喜福会观后感中英文

2024-10-26

喜福会观后感中英文（精选7篇）

喜福会观后感中英文篇1

My Reflection of The Joy Luck Club

I wonder that when seeing the name The Joy Luck Club most people would treat it as a story filled with happiness and love.In fact, besides love, it is also about the cultural conflicts between four daughters and their mothers.The film is based on the best seller by Amy Tan of the same name.It shows us the lives of four Chinese women who were immigrants to America during the 1950s.As a mother, each of them has a lot of problems with their daughter because of cultural conflicts.The misunderstanding of love between the mothers and their American-raised daughters, the clash between the generations and cultures, and the struggle for the women to fight for equity touch every audience’s heart.Though I was also attracted by something with extensiveness——I want to talk about some points about the language.I had learnt that what are high context communication and low context communication and what is different between them.The former is one in which most of the information is internalized in a person, while very little in the coded, explicit, transmitted part of the message——we must guess what the real meaning of the words is;while the other is the opposite.Chinese just the stands for the former and English is the representative of the latter.An interesting scene in the movie just shows us this.When Waverly’s boyfriend Richie had a dinner with Waverly’s big Chinese family for the first time, he made some stupid mistakes.He brought his typical American habit when the they were eating and he couldn’t understand what Lindo(Waverly’s mother)mean when she said “ He has an appetite”.When Lindo brought a dish which she was very proud of, as a Chinese, she still said some formulae that the dish was not salty enough and it was too bad to eat;that suggested that everyone around the table should speak highly of her dish after their first degustation;while Richie didn’t understand that Chinese all like to be modest and he criticized Lindo’s cooking, just saying what he thought in his mind directly.What Richie did led to a very embarrassing atmosphere in the dinner and made Lindo very disappointed and

disgraced.The misunderstanding of a different culture and a different language is the mainly reason causing the awkward occasion.If Richie had known what he had faced with was a group of people with different culture and saying a high context language, and had done some preparation for that different traditional Chinese dinner, he could have avoid to making so many foolish mistake.To understand what a Chinese mean you could not just follow the superficial message transmitted by his words, instead, you should connect those words to his cultural background and the situation you are in.By appreciating the movie we could realize the culture of a people from their language.In this movie the cultural conflicts between the mothers’ traditional Chinese concept and the daughters’ up-to-date American concept are fully described by their dialogues and soliloquies.In conclusion, a language is really the mirror of a culture;and if we want to understand the marrow of a culture we could appreciate its language.

喜福会观后感中英文篇2

Scholars all over the world have paid much attention to Chinese American literature since 1990s.But they mainly focus on cultural themes, such as the pursuit of cultural identity, few studies on the translation of Chinese American literature have been made.Chinese American literature features in language and cultural hybridity, making it a kind of multilingualism to some extent.Thus proper translation strategies should be employed in translating Chinese American literature to maintain cultural elements and the peculiar structure of original as much as possible.Full sense translation meets this demand as it requires that translations should be precise and make sure of the maximum transmission of information in original works.

2 Full Sense Translation and Theoretical Bases

The famous Chinese translator Wu Lao first put forwards the theory of full sense translation.He recommended that translators should reproduce the content and form of the original text precisely and convey maximum information (Wu Lao, 2005:66) .And many scholars, such as Sun Zhili (2008) and Zhou Ye (2008) have explored the usage of this translation strategy.As a translation strategy, it has its linguistic theoretical bases, full sense translation tries to convey the maximum information of speech act.Full sense translation conforms to two series of rules required by speech act theory, which are language constructive rules and language regulative rules.Speech act theory is divided into two kinds of structures that are constatives and performatives.Constatives is about the exactness of language.That is to say what is said must be correct in semantics and grammar.Thus communication should follow constructive rules in order to make others understand the utterance.On the other hand, performatives concern more about interpersonal relationship, which requires that communication must comply with pragmatic rules to make the utterance appropriate (Hu Zhuanglin, 2006:188) .In other words, communication should follow regulative rules besides constructive rules.Therefore, full sense translation consists of many strategies to comply with these two rules.Constructive rules require full sense translation to absorb semantic translation as one of its strategies.

Relevance theory was proposed by Pan Sperber and Deirdre Wilson in their book Relevance:Communication and Cognition in1986.Sperber and Wilson define relevance theory as“Every act of communication communicates the presumption of its own optimal relevance” (Hu Zhuanglin, 2006:196) .In terms of language and cultural differences between the source language and the target language, relevance theory must be taken as a guiding theory for translation.Besides the literal meaning of the text, the author always integrates their intentions into text, hoping readers can read the illocutionary force through context.Thus translators should take cognitive ability, cultural features and linguistic customs into consideration to make translation readers have almost the same feeling as original readers have.Therefore, translators should seek the best relevance to convey his understanding of the original after considering the cognitive differences between the author and translation readers.Thus pragmatic translation which meets regulative rules must be employed to convey the overall information of the original and make translation readers have a better understanding of the author’s intentions.

