The Joy Luck Club (1989) is a best-selling novel written by Amy Tan. It focuses on four Chinese American immigrant families in San Francisco, California who start a club known as "the Joy Luck Club," playing the Chinese game of mahjong for money while feasting on a variety of foods. The book is structured somewhat like a mahjong game, with four parts divided into four sections to create sixteen chapters. The three mothers and four daughters (one mother, Suyuan Woo, dies before the novel opens) share stories about their lives in the form of vignettes. Each part is preceded by a parable relating to the game.
In 1993, the novel was adapted into a feature film directed by Wayne Wang and starring Ming-Na, Lauren Tom, Tamlyn Tomita, France Nguyen, Rosalind Chao, Kieu Chinh, Tsai Chin, Lisa Lu, and Vivian Wu. The screenplay was written by the author Amy Tan along with Ronald Bass. The novel was also adapted into a play, by Susan Kim, which premiered at Pan Asian Repertory Theatre in New York.
Characters
Mothers
Suyuan Woo
During the Second World War, Suyuan lives in China while her husband at the time served as an officer in Chungking (Chongqing). She starts the original Joy Luck Club with her three friends to cope with the war. There is little to eat, but they pretend it is a feast, and talk about their hopes for the future. On the day of the Japanese invasion, Suyuan leaves her house with nothing but a bag of clothes, a bag of food, and her twin baby daughters.
During the long journey, Suyuan contracts such severe dysentery that she feels certain she will die. Fearing that a dead mother would doom her babies' chances of rescue, she reluctantly and emotionally leaves her daughters under a barren tree, together with all her belongings, along with a note asking anyone who might find the babies to care for them and contact the father. Suyuan then departs, expecting to die. However, she is rescued by a truck and finds out her husband has died. She later remarries, comes to America, forms a new Joy Luck Club with three other Chinese female immigrants she met at church, and gives birth to another daughter. But her abandonment of the twin girls haunts her for the rest of her life. After many years, Suyuan learns that the twins were adopted, but dies of a brain aneurysm before she can meet them. It is her American-born daughter Jing-mei who fulfills her long-cherished wish of reuniting with her elder twin half-sisters.
As Suyuan dies before the novel begins, her history is told by Jing-mei, based on her knowledge of her mother's stories, anecdotes from her father, and what the other members of the Joy Luck Club tell her.
An-Mei Hsu
An-Mei is raised by her grandparents and other relatives during her early years in Ningbo after her widowed mother shocks the family by becoming a concubine to a middle-aged wealthy man after her first husband's death. This becomes a source of conflict for the young An-Mei, as her aunts and uncles deeply resent her mother for such a dishonorable act. They try to convince An-Mei that it is not fitting for her to live with her disgraced mother, who is now forbidden to enter the family home. An-Mei's mother, however, still wishes to be part of her daughter's life. After An-Mei's grandmother dies, An-mei moves out to live with her mother in the home of her mother's new husband, Wu-Tsing.
An-Mei learns that her mother was coerced into being Wu-Tsing's concubine through the manipulations of his Second Wife, the favorite. This woman arranged for An-Mei's mother, still in mourning for her original husband, to be raped by Wu-Tsing. The stigma left An-Mei's mother with
no choice but to marry Wu-Tsing and become his new but lowly Fourth Wife. She later lost her baby son to Second Wife, who claimed the boy as her own child to ensure her place in the household. Second Wife also tried to win over An-mei upon her arrival in Wu-Tsing's mansion, giving her a necklace made of "pearls" that her mother later revealed were actually glass beads by crushing one with her teacup. An-Mei's mother re-knots the necklace to hide the missing bead, but now An-Mei knows the truth about Second Wife's seeming generosity.
Wu-Tsing is a highly superstitious man, and Second Wife takes advantage of this weakness by making false suicide attempts and threatening to haunt him as a ghost if he does not let her have her way. According to Chinese tradition, a person's soul comes back after three days to settle scores with the living. Wu-Tsing, therefore, is known to be afraid to face the ghost of an angry or scorned wife. After Second Wife fakes a suicide attempt to prevent An-Mei and her mother from getting their own small house, An-Mei's mother successfully commits suicide herself, eating tangyuan laced with lethal amounts of opium. She times her death so that her soul is due to return on the first day of the new year, a day when all debts must be settled lest the debtor suffer great misfortune. With this in mind, Wu-Tsing promises to treat his Fourth Wife's children, including An-Mei, as if they were his very own flesh and blood by an honored First Wife. When Second Wife attempts to disrupt this, An-Mei crushes the fake pearl necklace Second Wife gave her beneath her feet to show her awareness of all Second Wife's deception and to symbolize her new power over Second Wife, who now fears her and realizes the bad karma she has brought upon herself.
An-Mei later immigrates to America, marries, and gives birth to seven children (four sons, three daughters). The youngest, a son named Bing, drowns at age four.
Lindo Jong
Lindo is a strong-willed woman, a trait that her daughter Waverly attributes to her having been born in the year of the Horse. When Lindo was only twelve, she was forced to move in with a neighbor's young son, Huang Tyan-yu, through the machinations of the village matchmaker. After some training for household duties through her in-laws, she and Tyan-yu married when she turned sixteen. She soon realized that her husband was just a little boy at heart and had no sexual interest in her. Lindo began to care for her husband as a brother, but her cruel mother-in-law expected Lindo to produce a grandson. She restricted most of Lindo's daily activities, eventually ordering her to remain on bed rest until she could conceive and deliver a child.
Determined to escape this unfortunate situation, Lindo carefully observed the other people in the household and eventually formed a clever plan to escape her marriage without dishonoring herself or her family. She managed to trick her young husband's family into believing that he was actually fated to marry another girl who was already pregnant with his "spiritual child", and that her marriage to Huang Tyan Yu would only bring bad luck to the family. In reality, the girl in question was a mere servant in the household and indeed pregnant, but abandoned by her lover.
