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象征主义在《喜福会》中的运用
象征主义在《喜福会》中的运用
简介：象征主义在《喜福会》中的运用Symbolism in The Joy Luck Club—Mother-Daughter Relationship With the development of multi-ethnic literature in the United States, as an important part of American lit ...
象征主义在《喜福会》中的运用Symbolism in The Joy Luck Club—Mother-Daughter Relationship&With the development of multi-ethnic literature in the United States, as an important part of American literature, Chinese American literature is being paid more and more attention in recent years. Amy Tan is one of the most highly acclaimed of the contemporary Chinese American literature. Her first novel The Joy Luck Club is a beloved international best-selling novel which explores the relationships of Chinese women and their Chinese-Americanized daughters in the United States. Published in 1989, The Joy Luck Club was enthusiastically received by critics and the public.The Joy Luck Club is a novel rich in symbols, including the swan, the chess game, the east, the jade pendant, Jing-mei’s journey to China through all of which, Tan explores the relationship between Chinese immigrant mothers and their American-born daughters, which bears the significant symbolic meaning of the relationship between Chinese culture and American culture, from conflicts to communication and understanding, and finally to reconciliation.&I. Introduction to Amy Tan’s Life and The Joy Luck Club1.1 A Brief Introduction to Amy Tan’s LifeAmy Tan was born in Oakland, California, in 1952. Her parents, both Chinese immigrants, lived in various towns in California before eventually settling in Santa Clara. When Tan was in her early teens, her father and one of her bothers each died of a brain tumor within months. During this period, Tan learned that her mother had been married before, in China just before the People’s Republic of China was founded in 1949. She left behind three daughters, whom she would not see again for nearly forty years.After losing her husband and son, Tan’s mother moved her family to Switzerland, where Tan finished high school. Tan followed her boyfriend to San Jose City College, where she earned a bachelor’s and a master’s degree in English and linguistics. After Tan married her boyfriend, Louis DeMattei, she began to pursue a Ph.D. in linguistics. She later abandoned the program in order to work with developmentally disabled children. Then she became a freelance business writer. Although she was successful, she found writing for corporate executives unfulfilling. She began to write fiction as a creative release.Meanwhile, Tan’s mother was suffering from a serious illness, and Tan resolved to take a trip to China with her mother if she recovered. In 1987, after her mother returned to health, they traveled to China, where Tan’s mother was reunited with her daughters and Tan met her half-sisters. The trip provided Tan with a fresh perspective on her mother, and it served as the key inspiration for her first book, The Joy Luck Club. Soon after its publication in 1989, The Joy Luck Club gained enthusiastic reviews, remaining on the New York Times best-seller list for many months. It won both the National Book Award and the L.A. Times Books Award in 1989.1.2 A Brief Introduction to The Joy Luck ClubThe Joy Luck Club was Tan’s first and most well-known book, which brought her great success and made her name known around the world.The Joy Luck Club consists of four sections including sixteen stories narrated by seven characters. Every mother or daughter has two stories except Suyuan (Jing-mei Woo’s mother); her stories are narrated by Jing-mei. So Jing-mei has four stories. In the mother’s stories they tell about their unhappy marriages, the failures of their dreams, their survival in hard surrounding, their resistances to cruel realities and miserable war life they suffered in old C they also tell about their hopes and dreams, which they think can change their life, to come to America. In the daughter’s stories, they tell about their conflicts with their immigrant mothers, their puzzlement in marriages, life and work. But the dominant theme going through most of the stories is the conflicts between the mothers and their daughters, which take place between every pair of mother and daughter, only some are severe, some seeming trivial, some obvious and some implicit.The book ends with Jing-mei going to China to meet her half-sister. Jing-mei is at first nervous, but when she meets first her father’s family and then her sisters, she sees that part of her is Chinese after all. The moving scene of three daughters crying out “mama” together in China, suggests reconciliation between Suyuan’s two lives, between two cultures, and between mother and daughter, which enables Jing-mei to bring solutions not only to her mother’s story, but also to her own.