(An-analysis-of-the-image-of-Chinese-mothers-in-The-Joy-Luck-Club-喜福会中华裔母亲形象研究)文献翻译1.doc

大家懂的 这个论文我自己写的 一共分成了四个部分 这个是配套的文献翻译分为4个部分开题报告也可以在我上传的文档里下载 Adams,Bella.2006. Studies in the Literary Imagination. United States. Georgia State University;Department of English：79-94IDENTITY-IN-DIFFERENCE: RE-GENERATING DEBATE ABOUT INTERGENERATIONAL RELATIONSHIPS IN AMY TANS THE JOY LUCK CLUBRecently, Gary Pak asserted that the test for a new generation of Asian-American writers, now in their third period, is to transcend your typical Asian American mother/daughter sweet stories, your cross-generational stuff, your intercultural relationship jive. In light of this assertion, the possibility of regenerating debate on a sixteen-year-old novel widely regarded as one of the sweetest, Amy Tans The Joy Luck Club, seems difficult. Pak and his masculinist peers in Asian America and beyond cant get on with such a novel, especially not its first-person narratives by three Chinese immigrant mothers and four American-born daughters that, according to British critic Nicci Gerrard, draw female readers in close. Apparently, The Joy Luck Club takes them from loss to gain, desire to fulfillment, loneliness to community. It has a happy sad ending, the kind of sweet melancholy ever after we want and cant get from real life.On either side of the masculinist/feminist divide on both sides of the Atlantic, the consensus seems to be that The joy Luck Club offers particular readers emotional closure in part brought about by the presumed formal closure of its happily-ever-after ending as the two generations of narrators apparently close the gap that has generated so much irritation. upset and silence between them. Even the small number of critics who are not persuaded by the novels sweetness, among them David Leiwei Li, Sau-Ung Cynthia Wong, and Sinkwan Cheng as they respectively proclaim its and, at times. Tans suspect ideological commitments to neo-conservatism, neo-Orientalism, and neo-racism, base their arguments in part on the presumption of formal closure. In the context of Asian-American literary history and, for that matter, the wider context of the western literary canon as it shifts from modernism to postmodernism, The joy Luck Club is to them closer to the second period and identity politics, if not the first period of sentimental fiction and ambassadorial autobiography. Both periods, despite their ideological asymmetry, fail to problematize radically stereotypes and essences. Thus contextualized, The joy Luck Club seems far removed from the third period and a politics of difference. Or, so it seems. While sentimentalized readings and readings critical of this sentimentalism powerfully dominate the Tan critical canon. The Joy Luck Club arguably promotes another more critical reading. This latter reading is generated through, interestingly enough, the very same detailthe intergenerational relationshipsthat has persuaded so many of the novels readers to marginalize or even ignore the its literariness and forge an identification between it and the world compatible with the anthropomorphic or humanistic realism in which multicultural literature is so regularly interpreted. Significantly, this novel/world identification, along with its colonial underpinnings, and the identification between the novel and the neo meanings, depend on an ideological understanding of literariness that The Joy Luck Club problematizes, albeit figuratively via its complex negotiation of intergenerational relationships. Crucial to this complexity and to the novels postmodernity is the Woos frequently overlooked asymmetrical mother-daughter relationship, which serves to create, as Tan asserts in The Opposite of Fate, a sense of imbalance, a feeling that someone or something is missing. Suyuan Woos absence through death interrupts the novels almost symmetrical structure of sixteen stories, by seven, not eight, narrators, in four parts divided more or less evenly between two generations. It also interrupts the novels almost happily-ever-after ending, and, by extension, criticism based on the assumption of mother-daughter reconciliation and other identitarian terms to do with closure: oneness, togetherness, wholeness, and a generally sweet rhetoric privileging intergenerational harmony, Poststructuralism.The possibility of developing ethical relationships or, as Spivak puts it, of relating to other women, retaining their specificity, their difference, while not giving up our own, preoccupies The joy Luck Clubs seven narrators, particularly Jing-mei in her relationships with her missing Chinese mother and her missing Chinese sisters after they were abandoned by Suyuan at the end of the Sino-Japanese War. More than enabling complex theorization on intergenerational and intercultural relationships, The joy Luck Club furthers this feminist postcolonial critique by also addressing the novel/world relationship. Again, Jing-meis narrative is instructive as it negotiates an ethics of representing that which is mother consistent with identity-in-difference. By making an issue of representation and its part in the deconstruction of the mothers identity, The joy Luck Club problematizes radically its essentialism and neo arguments presuming formal, thematic, and ideological closure. Before regenerating debate on various relationships in and around The Joy Luck Club via the deconstructive notion of identity-in-difference, it is first necessary to clarify briefly the debate as it stands. From Paks recent call for transcendence, it would appear, if only by implication, that the Tan critical canon is still dominated by an unsweet rhetoric privileging intergenerational/intercultural harmony. A point endorsed and developed by Gloria Shen who also argues that intergenerational similarity is based on mysterious power. So mysterious are the mothers that one reviewer, Orville Schell, become