Freed from her first marriage, Lindo decided to emigrate to America. She married a Chinese-American man named Tin Jong and has three children: sons Winston and Vincent, and daughter Waverly.
Lindo experiences regret over losing some of her Chinese identity by living so long in America (she is treated like a tourist on a visit to China); however, she expresses concern that Waverly's American upbringing has formed a barrier between them.
Ying-Ying "Betty" St. Clair
From a young age, Ying-Ying is told by her wealthy and conservative family that Chinese girls should be meek and gentle. This is especially difficult for her, she feels, because she is a Tiger character. She begins to develop a passive personality and repress her feelings as she grows up in Wuxi. Ying-Ying marries a charismatic man named Lin Xiao, not out of love, but because she believed it was her fate. Her husband is revealed to be abusive and openly has extramarital
relationships with other women. When Ying-Ying discovers she is pregnant, she gets an abortion and makes the decision to live with her relatives in a smaller city in China.
After ten years, she moves to Shanghai and works in a clothing store, where she meets an American man named Clifford St. Clair. He falls in love with her, but Ying-Ying cannot express any strong emotion after her first marriage. He courts her for four years before she agrees to marry him after learning that Lin Xiao had died, which she takes as the proper sign to move on. She allows Clifford to control most aspects of her life, mistranslating her words and actions, and even changing her name to "Betty". Ying-Ying gives birth to her daughter, Lena, after moving to San Francisco with St. Clair. When Lena is around ten years old, Ying-Ying becomes pregnant a third time, but the baby boy is anencephalic and soon dies.
Ying-Ying is horrified when she realizes that Lena, a Tiger like herself, has inherited or emulated her passive behaviors and trapped herself in a loveless marriage with a controlling husband. She finally resolves to call upon the more assertive qualities of her Tiger nature, to appeal to those qualities in Lena. She will tell Lena her story in the hope that she will be able to break free from the same passivity that ruined most of her young life back in China.
Daughters
Jing-Mei "June" Woo
Jing-Mei has never fully understood her mother and seems directionless in life. During June's childhood, her mother used to tell her that she could be anything she wants; however, she particularly wanted her daughter to be gifted, a child star who amazes the world, like Ginny Tiu (seen briefly on television) or June's rival Waverly. At the beginning of the novel, June is chosen to replace her mother's seat in the Joy Luck Club after her mother's death. At the end of the novel, June is still trying to deal with her mother's death, and she visits China to see the twin half-sisters (Wang Chwun Yu and Wang Chwung Hwa) whom her mother had been forced to abandon when the Japanese attacked China.
One critic[who?] has suggested[1] that the reason for the communication gap between Jing-Mei and her mother, and between the other daughters and their mothers—a major theme of the novel—occurs because the mothers come from a high context culture and the Americanized daughters from a low context culture. The mothers believe that the daughters will intuitively understand their cryptic utterances, but the daughters don't understand them at all.
Rose Hsu Jordan
Rose is somewhat passive and is a bit of a perfectionist. She had an unsettling childhood experience when her youngest brother, Bing, drowned while she was supposed to be watching him, and his body was never recovered. Rose marries a doctor, Ted Jordan, who loves her but also wants to spite his snooty, racist mother. After a malpractice suit, Ted has a mid-life crisis and decides to leave Rose. Rose confides in her mother and An-mei tells her the story of her own childhood. When Ted comes for the divorce papers, Rose finds her voice and tells him that he can't just throw her out of his life, comparing herself to his garden, once so beloved, now unkempt and full of weeds. An-Mei tells her that Ted has been cheating on her, which Rose thinks is absurd, but she later discovers this to be true. She wants to hire a good lawyer and fight for possession of the house, which she eventually wins.
Waverly Jong
Waverly is an independent-minded and intelligent woman, but is annoyed by her mother's constant criticism. Well into her adult life, she finds herself restrained by her subconscious fear of letting her mother down. During their childhood, June and Waverly become childhood rivals; their mothers constantly compared their daughter's development and accomplishments. Waverly was once a gifted chess champion, but quit after feeling that her mother was using her daughter's talent to show off,
taking credit for Waverly's wins. She has a daughter, Shoshana, from her first marriage with Marvin, and is currently engaged to her boyfriend Rich Shields.
Lena St. Clair
Throughout Lena's childhood, she gradually becomes her mother's voice and interprets her mother's Chinese words for others. Like her father Clifford, she translates Ying-ying's words to sound more pleasant than what Ying-ying actually says. Ying-ying has taught Lena to beware of consequences, to the extent that Lena visualizes disaster in the taking of any risk. Lena's husband, Harold, is also her boss. He takes the credit for Lena's business and design ideas. He demands financial "equality" in their marriage. Lena is an associate while Harold is a partner, so he has a larger salary than she does. However, he insists that all household expenses be divided equally between them. Harold believes that by making everything equal, they can make their love equal as well. Lena feels frustrated and powerless.