&II. The Definition of Symbol and Symbolism2.1 The Definition of SymbolIn the broadest sense, a symbol, according to Webster’s Dictionary, is “something that stands for something else by reason of relationship, association, convention, or accidental resemblance……a visible sign of something invisible”(林六晨,). Symbols , in this sense, are with us all the time, for there are few words or objects that do not evoke, at least in certain contexts, a wide range of associated meanings and feelings. For example, a word home (as opposed to house) arouses feeling of warmth and security and personal associations of family, friends and neighborhood, while a nation’s flag suggests country and patriotism. In discussing literature, however, the term “symbol” is applied only to a word or phrase that signifies an object or event which signifies something, or has a range of reference, beyond itself.Symbols—in the form of words, images, objects, settings, events and characters—are often used deliberately to suggest and reinforce meaning, to provide enrichment by enlarging and clarifying the experience of the work, and to help to organize and unify the whole. William York Tyndall, a well-regarded scholar and author of The Literary Symbol (1955) likens the literary symbol to “a metaphor one half of which remains unstated and indefinite” (林六晨, ). It is true that symbols exist first as something literal and concrete within the work itself, but they also have the capacity to call to mind a range of invisible and abstract associations, both intellectual and emotional, which transcend the literal and concrete and extend their meaning.Symbols are usually classified as being universal and contextual, depending on the source of the associations that provide their meaning. Universal or cultural symbols are those whose associations are the common property of a society or culture and are so widely recognized and accepted that they can be said to be almost universal. These types of symbols are sometimes also called traditional symbols. They embody ideas or emotions that the writer and the reader share in common as a result of their social and cultural heritage. When using these symbols, a writer does not take time to invest objects or people with symbolic resonance within the story: she or he can simply assume that the reader knows what the symbol represents. However, contextual or private or personal symbols are those whose associations are neither immed instead, they derive their meaning, largely if not exclusively, from the context of the work in which they are used.2.2 The Definition of SymbolismThe term symbolism refers to “the use of symbols or to a set of related symbols” (Baldick, ). Symbolism stresses the priority of suggestion and evocation over direct statement and explicit analogy, and creates an importance and special meaning in objects that normally would not be important. That is, it attributes much more profound meanings or significance to a concrete object, leaving space for the reader to gain the aesthetic enjoyment. It is a kind of implicit and pithy literary device which can provide the reader with pleasant aesthetic experience.Symbolism enhances fiction through helping readers to organize and enlarge their experience of the work. Symbolism, when employed as an integral and organic part of the language and structure of a work of fiction, can stimulate and release the imagination—which is, after all, one of the major goals of any form of art.All the symbols in Amy Tan’s The Joy Luck Club are personal ones. The book can be read as a novel about family issues and mother-daughter relationship. However, when it is put into the context of Chinese-American immigrant experience, the events and the relationship in the novel naturally gain symbolic significance.&III. Symbolism in The Joy Luck ClubSymbolism in the mother-daughter relationship is the major symbolism in The Joy Luck Club. Misunderstanding, conflicts, mutual understanding and finally reconciliation between mother and daughter connote the relationship between Chinese culture and American culture.3.1ConflictsIn The Joy Luck Club, the mother-daughter conflict is in essence the crash between the two different values of the west and the east. Specifically, that is a conflict between the Chinese traditional ethics of “family-oriented” and the American principle of “self-making”.Chinese traditional philosophy advocates obedience to the authority of parents, while the main principle of American culture is to preach individuality and independence. Therefore, when the mothers in Tan’s novel expect their daughters to listen to them as they did in China, the latter think it inapprehensible. The Chinese mothers feel connected with their own mothers, so the mothers feel equally connected with their daughters, attempt to find their own value on their daughters, and hope their daughters can accomplish their unfulfilled desire. However, the American-born daughters, who have been schooled in the American tradition of individuality, do not feel the same connectedness with their mothers. Undoubtedly, the mother-daughter conflict is the reflection on the conflict between Chinese and American values.