to cope with the highs and lows of existence.

Jing-Mei completes the final part of the Club following her mother's death, only to discover that the Aunts want her to address a bigger issue: meeting her two sisters in China and fulfilling her duty as a daughter to inform them about their mother. The Joy Luck Club as a whole consists of sixteen interconnected stories revolving around Chinese immigrant mothers and their daughters who were born and raised in America. At the beginning of the book, there is a story that serves as a lesson about a woman with a ... The main focus of the novel centers around the Aunts' tension ("Tell them!") regarding passing down the mother's traditions (Tan, 31).

The second tale, "Scar," presents a potential women's version of the Confucian Analects known as the Moral Tale. An-Mei Hsu learns these stories from her grandmother, Popo, who perplexes her with tales about girls having melons

in their stomachs or brains leaking out of their heads (Tan, 34). These stories are Popo's way of imparting the idea of shou, or filial respect, to An-Mei and her little brother (Tan, 35).

In The Joy Luck Club, An-Mei comes to understand her mother's stories when she realizes that her mother lost "face" and social standing. In Confucian terms, losing face means losing one's social standing, which is a defining characteristic of self in this context. An-Mei's mother is essentially considered "dead" to her family. However, when Popo becomes sick and dying, her mother returns. An-Mei watches as her mother uses a piece of her own skin to create a potion to heal her grandmother, demonstrating a deep understanding of shou. An-Mei recognizes the value and importance of this act, as it is a way for a daughter to honor her mother. This theme of honoring one's ancestors is further depicted in the novel, symbolized by the image of peeling back layers of skin and tradition. The next story, "Red Candle," explores the Confucian principle of hsin, trustworthiness and reliability in word and action.

Confucius wrote, "one's function as a ruler, the subject as a subject, the father as a father, and the son as a son" (Lau, 114). In The Joy Luck Club, Grant McCracken examines the generation gap. "Hey, Ben," I asked, "are you Japanese or Chinese?"

His response, as it appears to be common for many, is that one's words ...statements of truth" (Lau, 25). If someone lacks sincerity like shou, their social standing diminishes. Lindo Jong's story is an example of the significance of sincerity and how she

navigates it with her integrity intact. She expresses regret that in America The Joy Luck Club Grant McCracken The Generation Gap in The Joy Luck Club "Hey, Ben, are you Japanese or Chinese?I asked. His response, as it appears to be for many ...promises hold little value, or function under a different system than she is accustomed to (Tan 42). In her rural province of China, duty meant "outdated traditions" such as arranging marriages for wives who would "raise respectable sons, care for the elderly, and maintain the family burial grounds" (Tan, 45). This is what most women in Confucian society could anticipate—unless they learned to manipulate the system, which is precisely what Lindo Jong Joy Luck Club Nationality "Hey, Sabrina, are you Japanese or Chinese?I asked. Her response, as it appears to be common for many minority groups, is, "Neither, I'm Chinese-American." ...does, and does with honor. Lindo's inner struggle lies between her personal desires and the expectations of her immediate community.belief. Despite this, she does her best to fulfill her duties as a daughter in her new family. But inside, she feels trapped and longs for independence.

"The Joy Luck Club" by Amy Tan explores themes of ignorance, disregard, and the importance of love through the characters' life stories. The protagonist is able to gain independence by considering alternative perspectives (Tan, 59). Despite her mother's words, the pendant she receives symbolizes the transfer of traditional values and offers the opportunity to adapt her role as a Confucian woman without losing respect.

"The Moon Lady," the fourth story in Amy Tan's The Joy Luck Club, showcases Ying-Ying St. Clair's experiences. The novel

highlights the convergence of new world and old world traditions. The latter refers to customs and beliefs passed down through generations... short introduction to Confucianism and mother-tradition by her nursemaid, Amah: "What is a ceremony?" I inquired. "It is a proper way to behave. You do this and that, so the gods do not punish you. Understanding is not necessary.

Just behave, follow your mother's example. " (Tan, 66) The unique trait here that differs from the way ritual tradition is portrayed in the previous narratives is the concept of gods and punishment (which is The Joy Luck Club The Joy Luck Club Amy Tan s The Joy Luck Club is a story about four women from China, Suyuan Woo, An-Mei Hsu, Linda Jong, and Ying ... not Confucianism proper, but a belief for the lower classes), the concept that one can do things in a "wrong" way and suffer for them. This concept plays out in later St.

In the story, Ying-Ying has a deep distrust of life which is reflected in her fear of getting lost again, losing herself, things getting out of balance, and negative consequences to her actions. Amy Tan portrays Ying-Ying as a weakened character to demonstrate the repercussions of her involvement in the Joy Luck Club. Guilt is a powerful tool used by parents to control their children, as seen in Tan's exploration of mother-tradition transfer being mediated by Ying-Ying's nursemaid (Tan, 64).

In Ying-Ying's observation of the Moon-Lady play, it is interesting to note that it is a Confucian/male appropriation of a Taoist opposition, privileging one polar opposite over the other. This creates a

dynamic where one side is stronger and desirable while the other is weaker and shameful (Tan, 80). This directly contradicts the principles of Taoism, where the Yin and Yang are equally strong in their unique ways, each containing the essence of the other. Unfortunately, in Ying-Ying's mind, Taoism is being weakened and she is unable to utilize its relativism properly to cope with extreme grief in her life. As a result, she feels responsible for her situation, indicating that Confucianism is dominant.II.Section Two begins with Waverly Jong's story "Rules of the Game," which incorporates Confucian elements. Waverly's mother operates by these "rules" which give her a remarkable strength of will.

