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Bread givers and other nurturers
Title
Bread givers and other nurturers.
Creator
Mincho, Jane., Florida Atlantic University, Nathan, Norman
Abstract/Description
Anzia Yezierska's Bread Givers and Maxine Hong Kingston's The Woman Warrior: Memoirs of a Girlhood Among Ghosts share the common themes of the restrictions placed on women, daughters of recent immigrants, who suffered from poverty, discrimination, and sexual repression both from within and without their cultural milieu. Woman Warrior is an epic poem, history mixed with myth, while Bread Givers is a fevered morality tale. Yezierska's world was full of Jewish patriarchal edicts, Kingston's bore...
Show moreAnzia Yezierska's Bread Givers and Maxine Hong Kingston's The Woman Warrior: Memoirs of a Girlhood Among Ghosts share the common themes of the restrictions placed on women, daughters of recent immigrants, who suffered from poverty, discrimination, and sexual repression both from within and without their cultural milieu. Woman Warrior is an epic poem, history mixed with myth, while Bread Givers is a fevered morality tale. Yezierska's world was full of Jewish patriarchal edicts, Kingston's bore the weight of matriarchal definition of her Chinese ancestor's beliefs. The mutual and overwhelming need to break the barriers of enforced silence created two rich human documents which by their very nature mediate the seemingly irreconcilable. Whether they are considered fiction, memoirs, or elegies, both books' outstanding contribution is reinforcement of the concept of self-determination which was attained without destroying either author's ethnic or cultural heritage.
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Date Issued
1988
PURL
http://purl.flvc.org/fcla/dt/14473
Subject Headings
Yezierska, Anzia,--1880?-1970.--Bread givers., Kingston, Maxine Hong.--Woman warrior., Women immigrants--United States.
Format
Document (PDF)
Transmission of matrilineal/matriarchal society in ethnic American and in fantasy literature
Title
Transmission of matrilineal/matriarchal society in ethnic American and in fantasy literature.
Creator
Watterson, Dama Scott., Florida Atlantic University, Collins, Robert A.
Abstract/Description
Maya Angelou uses an autobiographical form in I Know Why the Caged Bird Sings to portray her childhood. The lessons she acquires as a child are depicted in positive scenes between her and her grandmother and other female figures in her life. Likewise, Maxine Hong Kingston portrays, in an arguably autobiographical form, her life lessons in Woman Warrior. She aligns herself matrilineally with her female ancestors and heritage. Struggles between her American self and the Chinese heritage her...
Show moreMaya Angelou uses an autobiographical form in I Know Why the Caged Bird Sings to portray her childhood. The lessons she acquires as a child are depicted in positive scenes between her and her grandmother and other female figures in her life. Likewise, Maxine Hong Kingston portrays, in an arguably autobiographical form, her life lessons in Woman Warrior. She aligns herself matrilineally with her female ancestors and heritage. Struggles between her American self and the Chinese heritage her mother speaks of become her means for finding self-definition. In contrast, Sheri S. Tepper's fantasy novel A Plague of Angels, portrays a female utopian society against a backdrop of male dominated ruin. She aligns the female protagonist with nature and ecological concerns. The turn away from society that is patriarchal and destructive is made toward a society defined in ecofeminist terms of Earth Mothers, animal rights, and the health of the environment.
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Date Issued
1999
PURL
http://purl.flvc.org/fcla/dt/15679
Subject Headings
Angelou, Maya--I know why the caged bird sings, Kingston, Maxine Hong--Woman warrior, Tepper, Sheri S--Plague of angels, Women in literature
Format
Document (PDF)
Writing in Borges's "Garden": The lively performances of John Barth and Maxine Hong Kingston
Title
Writing in Borges's "Garden": The lively performances of John Barth and Maxine Hong Kingston.
Creator
Scala, Virginia M. D., Florida Atlantic University, Faraci, Mary
Abstract/Description
This thesis is a comparative study of John Barth's Lost in the Funhouse and Maxine Hong Kingston's The Woman Warrior, based on the imagery and theme of Borges's "forking paths." Both authors are indebted to Borges's work for providing the experimental narrative devices that made it possible for them to challenge their "ghosts." In Barth's case, he loses himself in the Funhouse, haunted by the "same old stories" (102); Kingston finds her voice in the Chinese stories and shocking images of the...
Show moreThis thesis is a comparative study of John Barth's Lost in the Funhouse and Maxine Hong Kingston's The Woman Warrior, based on the imagery and theme of Borges's "forking paths." Both authors are indebted to Borges's work for providing the experimental narrative devices that made it possible for them to challenge their "ghosts." In Barth's case, he loses himself in the Funhouse, haunted by the "same old stories" (102); Kingston finds her voice in the Chinese stories and shocking images of the past. The thesis will work toward a presentation of the dramatic performances and brilliant images in Barth's Lost in the Funhouse and in Kingston's The Woman Warrior. Readers become players who surrender their conventional notions about narrative in Borges's "Garden of the Forking Paths." Fortunately, the writing of Barth and Kingston continues to keep storytelling a lively art where time and memory are the main characters.
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Date Issued
1996
PURL
http://purl.flvc.org/fcla/dt/15329
Subject Headings
Barth, John--Lost in the funhouse, Kingston, Maxine Hong--Woman warrior, Borges, Jorge Luis,--1899-1986--Criticism and interpretation
Format
Document (PDF)