3 Full Sense Translation and Chinese American Literature

Chinese American scholar Amy Ling defines Chinese American literature as literary works describing life experience of Chinese American people and their descendants in American, written by writers who are influenced by dual ethnic identity and cultural traditions and aim to strive for equality.

Chinese American literature has had a history of more than one hundred years since the publication of When I Was a Boy in China, by Yan Phou Lee in 1887.And the development of Chinese American literature can be divided into three stages.The initial stage lasts from the late 19thcentury to the 60s of 20thcentury.The second stage ranges from the 70s of 20thcentury to the 80s of 20th century and is a golden and transitory period for Chinese American literature from.The third boom stage starts from the late 1980s and the main representatives are Amy Tan The Joy Luck Club (1989) and Gish Jen Typical American (1991) and so on.

The dual identities and special life experiences of Chinese American writers make their works full of distinctive flavors.The first peculiar writing style of Chinese American literature is the extensive usage of language hybridity technique.Many Chinese words, sentences and non-standard English expressions appear in the English original, making the text bilingual or multilingual.Besides, cultural hybridity becomes a popular writing style for Chinese American writers.They present westerners the image of China by reproducing Chinese culture or rewriting Chinese myths.The telling of Chinese stories makes the combination of Chinese culture and American culture possible.

Due to the bilingual and cross-cultural writing features of Chinese American literature, the mission of the translation is not only to converse two languages but also to reproduce the cultural features of Chinese American literature.The combination of many translation methods such as phonological translation, semantic translation and pragmatic translation makes full sense translation applicable to the translation of Chinese American literature.This thesis will take The Joy Luck Club for to illustrate the usage of full sense translation strategies in Chinese American literature.

4 Full Sense Translation in The Joy Luck Club

The Joy Luck Club by Amy Tan has enjoyed wide popularity since its publication and is later translated into more than twenty languages including Chinese.It is comprised of four chapters, sixteen stories about conflicts and fusion between four Chinese mothers and their daughters who are born and grow up in America.The interweave of different behaviors, characteristics and values between mothers and daughters makes The Joy Luck Club an intercultural literature.This thesis will select Cheng Naishan’s and Wu Hanping’s translation, Yu Renrui’s and Tian Qing’s translations versions as examples to illustrate the translation of The Joy Luck Club from the perspective of full sense translation strategy.

4.1 Phonological translation of bilingual text

According to Hu Yong, one of the common features of Chinese American literature is employing Chinese characters in the novel (Hu Yong, 2003:148-149) .In The Joy Luck Club, the most striking feature is that lots of romanized Pinyin is inserted into the English original, making it a bilingual text.For instance, Kweilin (桂林) , mah jong (麻将) , Shwo buchulai. (说不出来。) Shemma yisz? (什么意思?) .To maintain the bilingual feature of the text and convey the maximum information of the original, zero-translation method could be the best choice.Example:

“Jrdaole”—I already know this—She said, as if to ask why I was telling her this again. (Tan, 1989:200)

(a) :“我早知道了。”她只是很平静地说, 好像很奇怪我还要再跟她说一声。 (程, 2006:179)

(b) :“Jrdaole (知道了) , ”她说, 好像是责问我为什么又把这事告诉她。 (田, 1994:162)

In Cheng’s translation bilingual color is completely dispelled.Thus receptor readers have no sense of code-switching here and the alienation experienced by the original receptors cannot be felt by receptors of the translation.The second translation version reserves the Pinyin, but the Chinese translation following the Pinyin in bracket makes the alienation of Pinyin to Chinese readers disappear.From Yu’translation, Chinese readers may know there is code-switching.However, the translation“用中文说”may cause the Chinese readers consider that“用中文说”may also appear in the original text.According to the above analysis, we can see that all these three translation versions do not comply with the demands of full sense translation, thus as for bilingual text, zero-translation could be a better strategy used to preserve this stylistic feature.Hence the above sentence can be translated as follows:

“Jrdaole, ”我已经知道了, 她说, 好像是责问我为什么又把这事告诉她。

4.2 Semantic translation of rhetoric

Semantic translation requires that translation should be close to the original text, and reserve these cultural elements and stylistic features in order to reproduce the original meaning accurately (Newmark, 1998:22) .Figures of speech play an important role in making the literary work more vivid and picturesque.Semantic translation employs many approaches, such as adding footnotes to the translation to preserve the aesthetic value of the original.

4.2.1 Pun

As explained in The New Oxford English-Chinese Dictionary“pun”refers to a joke exploiting the different possible meaning of a word or the fact that there are words which sounds alike but have different meanings.Translating puns used in The Joy Luck Club semantically could reserve these humorous effects of rhetorical devices.