Table of contents
Feathers from a Thousand Li Away
"The Joy Luck Club," Jing-mei "June" Woo
"Scar," An-Mei Hsu
"The Red Candle," Lindo Jong
"The Moon Lady," Ying-Ying St Clair
The Twenty-Six Malignant Gates
"Rules of the Game," Waverly Jong
"The V oice from the Wall," Lena St. Clair
"Half and Half," Rose Hsu Jordan
"Two Kinds," Jing-mei "June" Woo
American Translation
"Rice Husband," Lena St. Clair
"Four Directions," Waverly Jong
"Without Wood," Rose Hsu Jordan
"Best Quality," Jing-mei "June" Woo
Queen Mother of the Western Skies
"Magpies," An-mei Hsu
"Waiting Between the Trees," Ying-Ying St. Clair
"Double Face," Lindo Jong
"A Pair of Tickets," Jing-mei "June" Woo
Criticism
Though Amy Tan's book has been widely praised by critics, it has also been alleged by Chinese-American author Frank Chin that it perpetuates racist stereotypes.[2][3][4] Chinese-American director Wayne Wang was impressed with the story and created a film version of the novel.[5]
References
^ CUNY Brooklyn article
^ Come All Ye Asian American Writers of the Real and the Fake
^ The Joy Luck Club
^ Review: The Joy Luck Club
^ "Asian images in film spotlight - The Joy Luck Club". Turner Classic Movies. Retrieved 3 July 2008.
最近高英课上，学习了《喜福会》这篇文章。通过这篇文章，可以看到很多东西方文化的差异。 《喜福会》是美籍华裔女作家谭恩美的成名之作。谭恩美是土生土长的美国人, 血管里却流着中国人的血, 她对美国文化有着切身的体会, 同时对中国传统文化有着深刻的了解，处于中美两种文化背景、两种民族精神交织影响下, 她借助东方传统的叙事结构和细腻的文笔, 勾勒出生长在美国、深受美国文化及价值观念影响的女儿们, 与代表着中国传统文化的移民母亲们之间不可避免的隔阂与冲突, 以及由此所折射出的中美文化差异。我想通过《喜福会》中的一些情节，具体比较中美文化的差异。 中国文化提倡尊老爱幼, 子女孝顺父母、听从父母的训导是天经地义的。在这种文化传统中, 家长的权威是绝对的、不容冒犯的, 子女只能绝对服从。“唉, 我不知道, 在中国的法律里究竟有无这样明显的条例, 可是反正, 你不能对一个中国母亲说闭嘴, 那几乎与谋杀案一样被视为大逆不道。”深受这种文化影响的母亲希望女儿们能像自己在中国时一样尊从长辈, 她们认为安排女儿的生活, 塑造女儿的思想是自己的权利, 女儿必须服从。但美国的文化背景并不支持母亲们的想法,也并不能被土生土长的美国女儿们理解。她们怨恨和无法理解母亲们“怪异”的中国式行为方式、思想和信仰, 而冲突也由此而起。 小说中, 母亲吴素云为女儿精妹设计的未来是做一名钢琴演奏家, 并深信她有这种天分; 而精妹生长在美国, 深受美国文化影响,崇尚自由、平等和民主, 她认为“从不相信, 我能成为任何我想成为的人。我只可能是我自己。”在她看来, 母亲作为家长，规划她的未来，强制她的行动干涉了她的思想和自由,是不能容忍。为了挫败母亲“愚蠢的傲气”, 她故意在练习时偷懒、表演时出丑, 让母亲丢脸, 并且“打定主意, 再也不听她摆布了”，“我不是她的奴隶, 这里不是中国”。母亲当然不会妥协，中国家长的权威怎么能受到挑战？母亲将女儿拎到钢琴前，用中国话高声说:“世上从来只有两种女儿:听话的和不听话的。在我家里, 只允许听话的女儿住进来。” 中国传统文化中，非常重视集体的力量，重视群体的价值。因此, 一个人做了坏事往往会殃及整个家族;同样, 若是取得了荣誉也会光耀门楣,光宗耀祖。而美国文化更强调自我和独立意识。母亲龚琳达希望通过女儿体现自身存在的价值, 以女儿的成功为全家人带来荣誉。因此在发现女儿薇弗莱具有超人的象棋天赋之后, “为了我能安心捉摸棋艺, 父母对我可谓百依百顺。一次我抱怨与我同卧室的两个哥哥太吵, 结果, 他们马上被移到临街的那间起居室。”女儿成了母亲炫耀的资本。“母亲喜欢用我炫耀, 就像炫耀我那些被她擦得锃亮的奖杯。”每周六, 母亲必定挽着女儿上市场去, “然后不失时机地, 骄傲地向任何对她多瞟一眼的人介绍着:`这就是薇弗莱,我女儿。'”而薇弗莱深信“我就是我自己”，母亲的介入和炫耀令女儿觉得很恼火和尴尬，她很不理解母亲的行为“为什么你非要拿我出风头? 如果你自己想出风头, 那么你为啥不学下棋呢”。 在中国，人交流时讲究委婉含蓄。而美国人喜欢直来直去、言简意赅。小说中吴精美就这样表示“在中国, 十分注意措辞和用词,尽量使之婉转, 这一套我是永远也学不会的。”女儿们认为母亲们讲话总是爱兜圈子、让人摸不着头脑。小说中母亲龚琳达和吴素云的一段对话就生动地反映了这一特点。“薇弗莱整天只顾着下棋, 我可忙坏了。每天,就光擦拭她捧回的那些奖杯, 就够我忙的了。你真福气, 你可没这种烦心事。”对于龚琳达的夸耀,吴素云心里自然明白, 便也高高的耸起双肩, 以一种得意的无奈说:“我可比你还要烦心呢。我们的精妹, 满耳只有音乐, 叫她洗盆子, 你叫哑了嗓子她也听不见。有啥办法, 她天生这样一副对音乐失魂落魄的模样。”在此, 她们心照不宣地运用“中国式的谦虚”,表达了自己炫耀女儿的本意。可当龚琳达把这种技巧运用到与欧美血统的美国人 的对话中时, 却闹出了笑话。薇弗莱的男朋友里奇初次到她家做客, 龚琳达端上她拿手的清蒸排骨和腌菜, 这本来是她的精心之作。尝了一小口后, 她便故意抱怨着:“哎呀, 这菜不够
论文题目: 红楼梦人物解析——薛宝钗姓名: 学号: 班级:文学院11级新闻2班