&Two symbols, which reflect the mother-daughter conflicts, will be discussed in this part. The swan symbolizes mothers’ dream and hope for their daughters. And the chess game represents the fierce battle between the two generations.3.1.1 The SwanThe first section of The Joy Luck Club is preceded by a powerful fable—Feather from a Thousand Li Away, which tells the tale of a duck that has ambitions to become a goose and stretches its neck so far that it turns into a swan. A woman (Jing-mei’s mother) buys a swan, and together with it she travels across the ocean toward America. On the journey, she dreams of having a daughter just like her in America. “…there nobody will say her worth is measured by the loudness of her husband’s belch. Over there nobody will look down on her, because I will make her speak only perfect American English. And over there she will always be too full to swallow any sorrow” (Tan, 1989: 2). Ultimately, the woman wishes her daughter will know her meanings and hopes to present her daughter with the swan.Yet, when the woman arrives in America, the immigration official takes the swan away and leaves the woman with nothing but a feather for a memory. The daughter is born and grows up speaking perfect English and “swallowing more coca-cola than sorrow” (Tan, 1989: 2). The woman still wishes to present the feather to her ignorant daughter and to explain its meaning. But for many years she holds back, because she is unable to speak perfect American English and lack a common tongue with her daughter, yet she is still waiting patiently until she will have the ability to tell her daughter in perfect American English.Tan creates her own version of tale of the duck becoming a swan out of the classic western fairy tale. In her version, the duck at first simply hopes to become a goose, but unexpectedly, it stretches its neck so long that it resembles more than it hopes for: it resembles a swan.The tale of the woman and the swan is a poignantly ironic introduction to the stories in the book, which raises the issue of the linguistic and cultural barriers existing between each immigrant mother and American-born daughter. The swan in the tale presents the mother’s dream and hope for her daughter. The woman’s dream in the tale is the dream of all the Joy Luck mothers, who have all traveled across oceans to the strange land—America after losing everything in China, in hopes of having a better life with plentiful opportunities for themselves, and more importantly, for their daughters. They transfer all their hopes and ambitions to their daughters will be privileged to have the best life—not to duplicate the tragic or restricted lives they and their mothers had lived, speak perfect American English, and live an Americanized life of middle class.In a sense, the woman’s dream is fulfilled. The daughters learn how to survive in American circumstances. The English-speaking daughters in the novel are entirely American by birth, by education and by inclination, growing up speaking perfect American English, who do achieve a kind of economic success and social mobility that their mothers did not have as immigrant women.The swan symbolizes mother’s dream and hope for their daughters. Ironically, the daughter fulfils mothers dream, but it turns out to be the gulf between mother and daughter, because the daughters have accepted and become accustomed to the new environment and language, but the mother still keep on the distant past. Due to different cultural and educational background, the mothers and the daughters could hardly share the same ideas. So the conflict is inevitable. 3.1.2 Chess GameThe chess game is not just a playful game for Waverly, which also bears the symbolic meaning of the struggle between her and her mother—extending to the whole novel—the Chinese mothers’ seemingly arbitrary power over the daughters and the American-born daughters’ attempt to escape from mothers’ control. The mother-daughter conflict is just like the chess game, in which the two sides are fighting for control and autonomy.Lindo always hopes to be in the same boat with her daughter Waverly. Every time Waverly practices the chess, Lindo stands beside her daughter giving suggestions and considers herself to be her daughter’s protective ally. She thinks her daughter’s success is partly her contribution. She says: “I told my daughter, use your horse to run over the enemy, she won very quickly this way” (Tan, ). She is proud of her daughter’s achievement. However, the daughter Waverly thinks differently,
“My mother loved to show me off, like one of my many trophies she polished.” (Tan, ).To Lindo, pride in daughter’s talent and success is natural and she believes that a mother is –or should be –entitled to share in her daughter’s triumphs, while to Waverly, that pride represents a mother’s attempt to interfere her daughter, thus denying daughter a separate identity and a sense of personal individual achievement. The tension between the two ideas is externalized as the difference in life philosophy of mothers and daughters in the novel.When she grows to womanhood, Waverly continues the battle with her mother. She wonders if her mother “poisoned” her first marriage. And she is afraid of telling her mother about her second marriage, because she fears her mother’s destructive criticism, on Rich and its possible effect on her relationship with him. Waverly admits, “In her Lindo hands, I always became the pawn. I could only run away. And she was the queen, able to move in all directions, relentless in her pursuit, always able to find my weakest spots” (Tan, ) Similarly, most of the American-born