Example:

In the morning she was there as well, feeding me rice porridge flavored with chicken broth she had strained herself.She said she was feeding me this because I had the chicken pox and one chicken knew how to fight another. (Tan, 1989:189)

(a) :……喂我她亲手做的鸡汤炖的大米麦片粥。他说, 喂我喝这些东西是因为我得了鸡痘病, 一只小鸡知道怎样斗另一只。 (田, 1992:180)

(b) :……给我喂喂鸡只稀饭, 鸡汁是由她亲手滤过的。他说我生了“鸡皮痘” (水痘) , 喝鸡汁正是为了让这只鸡斗败那只“鸡”。 (吴, 1992:166)

The pun of“chicken”in the example may be difficult for Chinese readers to understand considering their cultural environment and cognitive competence.As the equivalent expression of“chicken pox”in Chinese is“水痘”, which has nothing to do with chicken, a literal translation here makes no sense.Thus translators can use semantic translation strategy to reproduce the pun in Chinese and add a footnote after it to eliminate semantic obscurity.Comparing the three translations, Wu’translation conforms to the requirement of full sense translation, preserving the humorous and ironic effects of pun.

4.2.2 Simile

Simile refers to the comparison of one thing with another thing of a different kind using words“like”or“as”to create a more emphatic or vivid description.In The Joy Luck Club, many similes involve cultural elements.Thus it is better to adopt semantic translation strategy to make Chinese readers perceive these cultural differences and have an exotic experience.

Example:

And her friends at The Joy Luck Club said she died just like a rabbit:quickly and with unfinished business left behind. (Tan, 1989:5)

(a) :喜福会的朋友们说她死得太快了:撇下身后的事, 一撒手就去了。 (田, 1992:5)

(b) :他在喜福会的朋友们说她死得像只兔子:弃世匆匆, 丢下一堆没做完的工作。 (吴, 1992:3)

In the example, Suyuan’s friends compare her death to a rabbit, aiming to show the quickness of Suyuan’death.However, in Chinese, people seldom compare people’s death with rabbit’s.Thus semantic translation like Wu and Cheng’s may make Chinese readers have a feeling of originality.Thinking of the differences between Chinese culture and American culture becomes a natural thing for Chinese readers.Therefore, the purpose of showing the cross-cultural features of original is realized in the translation.

4.3 Pragmatic translation of Chinese culture

Pragmatic translation takes translation as across-cultural communicative activity, which emphasizes that translations should reproduce the pragmatic force (the illocutionary force in speech act theory) to achieve pragmatic equivalence between the original and translations.In The Joy Luck Club, Amy Tan integrates many traditional Chinese cultures and customs into the text to make English readers have a better understanding of China.However, the differences of language and culture between original readers and translation readers demand that the translation of The Joy Luck Club should pay more attention to the cultural differences from pragmatic aspect.Only in this way can pragmatic equivalence be achieved and the real intention of the author retained.

Example:

She whispered something in Chinese about“things not being balanced, ” (Amy Tan, 1989:112)

(a) 她用中文低语一番, 说是“事情不太平衡”。 (于, 1990:104)

(b) 她用汉语低声说:“什么东西失衡了。” (田, 1994:89)

As translation is a cross-cultural communicative activity, translations should not confine to the language form of original text.To achieve pragmatic equivalence, it is better to choose a language form that adjusts to the target language environment and cultural customs.According to Chinese philosophy, five elements vary in circle and have a relationship of mutual promotion and restraint.In the translation, only Cheng presented the Chinese culture to meet target readers’culturalknowledgeand achieved the author’swritingintentions.

5 Conclusion

五代喜福会篇3

第一代 Generation Ⅰ(1975～1981年)

从上世纪70年代开始,小型车开始在欧洲风靡,英国、法国和意大利等国家的小型车不断涌向欧洲,威力甚至波及全世界,让小型车一度成为人们爱不释手的新玩具。小型车的冲击力在某种程度上也对德国大众公司造成了影响,加快了大众公司对小型车的研发脚步。

1975年,第一代大众Polo正式发布,与之前大获成功的甲壳虫不同,Polo的外形设计更富有时代感,简洁干练的笔直线条和车身比例都来源于一款更早推出的奥迪50车型。大众在精简了冗赘的配件后,赋予Polo更多的是实用性突出和价格更加实惠的特点。不仅如此,车身源自奥迪50的第一代Polo拥有和它先辈同样宽大的车内空间和行李厢容积。