红楼梦人物解析——薛宝钗 关键词:薛宝钗圆滑世故封建礼教 引言 薛宝钗是中国四大名著之一的古典小说《红楼梦》中的主人公之一。 作为这部著作的主人公她的重要性不仅在于她是宝、黛、钗三人爱情悲剧的组成之一，更重要的还在于这一形象所蕴藏的丰富内涵，作者对她人格的塑造和对于她性格的描写，都体现出作者的细心以及以薛宝钗为代表的当时的一类人的生存状况和内心感受。而这一形象也作为小说中的重要环境体现出当时文学写作的创新性。 对于薛宝钗这一形象，历来红学研究中就存在争议。有人以薛为尊，亦有人尊林而抑薛。历史上有邹弢与友人许伯谦因意见不合激烈争辩而几乎拳脚相向的故事，这便是一个典型的例子。而时至今日，在红学已经发展成为一门学问的当下，不同派别的红学家又有了新的争议。 不同的人喜好不同的性格。有人觉得林黛玉尖酸刻薄，心胸狭窄爱使小性儿；而薛宝钗则端庄稳重温柔大度。而有的人则觉得薛宝钗冷性无情，虚伪奸诈，是个女曹操，林黛玉相比之下确实小家碧玉蒲柳之姿的温柔乡了。同一个人物形象竟让人有如此相悖而行的看法，确然与仁者见仁智者见智有关，却也体现出作者的文学功底以及其人物刻画中描写的丰满、复杂和客观性。 虽则今天我们要讲的是薛宝钗，然而有对比才有凸显，后续拙见是要对薛宝钗品评一二，却也不乏黛玉前来增光添彩。 正文
知书达理唤得八面玲珑，欲登白帝端称出奇守拙。 薛宝钗作为一个标准的封建社会中的大家淑女，做人上可以说作是八面玲珑。有人道薛宝钗虽说是个能在封建社会的大家庭中混得风生水起的人，却也是封建礼教的受害者，这么一个青春靓丽、知书懂理的窈窕淑女，做起事来总是晓得自己要得到的是什么，要避让的是什么，放在今天也是难能可贵的，然而正是这种圆滑世故却也让人觉得可惜了，可惜了这么个才华横溢面貌羞花的闺秀却生生成了封建礼教下挣扎生存的一株草。 倒是也有人说她是封建势力的帮凶。 帮凶是做什么的，帮凶是你给人一巴掌她还在后面再补上一脚的那个。要说薛宝钗在受到封建礼教荼毒的时候还是帮凶，却也有一定的道理。薛宝钗做人圆滑，在封建社会的生存自有她的一套，可以说她说话做事乃至思考的方式都是依仗着封建礼教给她划出的界限来得，倒是不清楚她自己是否晓得自己的这些行为习惯都是不好的，但长此以往形成的行事风格和做事手法却让她以同样的标准去衡量要求他人，这便是受着迫害的人也要迫害他人，没高中的举子要被贪官压迫的，中了举人了又反过来压迫平民，这些放在封建社会却也是个常事，责怪不得。 薛宝钗着实是个封建社会中的聪明人，如果说封建社会是个泥胚子，那她这尊陶铸的佛便是照着模子一板一眼模出来的，分毫不差，简直是为时势打造的好人物，真真是时势造英雄，巾帼不让须眉，好一个女英雄。 这么个人，她圆滑守礼识时务，没有林黛玉那样的小性子，即便是有些小性子，却也知道隐藏的严严实实，绝对不让人瞧出来这还是一个十几岁的少女，倒是有些少年老成的味道，出于对于爱使小性子的人的厌恶，薛宝钗确实是让我好好地喜欢了一回。
Review on the Joy Luck Club
毕业设计（论文） Analysis of the Character of Hamlet 学院：外国语学院 专业：姓名：指导老师：英语 xx 学号： 职称：教授 中国·珠海 二○一○年五月
xx学院毕业设计（论文） 诚信承诺书 本人郑重承诺：我所呈交的毕业设计（论文）Analysis of the Character of Hamlet是在指导教师的指导下，独立开展研究取得的成果，文中引用他人的观点和材料，均在文后按顺序列出其参考文献，设计（论文）使用的数据真实可靠。 承诺人签名： 日期：年月日
Analysis of the Character of Hamlet ABSTRACT William Shakespeare, the most remarkable playwright and a poet of England in the period of the Renaissance in European, an outstanding representative of humanitarianism, is one of the founders of modern European literature. Being one of the world’s greatest writers, he was recognized as the pinnacle of English Renaissance. In his works, Hamlet, one of the four tragedies, is considered the summit of Shakespeare’s art. Many characters were created by Shakespeare with unique creative technique in writing. These characters were alive with the unique personality, particularly in Hamlet, the image of Hamlet; the Prince of Denmark is most well-known. Hamlet is a prince with humanistic ideas. He has “The courtier’s, soldier’s, scholar’s eye tongue, sword,”he is “Th’expectancy and rose of the fair state, The glass of fashion and the mould of form,” However, he was dithery and delayed. His melancholy is the reason that makes the image has a monumental artistic charm. In this paper, the main target is to analyze the character of Hamlet. Through the overview of the plot of Hamlet, the main characters of Hamlet in Hamlet were shown---melancholy and delay have analyzed. As the representative of humanitarianism, how has Hamlet shown the psychology of hesitation in his revenge, and at the same time we should analyze how to realize his character of delay in the contradiction of his family and love. This thesis also analyzes the causes and the background of the formation of Hamlet’s character. In conclusion, in order to achieve a better understanding and excavation the literary value of Hamlet, the thesis summarizes Hamlet has melancholy, delay of the personality traits, and then expresses the view of the author in Hamlet, as well as the impact of this work. Deepening the analysis and understanding of the character in British and American literature, we can have a better understanding the social background at that time by analyzing Hamlet’s character. Key words: Hamlet Analysis of the character Melancholy Delay