Waverly's understanding of rules is limited, but she can successfully follow the ones she does understand to get her salted plums (Tan, 89). The concept of "invisible strength" lies in knowing the rules and keeping the reasons behind one's actions hidden in order to manipulate behavior (Fingarette, 3). To Waverly, chess represents a set of rules that she can grasp easily, unlike the complexities of her mother's tradition (Tan, 98). She begins to master this tradition, symbolized by her mother passing on her luck-filled chang pendant, in a way that earns her mother's respect. However, her mastery is not complete, and the story's conflict arises from Waverly's misunderstanding of her mother's strategy and the actual rules by which her mother lives.

The text discusses The Joy Luck Club, a collection of stories about four families who immigrated from mainland China in the previous generation. It focuses on the complex relationships between mothers and daughters in these families. One example of this is seen in the

St. Clair story, where there is a sense of imbalance. This story strongly illustrates the transfer of traditions from mother to daughter, as demonstrated by the mother's strict instructions for her daughter to only go to school and come back home. When questioned, the mother explains that the daughter cannot understand certain things because she has not yet been taught. This reflects Ying-Ying's belief that Lena's perception of the world is heavily influenced by her mother. Additionally, Ying-Ying implants her own inherent distrust in Lena.

The Joy Luck Club narrates the lives of four Chinese friends and their daughters, delving into the mother's hardships in China and their subsequent assimilation in America. It also uncovers the theme of seeking life's purpose using the protagonist's experience of feeling misplaced during childhood. In an unforeseen twist, Lena is tasked with assisting her mother to regain stability in her life. Furthermore, it presents geomancy or the Art of Placement as a Taoist concept that seeks to establish balance between one's dwelling and surrounding landscape (Coreless, 12/13/92).

The organization of rooms and objects has an impact on the flow of energies within the Society of 'The Joy Luck Club'. There are significant differences between Chinese and American societal norms and values. The book provides examples to highlight these disparities in lifestyle. In Chinese culture, the placement of rooms and furniture is crucial as it can either contain or amplify energy within a house. Ying-Ying feels ashamed to be residing on a hill, in a house with straight hallways where the energy of the household flows out and away.

In an attempt to restore balance, she repeatedly

rearranges the furniture (Tan, 112). In Rose Hsu Jordan's story, "Half and Half," the loss of Beloved And Joy Luck Club Motherhood is a journey that women undergo in life and face various struggles, hopes, loves, fears and worries, and opportunities. As a mother, the responsibilities come long before the ... her brother Bing forcefully explains the concept of shou (filial responsibility: Yiding, "You must.") and the consequences of not fulfilling that obligation (Tan, 131).

The text delves into the shared experiences of the main character's mother, An-Mei, and her grandmother as they both grappled with challenges and made sacrifices. It underscores An-Mei's synthesis of diverse traditions in her convictions, demonstrating how women can effortlessly merge aspects from different cultures to cater to their necessities. "Joy Luck Club", a film, chronicles the lives of four women across varying generations, offering a glimpse into their lineage. In parallel fashion, "Two Kinds" is a novel that centers around Jing-Mei Woo's life journey; it probes into her mother's aspirations for her and Jing-Mei's endeavour to comprehend her mother’s chase after the American dream. As the story unfolds, Jing-Mei comprehends that her understanding of life and familial relationships are shaped by her mother’s past encounters.

The text discusses the significance of Jing-Mei's rejection of her mother's Confucian system. Jing-Mei refuses to conform to the expectations placed upon her as a daughter and instead chooses to be true to herself. This can be seen as reflecting a Taoist mindset, where she embraces the idea of non-striving and allowing things to naturally fall into place.

The prior text implies that a specific verse could be pivotal to understanding

Jing-Mei's persona. There has also been insufficient debate on the concise, italicized narratives that preface every segment of the document. These brief tales set the tone and principal concept for each part. For example, "Feathers" reflects the hopes that migrant mothers have for their daughters in America. Whether a mother succeeds or fails in transmitting their cultural legacy to their kids is a key theme across these four stories.

The second section of the text, "Malignant Gates," delves into the intricate relationship between mothers and their children, highlighting its protective aspect. It also acknowledges that mother's protective measures may not always be successful or might even backfire. The third segment, known as "American Translation," examines how daughters blend and assimilate their mother's customs into their own lifestyle. The introductory narrative in this part provides a captivating depiction of the Art of Placement. A mirror situated in the bedroom enhances its energies while reflecting the daughter and possibly future generations too. Although she grew up hearing these precautions, through her reflection now, she can understand how these principles can affect her life (Tan, 159). "Rice Husband," the first story in Part Three narrated by Lena St. Clair shows how her mother instilled a fear within her about unforeseen and potentially disastrous outcomes arising from even simple actions like marriage. This tale echoes diverse experiences of all eight women and explores their evolution as individuals despite facing hardships or setbacks; they managed to improve their lives.