第一代Polo装备了0.9 L排量的4缸发动机,最大功率只有29 kW,即便以当时的技术标准衡量,这款发动机也不能算是出类拔萃的,但却能称得上是绝对的经济版本,满足了大多数家庭的使用要求。一年之后,大众推出了1.1 L排量的升级版Polo,最大功率上升至37 kW。在推出第一代Polo期间,大众公司还生产了一款Polo的三厢车型,名为Derby,装备的是一款日后同样在Polo上使用的1.3 L发动机。

第二代Generation Ⅱ(1981～1994年)

1981年德国法兰克福国际车展前夕,大众推出了第二代Polo。外形方面,大众设计师对第二代产品做了部分修改,保留三门设计的同时,缩小了行李厢后盖的斜度,尾部显得更加陡直。这样一来,原本两厢轿车后排空间宽大的优势进一步加强,后排座椅放倒后,行李空间可以扩展到1 000 L,如此的数据在当时可谓是同级别车型中的佼佼者。

在第二代Polo推出时,厂家对动力并没有做出更多的推进,1.1 L和1.3 L发动机仍然担任主要的动力输出。直到1982年,大众才推出了更加强调运动性能的Polo Coupe,这个车型分支开创了Polo运动版本的先河,同时为今后GTI版本Polo的诞生埋下了伏笔。

Polo量产之后的34年间有很多值得记忆的精彩时刻,其中在1983年,Polo的总产量达到100万辆,成为该车型历史中具有里程碑式意义的一页。在第二代Polo服役的14年间,大众对该车型进行了两次比较大的改进。第一次是在1986年,推出了当时Polo车型的顶级运动款Polo GT G40,排量1.3 L的GT G40装备了机械增压装置,最大功率达到85 kW,刷新了之前所有Polo车型的动力记录。同年,大众为Polo装备了首款柴油发动机,为小型车提供了更低燃油消耗的动力选择,其百公里油耗仅为6.0 L。

第三代Generation Ⅲ(1994～2001年)

经过前两代的发展,Polo已经在小型车市场稳稳站住了脚,逐渐确立了小巧实用的市场定位。时间进入上世纪90年代,汽车技术和制造理念有了长足进步,大众在1994年推出了第三代Polo。从新一代Polo身上我们看到,小型车的标准不再只是满足于日常的单纯驾驶需求,而是向追求舒适性、安全性和配置丰富方面发展。

第三代Polo在外形上有了脱胎换骨的变化,4门造型更适合普通家庭使用,经过修饰的流线型车身线条在满足时代审美的同时也更能有效降低风阻系数。由圆形改进为方形的前大灯搭配与车身同色的前保险,让第三代Polo拥有了一幅和同时代大众品牌车型相同的带有微笑表情的前脸。

从第三代产品开始,1.4 L和1.6 L发动机开始加入Polo的动力序列,不仅如此,大众还为其搭载了全新TDI涡轮直喷柴油发动机。所有这些能够加强内功的改进都得益于Polo和Golf之间有了更多技术共享的机会。

1998年Polo推出了GTI版本,GTI最初只用于Golf的运动车型,后来各厂家不同车型纷纷推出了GTI版本,渐渐地,GTI成为高性能紧凑轿车的代名词。Polo GTI也成为当时最快的Polo车型,最高时速超过了200 km/h,3 000辆装备了最大功率为88 kW的1.6 L发动机的Polo GTI刚上市便销售一空。到1999年时,Polo的累计产量已经突破600万辆。

第三代Polo的市场寿命只有8年时间,比上一代缩短了不少,正是由于科技的进步加快了产品换代的速度。最明显的变化是,在第三代Polo上,发动机运用了当时最新的电喷和增压技术,在制造中也使用了更多轻金属原料。同时,像ABS、助力转向、安全气囊等技术都提高了Polo的安全性和舒适性。

第四代Generation Ⅳ(2001～2009年)

2001年我们顺利迎来了第四代Polo,此时大众公司陆续整合了产品系列,并已经采用同平台战略研发新车,因此第四代Polo的底盘和大众旗下的斯柯达Fabia相同,在大众内部的编号为PQ24。

2002年第四代Polo被引进国内,落户上海大众。也是从这时起,国内消费者正式接触到Polo。在国外,大众对第四代Polo的外形做了一次“大手术”,抛弃了上一代产品周正的外形,转而把新Polo塑造成敦厚圆润的灵巧小车,特别是圆形前大灯让人回想起第一代和第二代时的造型。

第四代Polo面世短短4年后,也就是2005年,此时正值Polo诞生30周年,在这一年大众发布了第四代Polo中期改款车型,全新设计的U型前脸替代了之前可爱的四眼大灯设计,在动力方面也换装了1.4 L汽油直喷FSI发动机,更加注重环保和能耗问题。

第五代GenerationⅤ(2009年3月发布)