喜福会观后感（附英文观后感）简介：《喜福会》所讲述的是四位华人移民妇女和她们在美国长大的儿女各自之间的故事。小说的题目《喜福会》原是母亲们打麻将的聚会。.喜福会观后感（附英文观后感）正文：" The Joy Luck Club" is about the four Chinese immigrant women and their children grew up in the United States between the respective story. The title of the novel" the Joy Luck Club" is the original mothers played mahjong party. These women moved to the United States for decades, but they still think constantly of raised by traditional education, abide by the Chinese for thousands of years the penetration in the blood, women have become almost feudal patriarchal ideology nature. Their common ideal is to strict education, over his daughter, so they can escape their this generation of women's destiny, they become the eyes of a happy woman. However, the mother of the bundle, the girls in their different ways a revolt, in this race, class, gender inequality in American society, two generations of women staged a fight each other to reach the same goal by different routes, by mutual recognition of tragicomedy. In the tragedy and comedy, the deepest impression is not character mouth lay things, but they cannot speak, those unable to touch, carefully conceal mentioning things, is the silence behind something. Here, silence has become a symbol, its huge destructive power to destroy the existence of female self-esteem, self-confidence and courage, so that they are suppressed in the heavy loss of the ability to survive. However once the silence is broken, the destructive power will immediately disappear, have been suppressed for a long time will be the recovery of human nature, the relationship between balance and harmony will be restored. " The Joy Luck Club" in they and most of the tales are silent and breaking the silence on the main line of weaving together The Joy Luck Club,"" to give our inspiration: in the United States, is one of the so-called multicultural, namely sub-culture and mainstream culture to maintain a consistent pattern, essentially just a trick to cover other's eyes and ears, and cultural assimilation and psychological aggression cover. Then, with the other minority women, Chinese women only to regain the original self, breaking the silence and gender culture of silence, in their own way to self-esteem, self-confidence, independent life, to enter the " joy and happiness". 《喜福会》所讲述的是四位华人移民妇女和她们在美国长大的儿女各自之间的故事。小说的题目《喜福会》原是母亲们打麻将的聚会。这些妇女移居美国已有几十年，但她们仍念念不忘从小受过的传统教育，恪守着中国几千年来渗透于妇女血液之中、几乎已成为天性的封建男权的思想。她们共同的理想就是要严格教育、管束自己的女儿，使她们能逃脱自己这一辈女人的命运，成为她们眼中幸福的女人。然而，对于母亲的管束，女儿们则以各自不同的方式一味反抗，在这个种族、阶级、性别不平等的美国社会里，两代女性上演了一出由相互争斗到殊途同归、相互认同的悲喜剧。在这出悲喜剧中，给人留下印象最深的不是人物口中道出的事情，而是那些她们无法启口、无法触及、讳莫如深的事情，是沉默背后的东西。在这里，沉默已经变成了一个象征，它那巨大的毁灭性力量摧毁着女性赖以生存的自尊、自信和勇气，使她们在沉重的压抑之中丧失生存的能力。然而一旦打破沉默，这毁灭性的力量就会立刻消失，被压抑已久的人性就将得到复苏，平衡和谐的关系就会得到恢复。《喜福会》中母女们的悲欢故事大部分都是以沉默和打破沉默这条主线编织起来的。 《喜福会》给我们的启示之一就是：在美国，所谓的多元文化，也就是亚文化与主流文化保持一致的新格局，从本质上来说不过是一场掩人耳目的把戏，是对亚文化的同化和心理侵略的掩盖。那么，与其他少数民族的女性一样，华裔女性只有重新找回原本的自我，打破
薛宝钗人物分析 班级：08市场营销 姓名：贾长正 学号：200810108