daughters in The Joy Luck Club think of their mothers as their opponents. They fight fiercely for their independence and autonomy for themselves from the powerful commanding mothers.What Amy Tan portrays as the traditional Chinese values of filial obedience, criticism-enveloped expressions of love, and the concealment of excessive emotions all clash with the daughters’ American ideas about autonomy, free and open speech, and self-esteem. So the heavy war between the two generations is inevitable.The chess game symbolizes the struggle between Chinese mother’s arbitrary power over the daughters and the Americanized daughter’s fight for freedom. The conflict between mother and daughter is a well-matched battle, which, in fact, is caused by the cultural differences and misunderstanding of the two cultures. The mother and daughters have been raised in different cultures, and consequently, they have different ideas about family and individual. 3.2 Mutual Understanding and ReconciliationHowever, the opposition between mother and daughter is not changeless. As time goes on, the two generations begin to listen to each other, begin to understand themselves, gradually come to a mutual understanding from antagonism at the beginning, and realize the potential of a combination of Chinese character and American circumstance. Important strategies for survival and challenge are passed on between the Joy Luck mothers and daughters when they make connections with each other. 3.2.1 The EastIn the beginning of the novel, upon her mother’s death, Jing-mei moves into the East seat, a symbol of beginning and China, the home land of the mothers. Thus, Jing-mei’s position at the mah jong table foreshadows the lengthy trip to her mother’s native land.Jing-mei remembers that her mother, Suyuan once tells her, The East is “where things begin” and “the direction from which the sun rises, where the wind comes from” (Tan, 1989:22). To the Joy Luck Club mothers, the EAST is where their lives begin and where their hearts and souls belong. Having lived in America since 1940s and created good lives for themselves in an alien land, the mothers, nevertheless, are still more Chinese than they are American. They always regard themselves as Chinese, and the white to be “waigoren”—foreigners. They have Chinese food, speak their special language—partly in broken English, partly in Chinese, and use Chinese and their special patois to articulate their most important thoughts. They honor the Chinese tradition and teach their daughters about Chinese character.However, to the thoroughly Americanized daughters, the EAST—China, distant and mystic, is merely a geographical term, which means little to them. In the American white mainstream, Chinese culture and Chinese people are orientalized, marginalized and stereotyped. The American white created many a distorted Chinese stereotype, which leads people to think of villains, gambling, and drug-using etc, when speaking of Chinese. As the second-generation Chinese immigrants, the daughters always feel unease with their Chinese heritage and Chinese features. Since childhood, they deliberately have attempted to cultivate American ways and repudiate much of their Chinese heritage. They refuse to learn Chinese, and prefer their American names.&As they grow to womanhood and become mature, the daughters begin to sense that their identities are incomplete and become interested in their Chinese heritage. Waverly speaks wishfully about blending in too well in China and becomes irritated when Lindo tells her that she will be recognized instantly as a foreigner. One of Jing-mei’s greatest fears about her trip to China is not that others will recognize her as American, but that she herself will fail to recognize any Chinese elements within herself.The east symbolized that where everything begins, where the mothers begin and where the daughters’ identities also begin. It is where the mutual understanding begins, with Jing-mei going back to the East—China to fulfill her mother’s long-cherished wish—to meet her twin half-sisters and with Jing-mei finding her complete identity. When Jing-mei takes her mother’s place on the East corner of the mah jong table, she begins her journey east to China to seek the true past of her mother and the true “Self”of herself.3.2.2 The Jade PendantAfter the Chinese New Year dinner, Suyuan gives her daughter a jade pendant which she says is her “life’s importance.” Suyuan expects Jing-mei to understand her, as the way mothers and daughters in China understood each other. With the development of the novel, the symbolic meaning of the jade pendant changes. At first, Jing-mei wants to give the necklace back and she dose not understand the true meaning of her mother, which shows the lack of communication between mother and daughter. She does not like the pendant, which she thinks she would not have chosen for herself, and finds it too garish and unstylish. After her mother’s death, however, the pendant begins to assume great importance to her—even though she does not really understand the meaning that her mother assigns to it. Jing-mei believes that the carvings on the pendant mean something for Chinese. She now wears that pendant