结合了Golf的动感和Scirocco尚酷的优雅,在2009年日内瓦车展亮相的第五代Polo展现给我们的是时尚潮流的外表,全新设计的前脸、平直的腰线和低矮的底盘都显示了新款Polo不同以往的造型理念。除了水平格栅和经典的紧凑两厢造型,你很难在第五代Polo上再找到老款的影子。

第五代Polo车长为3 952 mm,比上一代加长了36 mm,车身宽度也加宽了32 mm,达到1 682 mm。外形上第五代Polo的最大特点是车身压得很低,更贴近地面,高度只有1 454 mm,运动趋势更加明显。

大众此番为新款第五代Polo配备了具有高效环保的动力组合,其中有两款发动机是全新研发的,一款是1.2 L TSI涡轮增压直喷汽油发动机,最大功率为77 kW,百公里油耗只有5.5 L。另一款1.6 L TDI高压共轨柴油发动机,最大功率虽没有1.2 TSI出色的,但也达到了66 kW,对于紧凑型两厢Polo已经足够高效。

喜福会观后感篇4

电影中人物很多，但是人物背后却始终是三种主角支撑：奶奶、母亲和女儿。奶奶在中国经历她的人生，母亲从中国移民到美国，女儿在美国长大并成家立业，三者连成一条完整的文化迁移链条。奶奶主角身上有十分强烈的晚清妇女观念残留：社会地位低、遭遇指腹为婚、在婚姻中永远处于弱势、自卑、容易满足、隐忍等等……然而她们表现的出的对自己女儿的爱，哪怕是在那个将女人当成传宗接代的生育工具的社会中，这种爱和世界上任何一个国家的女人对自己骨肉的爱没有丝毫不同，没有丝毫的卑微。母亲主角因为战乱因缘际会来到美国，重新拥有家庭，开始另外一种文化寄居的人生，她们到老年的时候已经喜欢聚餐、抽烟、打麻将，讲着一口近乎流利的美国英语，但是每一个在美国过着快乐晚年生活的母亲主角的背后，都深深埋藏着在中国所经历的一切关于婚姻的痛苦回忆。女儿主角已经是另外一块大陆文化的产物，她们只能在老照片里、书信里、或者他们的母亲的皱纹里才能稍微想象在那个遥远的陌生的国度里，有自己的根。

尼古拉斯凯奇在《战争之王》里的画外独白，让画面的魅力散发的更加彻底，在《喜福会》里也不例外。叙事线索的切换在超多旁白女声的连续中显得格外流畅，虽然线索很多，但是却梳理的很清晰。里面出现的种种文化符号，都或多或少让我们熟悉、震撼：农村妇女和富家女主人坐着定下自己幼小女儿的未来婚姻;母亲跪坐着紧抱自己淹死的孩子;“makeatoast”式的ABC聚会;死者回魂观念对生者的威慑力;玉坠的代际传承;一夫多妻;没来由的性……绝大部分的符号，都在表现女人在那个时代的所代表的价值和地位。

血脉亲情是电影表现的一大主题，但是电影还探讨了另外一个隐性主题：婚姻。虽然我没结过婚，好像说婚姻会显得自己很幼稚，也许本来就很幼稚。但是正是这样，我才能以局外人的身份来看待婚姻这个东西。从电影里倒是不难提炼出婚姻的价值共识：尊重、沟通、理解、给彼此自由。毋庸置疑，在电影中，几乎所有女人的命运都是以婚姻为转折点的。奶奶主角在中国为人妻，在婚姻中的地位是和自己孩子的性别捆绑在一齐的，生儿子和生女儿将意味着母亲在婚姻中的方位千差万别;母亲主角来到美国，一边是自己在中国的残破婚姻，转过头来却还要寻找对婚姻的延续;女儿主角呢，则已经完全具备了美国婚姻观，男女间没有了敬畏和未知，他们交谈更彻底，却同时也为这种彻底付出代价。电影里出现的婚姻男性大都是强势、胜利者、不用承担职责和痛苦煎熬的.主角。有人说婚姻中男女的地位的这种天生不平等是以性为起点的，那就是说它是与生俱来的?(这个探讨能够写本书了)它甚至直至这天仍然强烈的影响我们的观念以及我们这些年轻人在讨论未来时不自主所具备的立场……女权主义在上个世纪二三十年代的滥觞也与此不无关系，但是我个人仍然坚持男女平等。婚姻是一个旅程，我们规定了和期望着它要和生命同时走到尽头，所以在开