[内容摘要] 《红楼梦》中的薛宝钗是与贾宝玉、林黛玉鼎足而立的人物。她“品格端方，容貌丰美”，“行为豁达，随分从时”，博学多才；她和宝、黛的关系复杂，却处理得当。但对于这样一个表面上近乎完美的人物形象，读者的评价却历来褒贬不一。对于这个人物，我们不能全盘否定，也不能全盘肯定，虽然她是一个封建礼教的守护者，是封建势力的帮凶，但同时，她也是受封建势力压迫，毒害的千万个人物中的其中一个，可以说，她的悲剧不是如宝、黛般的抗争者的悲剧，而是殉道者的悲剧。因此，作者在描绘这个人物时，是同情与批判兼而有之的。本文拟从薛宝钗的形象、性格特征以及她是如何处理与宝黛二人的关系这些方面着手，去解读薛宝钗这一人物形象。 [关键词]薛宝钗形象性格悲剧 长期以来，在《红楼梦》所塑造的众多个性鲜明的人物中，薛宝钗是很难让人下定语的一个，人们无法简单的将她划入“好人”或“坏人”的行列。她既是“无情”的，也是“动人”的，这也说明这一形象的复杂性、丰富性。 首先我们来看看在书中是怎样描绘薛宝钗的形象的。文章第八回中就有对她外貌的正面描写：“唇不点而红，眉不画而翠，脸若银盆，眼如水杏。”，而众人对她的评价是“绝色的人物”，可见她的美丽。当然，在大观园中，黛玉无疑也是美中翘楚，但是相对于“娇袭一身之病”的黛玉来说，宝钗的健康美又要略胜一筹，而她的这种美又是在淡妆素服之下的一种自然美，这些从文中对她日常装扮的描写可以初见端倪：“水绿色棉袄，玫瑰紫二色金银鼠比肩褂，葱黄绫棉裙，一色半新不旧，看去不觉奢华。”文章第七回中薛姨妈说她：“宝丫头古怪着呢，她从来不爱这些花儿粉儿的。”她自己也说：“你看我从头至脚可有这些富丽闲妆?”（第五十七回）并且“最怕熏香，好好的衣服，熏的烟燎火气的。”（第八回）。她全身上下看不到一点奢华，唯觉淡雅。如果把这样的装扮与她“丰年好大雪,珍珠如土金如铁”的薛家家庭背景联系起来，这又是多大的反差！曹雪芹是把宝钗的美表现为一种雍容娴雅之美，从这些看似闲笔的描写中我们可以窥见她性格中温柔敦厚的一面。 薛宝钗不但容貌美丽，而且天资聪慧，博学多才。书中说：“当日有他父亲在时，酷爱此女，令其读书，较之乃兄竟高过十倍。”，宝钗的父母是打算把她培养成“才人赞善”入宫任职的，对她的教养当然必不可少。甲戌本批注也指出她：“知命知身，识理识性，博学不杂，庶可称为佳人。”在大观园诗社中，林黛玉是公认的才女，她的诗清丽新颖、基调哀伤。而能与之相对的就是宝钗了，她的诗雍容大气，富丽和谐。除此之外，她博闻强记，多才多艺，经史子集融汇贯通，诗词歌赋博采广收，连以“杂学旁收”著称的宝玉有时也要求助于她，如元妃归省时对他诗中“绿玉”改“绿蜡”的指点就可看出。她不但文学造诣颇丰，谈论理财之道时也能顺手拈来《朱子文集大全类编》之语，对画论也卓有识见，谈及颜料画
英语翻译1301 2013011275 The specific analyzes of characters of Hamlet Hamlet is a humanist of which involved in the contradictory of ideal and reality, and a person who has some beautiful views on the world human and society . But the cruelty and hideous of the real world have destroyed his expectation and broke his faith of humanism. As a humanist ,his hesitation on the way of revenge indicated the great gap of power between the humanism and feudalism. The author is aim at pointing out his introspection of The Renaissance and preoccupation of fate of human and our society. Humlet is the model of humanism idealist in the period of Renaissance. Although he wears the black suits , been serious at the first time when he showing up as a melancholy prince. But before story begins he is a happy prince studied in the Wittenburg, the headquarter of humanism. He has a fully rational faith to human. The mankind ,how a amazing craft he is, how nobly his rational is, what a great power and glamorous character he has , behaves like an angle, be intelligent as a god, the essence of the world and universe. But the world changed so fast, the sudden death of his father ,the idealized king in his mind, broke his life. His
The Joy Luck Club (1989) is a best-selling novel written by Amy Tan. It focuses on four Chinese American immigrant families in San Francisco, California who start a club known as "the Joy Luck Club," playing the Chinese game of mahjong for money while feasting on a variety of foods. The book is structured somewhat like a mahjong game, with four parts divided into four sections to create sixteen chapters. The three mothers and four daughters (one mother, Suyuan Woo, dies before the novel opens) share stories about their lives in the form of vignettes. Each part is preceded by a parable relating to the game. In 1993, the novel was adapted into a feature film directed by Wayne Wang and starring Ming-Na, Lauren Tom, Tamlyn Tomita, France Nguyen, Rosalind Chao, Kieu Chinh, Tsai Chin, Lisa Lu, and Vivian Wu. The screenplay was written by the author Amy Tan along with Ronald Bass. The novel was also adapted into a play, by Susan Kim, which premiered