every day. Mother’s love, expectations and unfinished stories seem to be condensed into the voiceless jade pendant, which, through time and space, connects the two generations. Daughter’s understanding of mother becomes much clearer.The transformation of Jing-mei’s attitude toward the gift of the jade pendant symbolizes the development of her perspective on her mother—from negative misunderstanding to understanding and reconciliation. Jing-mei comes to see it as a symbol of the maternal wisdom and love that Jing-mei once is took for superstition and criticism. She begins to understand her mother’s gestures in general. While Jing-mei used to interpret many of her mother’s words as expressions of superstition or criticism, she now sees them as having manifested a deep maternal wisdom and concern.It is only in her thirties that Jing-mei realizes that in sabotaging and silencing her frustrated mother, she has sabotaged herself too. She makes some painful realizations after her mother’s death:&Maybe I never really gave myself a fair chance. I did pick up the basics pretty quickly, and I might have become a good pianist at that young age. But I was so determined not to try, not to be anybody different that I learned to play only the most ear-splitting preludes, the most discordant hymns (Tan, ).As Jing-mei begins to understand the meaning of the jade pendant and wears it every day, it seems the American-born daughters begin to accept such things—cultural pride, strength and hope in the hardship, love and confidence that mothers want to leave to their daughters. All of these, which they used to avoid and dismiss, do not seem old fashioned anymore and begin to mean something to the daughters. The long-year emotional alienation between mother and daughter causes both generations a traumatic experience. With time, the Joy Luck women begin their rediscovery and mutual understanding of each other. It is what they share as a woman that makes them realize that in “a world full of racist and sexual discriminations, the woman should become friends alliance” (陆薇, 2000: 22). The younger generation learn from the older the spiritual nutrition and strength to confront the new life with positive and optimistic attitude.3.2.3 Jing-mei’s Journey to ChinaJing-mei Woo’s journey to China is a fundamental symbol in the novel, which makes the novel more profound with deep connotation. The journey, which begins in the East and ends in the East, symbolizes the mother-daughter relationship transforming from misunderstanding to mutual understanding, from conflict to acceptance.Jing-mei travels to China to meet her twin half-sisters for who Suyuan has searched for almost forty years. The journey suggests the continuity and transformation, not closure, of the mother-daughter cycle of stories. As Kingston says in the ending of The Woman Warrior: “Here is a story my mother told me, not when I was young, but recently, when I told her I also talk-story. The beginning is hers, the ending, mine” (Kingston, ). In her own talk-story and life, Jing-mei continues her mother’s story and her own into the future.“For Jing-mei, the journey is an epiphany and a discovery of self: finally aware of her mother’s meaning” (Huntley, 1998: 48). Her travel to China assumes the responsibility to realize her mother’s unfulfilled will to enter the context that those Chinese mothers have experienced and to understand hopes they are still holding. Her total new feeling about her self helps to understand her mother’s character and solve the doubts lingering in her mind. It is a cultural journey for closer contact and mutual understanding.The Joy Luck aunties, who offer a generous check to send Jing-mei on her pilgrimage to China, ask her to tell her half-sisters about her mother Suyuan. The aunties encourage Jing-mei to make Suyuan come alive for her other daughters through descriptions of her hopes and dreams, through re-creations of stories that she once has told Jing-mei. Their words reveal their own dreams that one day their own daughters will, like Jing-mei, also remember and recount the stories their mothers home country:&The minute our train leaves the Hong Kong border and enters Shenzhen, China, I feel different. I can feel the skin on my forehead tingling, my blood rushing through a new course, my bones aching with a familiar old pain. And I think my mother was right. I am becoming Chinese (Tan, ).&With the visit to China, she begins a serious quest to discover the particularities of her mother’s life story. In a Guangzhou hotel, Jing-mei asks her father to recount in Chinese—her mother’s native language—to her the Kweilin’s story that her mother has not finished. The language barrier, as the moment, disappears. When her father talks about what her mother suffers on the way of fleeting, Jing-mei has a more intimate understanding of her mother signifies the reconciliation of the two-generational conflicts.Holding a pair of tickets, just before boarding the plane to Shanghai, Jing-mei senses that she has come to China as both mother and daughter. The moment she meets her half-sisters at the airport, her impression is confirmed. “The gray-green surface changes to the bright colors of our three images… And