始旅程时我们总要满怀信心。

《喜福会》读后感篇5

——从《喜福会》中探索美籍华裔母女关系的转变

华裔文学作品已经逐渐赢得了西方文学评论家的认可，这些很大程度上归功于华裔女性作家的作品。最近，我重温了华裔著名作家谭恩美的一部极具代表性的作品《喜福会》，其中探索了四位ABC（American Born Chinese）女儿们与母亲们的文化冲突，以及母女关系的转变。喜福会这个名字是四位第一代华人移民的四个母亲，在生活工作之余组成的麻将小组名字。小说分别描写了，这四位各自走出命运阴影的母亲们漂洋过海来到异乡的国土，为了适应新环境，不得不在传统的中国文化上形成自己的人格，但是在骨子里渗透着的还是几千年来传统的教育和思想；而同时，第二代ABC女儿们虽然有着同样的黄皮肤、黑头发的东方特征，他们从小的教育环境为他们注入的是西方的文化气质。这些反差使母女之间产生了不少隔阂，无论是在教育、生活、工作还是婚姻上都出现了诸多冲突。有趣的是，在种种因素的促成下，特别是传统文化的诱因下，母女关系得到了改善，真正走上了相知相容。其中，最主要的原因是母亲和女儿们成长的环境背景的不同。母亲们生长在解放前的旧中国，深受中国传统文化的影响，各自背后都有一些不为人所知的痛苦经历。虽然来到异乡，但是内心的保有的仍然是中国传统女性的特性——相夫教子、贤惠守理。相反的，女儿们却生活在女权运动的美国社会，倡导的是男女平等、自由开放，在这样的欧美文化占主流的社会中，他们不可避免地认同这种文化，因而在看到家庭、工作等问题上与传统的母亲们截然想法。其次，生活在白人社会的美国，黄皮肤黑头发的女儿们虽然内心认同西方的文化，但是外貌特征的不同，让他们多少产生些许身份认同的困惑，他们心中视美国为自己的祖国，竭力想摆脱华人身份，成为地道的美国人。这些促使他们反抗母亲强加给他们的中华文化价值观，努力工作融入西方社会主流。特别表现在在择偶婚姻上，她们更倾向于嫁给金发碧眼的白人，而不是中国人。对于母亲们一直提到的中国，感到的只是陌生和不解。可以说，母女的关系冲突，更多的是中国传统文化价值观和西方主流价值观之间的碰撞。

可喜的是，在小说的最后，四位母亲和女儿们的关系回归到相知相亲。从小说中，不难读出谭恩美认识到文化差异、身份认同的困惑等问题，但是她坚信文化融合是最终趋势。尽管母女之间有着种种冲突，她们之间的亲情纽带终究带来了和谐。女儿们在经历了各自人生的挫折和困惑后，在经历婚变等问题后，在母亲的帮助下，在中国博大宽容的文化的影响下，逐渐找到了作为第二代华人在欧美社会中的身份认同，纷纷投入母亲的怀抱，倾听母亲的苦难故事，汲取生活的力量，真正成为自立、自主、自尊的女性。