at Pan Asian Repertory Theatre in New York. Characters Mothers Suyuan Woo During the Second World War, Suyuan lives in China while her husband at the time served as an officer in Chungking (Chongqing). She starts the original Joy Luck Club with her three friends to cope with the war. There is little to eat, but they pretend it is a feast, and talk about their hopes for the future. On the day of the Japanese invasion, Suyuan leaves her house with nothing but a bag of clothes, a bag of food, and her twin baby daughters. During the long journey, Suyuan contracts such severe dysentery that she feels certain she will die. Fearing that a dead mother would doom her babies' chances of rescue, she reluctantly and emotionally leaves her daughters under a barren tree, together with all her belongings, along with a note asking anyone who might find the babies to care for them and contact the father. Suyuan then departs, expecting to die. However, she is rescued by a truck and finds out her husband has died. She later remarries, comes to America, forms a new Joy Luck Club with three other Chinese female immigrants she met at church, and gives birth to another daughter. But her abandonment of the twin girls haunts her for the rest of her life. After many years, Suyuan learns that the twins were adopted, but dies of a brain aneurysm before she can meet them. It is her American-born daughter Jing-mei who fulfills her long-cherished wish of reuniting with her elder twin half-sisters. As Suyuan dies before the novel begins, her history is told by Jing-mei, based on her knowledge of her mother's stories, anecdotes from her father, and what the other members of the Joy Luck Club tell her. An-Mei Hsu An-Mei is raised by her grandparents and other relatives during her early years in Ningbo after her widowed mother shocks the family by becoming a concubine to a middle-aged wealthy man after her first husband's death. This becomes a source of conflict for the young An-Mei, as her aunts and uncles deeply resent her mother for such a dishonorable act. They try to convince An-Mei that it is not fitting for her to live with her disgraced mother, who is now forbidden to enter the family home. An-Mei's mother, however, still wishes to be part of her daughter's life. After An-Mei's grandmother dies, An-mei moves out to live with her mother in the home of her mother's new husband, Wu-Tsing. An-Mei learns that her mother was coerced into being Wu-Tsing's concubine through the manipulations of his Second Wife, the favorite. This woman arranged for An-Mei's mother, still in mourning for her original husband, to be raped by Wu-Tsing. The stigma left An-Mei's mother with
林黛玉和薛宝钗性格对比分析 （一）林黛玉： 林黛玉因为自身的生活经历和教育环境的原因造就了她奇 高的天分，极强的自尊心，特别敏感（甚至过度敏感），特别孤傲，如春花般的嫩弱特质，使她有强烈的自我保护意识，表现为某种讽刺性甚至幼稚的攻击性。她父母双亡、寄人篱 下、挚友极少、知音难遇、婚姻无人做主、爱情未有保障的处境，又强化了她的以上 性格特征和个性表现。但她的这种性格，是多向的、动态的、发展变化的。 黛玉的尖刻，既有姐妹之间、姑嫂之间的喜谑，如她和湘云之间的口角之争。而这类刁钻，令人只觉其伶俐可爱。同时又有针对脾性不合、品性相左的人，才显现出的真正的孤傲和 讥锋。譬如对于“阴微鄙贱”、搞“魇魔法”害人，向贾 政告密挑唆的赵姨娘，“林丫头把我们娘俩儿正眼也不瞧”。这恰恰包含着她纯正明朗、洁身自好、不歪不斜、不被不阿 的为人品格。而对宝钗、宝玉，则是大量的、主要的，但属于爱情纠葛。前34回中黛玉 三天两头的跟宝玉呕气吵闹，跟宝钗斗心眼儿，作者描写了黛玉的大小十几次争吵斗嘴： 因宝玉在宝钗处“比通灵”，“喝冷酒”而“半含酸”；为夜访怡红院叫门不开而大吵；为不放心湘云的金麒麟而最后一次吵，等等。而这些主要是宝黛爱情正处在磨合期，正所谓
