Chinese Traditional Cultural Components

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北京电力高等专科学校学报 No. 8.2010 Beijing Electric Power College 理论探索与创新 D Chinese Traditional Cultural Components in The Joy Luck Club 黄秀琴 (广州大学华软软件学院外语系, 广东 广州 510990) Abstract: the film The Joy Luck Club, which is written originally by a Chinese-American writer, Amy Tan, In describes the relationship between the Joy Luck Club mothers and their daughters and their cultural conflicts. There are four pairs of mother-daughter. Mothers are the first generation immigrants who come from the Chinese traditional families with Chinese traditional culture in their minds firmly in 1940s while their daughters are born and raised in American, the second generations immigrants, who don't quiet understand their mothers' Chinese traditional culture and the way their thinking. So there are misunderstandings and conflicts between them, but finally the daughters gradually understand their mothers and their Chinese traditional culture through the great efforts the mothers make. Key words: Chinese Traditional Cultural ; mother-daughter 中图分类号: G03 文献标识码: A 文章编号: 1009-0118 2010) ( -08-0041-03 I. The usage of the Chinese Traditional Cultural Components i. The usage of Chinese Traditional Cultural Components before Amy Tan The 20th century witnesses the increasing writings by the Chinese-American writers, some of whom gain great fame by their works. For example, Mrs. Spring Fragrance by Sui Sin Far (1912), Old Buddha (1928) and Imperial Incense (1933) and Son of Heaven (1935) by Princess Derling, China Red (1931) and China Has Hands (1937) by H. T. Tsiang, Moment in Peking (1939) and A Chinatown Family (1948) by Lin Yutang, Father and Glorious Descendant (1944) by Pardee Lowe, The Fifth Chinese Daughter (1950) by Jade Wong Snow, The House that Tai Ming Built (1963) by Virginia Lee, The Chickencoop Chinaman (1974) by Frank Chin, The Chinese in Haifa by Jeffery Paul Chan in Aiiieeeee!

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