读《喜福会》后有感篇6

谭安美的《喜福会》以主人公一个个讲述的故事贯穿整本书。这些故事不仅仅是在四个女主人公的麻将俱乐部中被娓娓道来，更加是她们（苏源，林多，安美和英英）传承给女儿们的富含深厚中国文化底蕴的人生哲理。从这个角度上说，这本书中的故事叙述起到了两个功能，即，一方面，它们孕育了女人们在俱乐部外所体会不到的快乐和归属感；而另一方面，则是对女儿们的文化熏陶。讲故事一方面把四位女性从对战争的恐惧和不安中解脱出来，更为她们带来了希望和自治。她们会“一夜聊到天亮，话题围绕过去的美好时光，也倾诉对未来即将到来日子的热切盼望”。从中可以读出，这些故事的内容都是欢乐和充满乐观主义色彩的，因而她们宣称“绝望是对过去已经失去的事物的留恋，即是刻意延长本已难以承受的苦痛”。在这里，她们从不谈论不好的事，撕心裂肺的情感，或是破灭的幻梦。取而代之的，她们避重就轻，她们只说些生活中的趣事，以及对将来的期盼。通过讲故事，她们中的每一个终于听到了自己的声音，她们对生活的说三道四，重组了她们认为的自己的人生，赋予了自己的意义。在这个意义上，她们从故事中获得了力量。讲给四个女儿的故事展现了母亲要把文化和个人生活哲学传承给自己骨肉的母性。就像是她们本身也从自己的母亲那里继承了这些一样，她们就像文化的邮递员，一代一代永不止息保证了血脉的纯正和源远流长。人类文化不就是这样世世代代积累的吗？中华文化中所的“阴阳”，人身体中的“金木水火土”五要素，“嫦娥”都被介绍给了出生在美国的下一代中国人，她们从来不是无根的人。同时，这些故事又都具有个体性，是出于爱与关怀的本意。比如，当女儿六月要母亲给她买个无线电广播时，苏源说“你为什么要难过得不到本来就没有过的东西呢？”，接着她讲述了自己在桂林因为战争逃难而不得不舍弃了的孩子，那是她再也没有见过的亲身骨肉。而英英则用自己冷冰冰的毫无爱情可言的包办婚姻，以亲身的经历鼓励女儿放弃自己不快乐的婚姻。从个人的角度来看，这些故事讲述了这些人的想法和性格是如何在岁月中逐渐养成；从人类的角度，它们更是构成了社会对个体的文化教育。尽管几位母亲讲述的内容有很多可能最初可以被看成是封建迷信继而是过时的，可是正是这些故事改变了女儿们对生活的看法。英英和安美的故事最好地体现了这一点。两个人都认识到了女性应该尊重自己的性格和独立性。在她们的影响下，两位女儿开始逐渐认识到了自己的价值，在婚姻问题上做出了对自己负责和尊重的决定。萝丝一度在婚姻中失去自己的声音，一味让步于丈夫泰德的想法。而丽娜则屈从于物质上给她提供巨大保障的丈夫。母亲的故事救赎了她们。读完这本书让我对亲子关系、婚姻关系以及对自我的认识有了新的理解。多少次我与父亲的交流出现断裂，他仿佛在说一种和我不同的语言。这种障碍尤其在和外婆的交流中显得明显。她坚持我放弃读研，因为这将导致我在“理想妻子”这个评分细则下被扣分，此外，她也每每教导我“一定不要忘记别人对我的帮助，要涌泉相报”。她也喜欢告诉我自己是如何勤劳地工作，带大四个孩子，背上背着我母亲还要去搬砖搬沙，也告诉我自己曾经如何劝母亲不要嫁给父亲。很多这样的“教导”其实一点不吸引我，但慢慢地，尽管有的仍旧不能苟同，但我懂得了她的善意。而关于婚姻，我变得认识到它是一种平衡。我依旧记得泰德妻子说“即使我们有分歧，我仍想听到你说你想要什么”，这句话触动到我。这也许就是婚姻的关键。孤立、误解、吵架都来自于不愿倾听和说出真实的感受。也许是因为受到了传统中国文化中“内敛”、“保守”和“不张扬”的洗礼，她们有时觉得表达感情十分尴尬。但在书中可以看到，只有当两代人、婚姻中的两个人真正打开心扉，倾听彼此，完全的理解才有可能达成。最后，我们也永远不能失去真实的自己。林多对于自我的重新认识是当她站在镜子前，用手擦了擦眼睛，看着镜中的自己。这是我最喜欢的一句书中的话“我永远都会铭记父母的期望，但我不会忘记我自己”。这就是为什么我选择上了研究生院，选择做一名老师，并下定决心选择一个欣赏我的丈夫。

高月

《喜福会》中的女性觉醒篇7

一、封建社会里母亲的觉醒

自从人类进入文明社会, 男权文化就一直处于绝对统治地位。男权文化以男性为轴心, 它设置的一系列行为、规范既树立了“男性标准”, 也塑造了“女性”模式。在男权中心的旧中国, 女性是依附于男性生存。“作为妻子要贞专柔顺, 要忠于丈夫, 孝顺公婆, 生儿育女;作为母亲要捍卫家庭伦理道德规范, 效忠家庭;作为女儿要遵从伦理教化, 端庄识礼, 服从尊卑次序。长久依附的女性, 逐渐将男性的这些要求内化。”

许安梅的母亲年轻守寡, 不幸被富商吴青强奸, 后被赶出家门。无所依靠的她成为了吴青的妾室, “完全违背了一女不事二夫的常道”。而她的形象在安梅外婆舅舅舅妈的口中完全变了样, 成了教育安梅的反面教材, 甚至不屑提及。在吴家她也是不得不看人眼色行事, 复杂的家庭关系和卑微的身份地位最终导致安梅母亲服毒自杀。自龚琳达四岁被许配给黄家做儿媳开始, 家里似已将她看待成别姓人并对她严加约束。吃相不好时, “妈妈就会说:‘看呀, 洪家的媳妇这种吃相!’”嫁到洪家后, 琳达更是努力学着做个贤惠的妻子、儿媳, 并时刻告诫自己必须对天余惟命是从, 对洪太太要取悦和服从。映映的丈夫花心又不负责任, “他还有好多姘妇:舞女, 美国太太, 妓女, 甚至他的一个比我还要年轻的表妹, 她神秘地去了香港不久, 我的丈夫也一下不见影踪了。”