“情因相爱及相伤”。同时也是出于对金玉之说的戒备。这种争吵的最根本原因，还是 “金玉良缘”与“木石前盟”的对立与争斗！ 而另一方面，这位孤高自许、目下无尘的少女，对于意趣相投、情性相合的姐妹、诗 友乃至丫头、婆子，又是那样地谦和、尊重、友好、宽厚。妙玉嘲笑她“竟是大俗人， 连水都 尝不出来”，她也不反唇相讥，反而尊称妙玉为“诗仙”，虚心真诚地请教她改正自己的诗作。尤其是紫鹃，她是黛玉的 贴身丫头，却可以批评她跟宝玉吵架“太浮躁了些”，“皆因姑娘小性儿”，“常要歪派宝玉”；也可以直面建议她“趁早坐定了大事要紧”，不要“耽误了时光”。晴雯这位俏丫头在 宝黛之间，实际不自觉的充当了红娘，宝玉的那两条定情手 帕，就是专让晴雯递送的。而黛玉对晴雯也是格外厚待。宝玉的《芙蓉诔》中“惭违 共穴之盟”一句，黛玉听了却不妒不忌，反而赞赏这祭文新奇，甚至建议把其中一句 改为“茜纱窗下公子多情”。 以上都说明黛玉并非一味地“小性儿”更多的倒是接人待物很有区别，尤其对待姐妹、 诗友、丫头、婆子，表现出一种难能可贵的友爱和主奴之间超越等级的近代民主色彩 的平等思想萌芽。 林黛玉天生叛逆，人格理想跟贾府择偶标准乃至当时世道轩轾不合。她从不规劝宝玉 为官做宰、立身扬名，大胆背叛贵
哈姆雷特性格特征： 一个人文主义者的悲剧————————内心犹豫的忧郁王子这是一个充满矛盾的形象。哈姆莱特是古代丹麦的一个王子，他是一个人文主义形象，这和他在“威登堡大学”里所受的教育有着很大的关系。一方面他接受了人文主义的影响，心中充满了美好的理想，希望生活中的一切如理想一样完美。而现实生活的一系列意外打破了他的理想。他像一个思想家那样地思考许多哲学问题，却找不到答案。于是他要为父报仇，可是他内心又是矛盾，因为他想的不光只是为父报仇，而是扭转整个乾坤。在这样艰巨的任务面前，他想要行动也行动不起来。 最突出的特点是忧郁，一系列伤天害理的事变突然发生,打破了他关于人生、世界、爱情、友谊、前途等一系列人文主义的幻想，他以哲学家的深刻洞察力,解剖现实,深揭被掩盖着的社会罪恶，使其忧郁积重难返，从他穿着丧服登场,到古堡待父,到破相装疯,到戏中作戏,到后宫劝母,到海上窥奸,到墓场葬礼,到宫庭比武,一直到他最后毁灭,忧郁一直没有离开过他。 其次是犹豫，比如在剧中，哈姆雷特偶遇到叔父在为自己的罪孽祈祷时，复仇的想法只是在他脑中一闪而过，他不是义无反顾地一剑刺向敌人，而是在一旁作“To be, or not to be”的思想斗争，他觉得时机欠妥、方式不佳，他怕背负罪名。于是，他一直在延宕。他是哲学
家而不是实干家,他敏于思索而拙于行动,他在没有切实可行、十拿九稳的办法之前,只会冥思苦想,他从思考到行动需要一个比常人更为复杂的过程，等待时机,而时机不来,一旦到来,又坐失良机;幻想行动,却一拖再拖,空有报国之心,而无匡世的行动。 他的悲剧既有罪恶势力过于强大的客观原因，也有其内存性格弱点的主观原因。所以，哈姆莱特的悲剧是时代的悲剧，是人文主义者的悲剧。
喜福会 ——“我们宛如上楼梯，一步又 一步，或上或下，永远重复着相 同的命运。” 总序 一个女人带着曾买下的天鹅过江越海，直奔美国。“到了美国，我就要生个女儿，她会很像我。但在美国，她却无须仰仗丈夫鼻息度日。我会让她讲上一口流利漂亮的美式英语。她将……”然而她刚一踏上这块土地，移民局让她只能留下了一根羽毛。 现在这个女人已垂垂老矣。她有了三个女儿。女儿已长大成人了，只会说英语，咽下的可口可乐要多于悲伤。好久以来，这个老妇一直想把这根天鹅羽毛留给女儿，并跟她说：“这根羽毛似很普通，然而所谓千里鹅毛一片心呀！”如是冬去春来，年复一年，她一直期待着有一天，她能以流畅的美式英语，把这个故事告诉她的女儿。
母亲与旧封建社会 自古以来不乏对女性美貌的描写，什么“领如蝤蛴，齿如瓠犀”， 什么“美目盼兮，巧笑倩兮”但实际上， 女人的美貌从来只是其中的一部分筹 码，尤其是在封建社会时期，“三从四德” 才是长久之道，婆媳之间、夫妻之间的 不平等都会在婚后慢慢显露。这四位母 亲就是在旧社会或有切身经历或有耳濡 目染的人。 琳达四岁就定下要嫁到黄家做媳 妇，在家中时母亲再也不将自己看作家里人，而是对待别家人一般客气。临行前对她说“永远不要忘记自己是谁！”于是在她遇见年幼无知的丈夫、面对苛刻的婆婆后，精明的利用了婆婆的迷信换来一张通往上海的车票，离开了让她所不想要的家庭，从而寻找自己的生活。 相比之下莺莺的经历更添了些无奈，少了些自主权。开始总是美好的，金风玉露一相逢，便胜却人间无数。俊男美女，一曲夜来香跳出了缠绵悱恻、跳出了暗波流动。可奈何一夕红颜老，你认儿子却只道我是妓女，在外面你有成群的莺燕，一纸婚约显得那么可笑，我恨、我怨，心中怨着怨着出了神竟错手杀了自己的孩子。 可悲，可叹。悲当时重男轻女、叹这痴人一个。 同样如莺莺一般也错手失去了孩子的还有苏，在和众人一起逃离
薛宝钗人物形象分析 薛宝钗是利义全一的高级管理人 由于贾探春的思维是直线式的，因而她的改革思路只是停留在物质层面上。薛宝钗则不同，她在完成物质层面的思考之后，更进一步展开了精神层面的思考。为了给改革营造一个良好的环境，薛宝钗提出了配套的改革措施，强化治安管理。她对老妈妈们说：“你们只要日夜辛苦些，别偷懒总放人吃酒赌钱就是了。”事实上，薛宝钗上任后做的第一件事情就是加强治安管理，每天晚上带人各处巡查。这也从一个侧面反映出她对改革环境的重视。 薛宝钗和王熙凤一样，深知管人是要讨人嫌的。但她的处理风格却和王熙凤完全不同，她在就职演说中说道：“我本也不该管这事。就你们也知道，我姨娘亲口嘱托我三五回，说大奶奶如今又不得闲，别的姑娘又小，托我照看照看。我若不依，分明是叫姨娘操心。我们太太又多病，家务也忙。我原是个闲人，就是街坊邻居，也要帮个忙儿，何况是姨娘托我？讲不起众人嫌我。倘或我只顾沽名钓誉的，那时酒醉赌输，再生出事来，我怎么见姨娘？” 薛宝钗把自己参与管理说成是身不由己、万般无奈的事情，这样不仅在相当程度上淡化了管理者与被管理者之间的矛盾，而且在一定程度上赢得了被管理者的同情。即使是强化治安管理，薛宝钗也不是金刚怒目式的，而是循循善诱，尽可能启发人们的羞耻之心。事实证明，薛宝钗的这套柔性管理确实具有很强的感化作用，人们对此都口服心服。
由于有了薛宝钗的新设计，贾探春的这次承包改革获得了很大的成功。正如李纨所说：“使之以权，动之以利，再无不尽职的了。”生产者的积极性被充分地调动起来了。“因今日将园中分与众婆子料理，各司各业，皆在忙时，也有修竹的，也有护树的，也有栽花的，也有种豆的，池中间又有姑娘们行着船夹泥的、种藕的。”同时，生产者的责任性也大大加强了。春燕道：“这一带地方上的东西，都是我姑妈管着。她一得了这地，每日起早睡晚。自己辛苦了还不算，每日逼着我们来照看，生怕有人糟蹋。老姑嫂两个照看得谨谨慎慎，一根草也不许人乱动。” 还应该强调的是，与王熙凤相比，甚至与贾探春相比，薛宝钗实际上并没有什么管理实权。但是我们完全可以说，《红楼梦》中真正的管理权威就是薛宝钗。杜拉克就说过：“不论一个人的职位有多高，如果只是一味地看重权力，那么，他就只能列入从属的地位；反之，不论一个人职位多么低下，如果他能从整体思考并负起成果的责任，他就可以列入高级管理层。”按照杜拉克的这一标准，薛宝钗显然是可以进入“高级管理层”的. 薛宝钗人物形象分析[篇2] 岁月如梭，有若白驹过隙，弹指一挥间，红楼一梦已看尽几世风雨飘摇。解不开是离恨苦，道不尽是红楼梦，且不说那草木前盟缘未尽，今生魂断情难销，也不论那封建末世社会态，家族兴衰成败史……单是一个薛宝钗，就引得后人太多太多的话语。 一、山中高士晶莹雪睿藻仙才淑仪风——封建淑女的典型