The episodes “do not follow each other chronologically or develop logically, but rather appear to be called into textual being by allusions, reminiscences, and motifs, and are in turn replaced by other texts” (78).The author was accused of having written a text which is situated between fiction and autobiography, but being clearly neither of them.The first part of the novel, “No Name Woman,” is the story of an unnamed aunt, who gave birth to a baby conceived outside marriage, revealing the centuries-old drama of Chinese women, who were forced to yield to the strict patriarchal laws.Tags: Research Paper About CultureTop 10 Business PlansMobile Book Report DirectionsTips On Writing A Research Paper In CollegeHow To Use Critical ThinkingResearch Proposal On AdvertisingExamples Argumentative Essay
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The scores you receive on the SAT Essay will give you important feedback about your strengths in reading: how well you understood the passage; analysis: how well you analyzed the author’s argument; and writing: how well you structured your response.
The strength of the novel lies in its four main sources: (1) the drama of Chinese women within a culture which treats them unfairly; (2) the difficulties of the displacement of the exiles and refugees, who depart from the deeply-rooted Chinese tradition to the newly emerged American context and experience a special cross-cultural conflict; (3) the narrative strength of the storyteller, who veers from fantasy to biography deftly and naturally; (4) and the power of symbols and metaphors.
Due to these factors the text becomes a literary and historical document of human experience with emphasis on the transformation and adaptation of Asian culture to the civilization of the West through the figure of a woman.
She is interested in aspects of postmodernity (Maxine Hong Kingston, Don De Lillo, Susan Sontag and others) and researches dystopias and the campus novel.
Email: The five parts of the novel The Woman Warrior by Maxine Hong Kingston are a series of accumulations featuring the following aspects: firstly, the growth of a young girl and then the growth of a writer/ story teller (“I am a story talker” 184), whose female and artistic personality is shaped mainly by her mother’s stories; secondly, the cultural tensions of the Chinese that take refuge in the Gold Mountain as America is seen in comparison with communist China; thirdly, the gap within the family/ethnic group between the generations of parents born in Asian culture and their children, who seem to inherit only the American-born spirit; fourthly, the book revives the lost voices of the immigrants, who brought their own history and stories to America and wanted to make them heard.
Thus, the novel introduces a number of different voices: the girl/daughter/sister/woman/mother, the artist, the refugee/exile/immigrant, the Chinese versus the mainstream American voice, and, in the process, builds a scaffolding for one of the most complex use of perspectives in the writing of fiction, in general and of the (auto-)biography/memoir in particular.
Kingston’s novel appeals both to the senses and to the emotions making the reader step firstly into a realm of fantasy and remembering what is mythically obscure about the Chinese tradition; then, in a masterful network designed by the author, Kingston observes the metafictional mechanisms of writing fiction, biography, memoir, history, fictionalized history, myth and legend or all by mixing them in a molten alloy that eventually becomes a composite text.
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Andreia-Irina Suciu is a Ph D lecturer at “Vasile Alecsandri” University of Bacau, Romania.