在男权中心的文化里, 女性时时刻刻被监视和侵蚀, 它是女性接受那些道德规范的要求, 将其作为行事标准, 甚至成为这一文化价值体系的追随者和捍卫者。然而《喜福会》里母亲们却并没有听天由命。许安梅的母亲精心策划了自己的自杀事件。她故意选定在小年夜自杀以保障女儿的出路。因为她的牺牲, 吴青应诺将安梅和她的小弟视为正出, 也应诺将她的母亲作为明媒正娶的夫人看待。也是从那时起, 安梅“学会了大声反抗”。龚琳达则是巧妙地结束了自己的婚姻。她利用汪太太的迷信和儿子至上的思想假托祖先显灵, 要她必须和天余离婚, 否则天余就会丧命。她就这样让笃信宿命的汪太太主动结束了她和天余的婚姻。而映映更是以激烈的方式, 以扼杀腹中的胎儿来反抗丈夫。为了自由和幸福, 她们采取各种手段反抗传统, 与命运抗争, 最终怀着美好的愿望踏上去美国的旅途。

二、美国社会里女儿的觉醒

《喜福会》里的女儿们都是在美国长大, 这些女儿们耳濡目染的是美国的教育方式和价值观念。但是是否在美国就能得到真正的自由和平等呢?虽然经历过女权运动, 美国的不平等现象却仍然存在, 只是更隐蔽罢了。伍尔夫在《自己的房间》里说道, 没有经济的独立, 女权就将无从谈起。旧中国的妇女因为经济上不独立, 从经济和心理上依附男性实为不假。但经济上独立的女性也并不意味着拥有完全的自由和平等。映映的女儿丽娜与丈夫表面上讲求平等平摊各种费用。同在一个公司, 她为丈夫出谋划策, 使他获得名誉和地位, 而她却开始反思为何自己与克丈夫为公司付出的努力是相等的, 但丈夫的工资却是自己的七倍。这种隐藏的不公平同样反映出男性在社会上的优势地位。许安梅的女儿露丝与特德结婚后退居家庭生活, 不知不觉什么都以丈夫为主, 但是当特德的自信被摧毁后, 依赖他的露丝就成了他急于甩掉的包袱。在经历了种种不幸后, 这些女儿们也开始思考问题所在, 探索自己的出路。映映看到女儿的不幸后, 通过打破茶几引导女儿知道婚姻出问题的根源在哪儿。露丝也意识到自己的软弱, 最终坚持要特德搬出他们共同居住的房子, 以此来换取尊严。女性要获得平等, 经济上独立是一个基本条件, 但更重要的是意识上的独立。女性一定要有自己的主见, 树立自我价值。

三、东西方文化的融合

处于东西方两种文化影响的女儿们努力想摆脱华人的身份成为地道的美国人。对于母亲们屡次提到的中国和中国的一切对他们来说都显得遥远而陌生。他们主动疏离自己的母亲和中华文化的背景, 然而这对于已在无形当中受到中华文化影响的女儿们来说两种文化的交错影响让他们的身份更加复杂。当特德把露丝介绍给他的家人时, 他的母亲避开儿子对露丝说他需要致力于他的医学深造, 所以不能过早考虑成家。虽然她保证对少数民族没有一丁点偏见。很明显, 她是在暗示露丝主动离开特德。而她越是标榜没有偏见, 越是反衬出他们的排他性。母女两代人都受到中美两种文化的影响, 作为兼有两种文化身份的独特个体在自我的身份构建过程中刻意逃离一种文化都是不可取也不可能找寻到出路的。实际上, 应争取两种文化的调节与和谐, 才能确立自己的身份角色。在小说的最后, 吴精美回到祖国找寻到姐姐们, 她在两个姐姐脸上看到了共同的妈妈, 她终于看到“属于我的那一部分中国血液了。……那融化在我血液中的基因, 中国的基因, 经过这么多年, 终于开始沸腾昂起。”母女两代在经历了自我身份危机后, 在中美两种文化的冲突和融合中, 最终认识到只有将两种文化连接到一起才能在美国主流文化中有一席之地。这正是谭恩美对华裔女性自我身份觉醒的独特认识。

摘要：《喜福会》是美籍华裔女作家谭恩美的一部优秀作品。本文将从女性主义入手, 分析书中人物女性意识的觉醒, 探索华裔女性对平等独立、自由解放的追求。

关键词：《喜福会》,女性主义,觉醒

参考文献

[1]周艳.《喜福会》的女性主义解读[J].湖南冶金职业技术学院学报, 2008, 8 (3) .[1]周艳.《喜福会》的女性主义解读[J].湖南冶金职业技术学院学报, 2008, 8 (3) .

[2]唐碧莲.透过女权运动的发展历程探析索尔贝娄不同创作时期的女性形象塑造[J].四川外语学院学报, 2006, 22 (3) .[2]唐碧莲.透过女权运动的发展历程探析索尔贝娄不同创作时期的女性形象塑造[J].四川外语学院学报, 2006, 22 (3) .

[3]谭恩美.喜福会[M].程乃珊, 等译.上海:上海译文出版社, 2006.[3]谭恩美.喜福会[M].程乃珊, 等译.上海:上海译文出版社, 2006.

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