although we don’t speak, I know we all see it: Together we look like our mother. Her same eyes, her same mouth, open in surprise to see, at last, her long-cherished wish” (Tan, )Amy Tan creates a harmonious picture of three daughters crying out “mama, mama” together, which indicates an integration of Western culture and Eastern culture. Without many redundant words, the three daughters, like mirror images from different angles, reconnect the fractured family and restore Suyuan as mother of them all. Critic Amy Ling describes the reunion as a reclaiming of Suyuan through surrogate mothers and “a trope for the lost motherland for the novel’s daughters” (Ling, )This highly emotional scene is based on a true incident from Tan’s life. In 1987, Tan visited her half-sisters in China. The trip was a turning point in Tan’s life. She explained her reaction in a July 4, 1989, interview in the New York Times. For the first time, Tan “felt a sense of completeness, like having a mother and a father,” she said. “It was instant bonding,”she continued. “There was something about this country that I belonged to. I found something about myself that I never knew was there” (New York Times). Her fictional creation, Jing-mei, shares the same reaction.The emotional trek to modern China introduces Jing-mei not only to the twin adult sibling but also to her mother’s motherland, and to her own heritage and identity. Jing-mei finally understands: “I also see what part of me is Chinese. It is so obvious. It is my family. It is in our blood. After all these years, it can finally be let go” (Tan, ). Again the Chinese mother h Suyuan tells Jing-mei that being Chinese “is in your blood, waiting to be let go” (Tan,).Jing-mei’s recognition of herself and her mother does not start ri it requires a long journey back to her maternal origin, her motherland China, to accomplish a quest for lost mother and daughters. Her journey represents reconciliation between Suyuan’s two lives, between two cultures, and between mother and daughter. Furthermore, the journey brings the Joy Luck Club aunties the hope that they, too, can reconcile their lives between past and present, between cultures, and more importantly between generations (Huntley, 1998: 48).&IV. Culture reconciliationThese symbols in the novel are not used as decorations but means toward a full statement. They contribute greatly to its vivid presentation of the theme—the mother-daughter relationship, symbolically, the relationship between the two cultures, from conflicts to communication and understanding, and finally to reconciliation.The happy ending with the reunion of three sisters not only symbolizes the reconciliation of the two generation—the Chinese immigrant mothers and the American-born daughters, but more importantly, signifies the reconciliation of the two conflictive cultures—Chinese culture and American culture, the two identities of the American daughters. Tan understands that the Chinese American identity cannot be simply divided into two ethnic halves, independent of each other. She believes that the denial of one of them will cause the imbalance in personal identity. Tan works on the successful solution to the between-world dilemma. The daughters in the novel finally understand they are not “neither here nor there”: they are both here and there and able to travel frequently back and forth between the two worlds. To all the American daughters, including Tan herself, who want to win a kind of balance “between worlds”, it is a childish way just to believe in the new American way and abandon the old Chinese way. The two worlds should be reconciled. If the two really could not become reconciled with each other, then the old should be respected, and should be preserved in the painting on the wall, in the human memory and in the written story. In sense, The Joy Luck Club not only provides a feasible solution to the problems for the second generation Chinese Americans, but also help the author and all the Chinese Americans discover themselves and define themselves.While focusing on exploring mother-daughter relationship, Tan successfully conveys her good intention to readers: she hopes that in the age of globalization, the old China and the young America can eventually reach mutual understanding, communication, trust and good relations in spite of the differences in culture, history and political system.&&&&&&&&&&&&&&&Bibliography&[1]& Baldick, C. Oxford Concise Dictionary of Literary Terms. Shanghai: Shanghai Foreign Language Education Press, 2000[2]& Chen, Jack. The Chinese of America: Harper and Row, July 4, 1993. [3]& Chen, Gong. The Mother-Daughter Relation-ship and the Politics of Gender and Race: A Study of Chinese American Women’s Writing: The University of He Nan, 2001.[4]& Kingston, Maxine Hong. Women’s Lose of self-Postcolonial Feminism: Vintage Book, Sept 1994[5]& Tan, Amy. The Joy Luck Club New York: Iry Books. 1989.[6]& Ward, Selena. 哈佛蓝星双语名著导读《喜福会》. 天津:天津科技翻译出版公司, 2003.[7]& 程爱民,谭恩美和美国主流意识形态[J]. 当代外国文学, 2003, (3).[8]& 程爱民,谭恩美小说中的母亲形象及母女关系的文化内涵[J]. 南京师范大学学报,2001, (4).[9]& 程爱民,美国华裔文学研究[C]. 北京: 北京大学出版社, 2003.[10] 谭恩美著,程乃珊,贺培华,严映薇译.《喜福会》.上海: 上海译文出版社,2001.
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