DOCSLIB.ORG

The Impact of Patriarchal Culture in China for Women in Xue Xinran’S Memoir “The Good Women of China”

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Impact of Patriarchal Culture in China for Women in Xue Xinran’S Memoir “The Good Women of China” THE IMPACT OF PATRIARCHAL CULTURE IN CHINA FOR WOMEN IN XUE XINRAN’S MEMOIR “THE GOOD WOMEN OF CHINA” A THESIS BY CAROLINA REG. NO. 120705071 DEPARTMENT OF ENGLISH FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2019 Universitas Sumatera Utara THE IMPACT OF PATRIARCHAL CULTURE IN CHINA FOR WOMEN IN XUE XINRAN’S MEMOIR “THE GOOD WOMEN OF CHINA” A THESIS BY CAROLINA REG. NO. 120705071 SUPERVISOR, CO-SUPERVISOR Drs. Parlindungan Purba, M.Hum Dian Marisha Putri, S.S., M.Si NIP. 196302161989031003 NIDT. 199010292017062001 Submitted to Faculty of Cultural Studies University of Sumatera Utara Medan in partial fulfillment of the requirements for the degree of Sarjana Sastra from Department of English. DEPARTMENT OF ENGLISH FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2019 Universitas Sumatera Utara Approved by the Department of English, Faculty of Cultural Studies University of Sumatera Utara (USU) Medan as thesis for The Sarjana Sastra Examination. Head, Secretary, (Prof. T. Silvana Sinar, M.A, Ph.D) (Rahmadsyah Rangkuti, M.A.Ph.D) NIP. 19540916198032003 NIP. 197502092008121002 Universitas Sumatera Utara Accepted by the Board of Examination in partial fulfillment of requirements for the degree of Sarjana Sastra from the Department of English, Faculty of Cultural Studies University of Sumatera Utara, Medan. The examination is held in Department of English Faculty of Cultural Studies University of Sumatera Utara on Monday, 13th March 2019. Dean of Faculty of Cultural Studies University of Sumatera Utara, Dr. Budi Agustono, M.S NIP. 196008051987031001 Board of Examiners: Rahmadsyah Rangkuti, M.A. Ph.D. …………………. Drs. Parlindungan Purba, M.Hum …………………. Riko Andika Rahmat Pohan, S.S., M.Hum …………………. Universitas Sumatera Utara ACKNOWLEDGEMENTS Alhamdulillah, all praise to Allah SWT who always gives me blessing, power, strenght and love in my entire life and in terms of my study, especially in completing this thesis as one of the requirements to get a first degree from English Department, Faculty of Cultural Studies, University of Sumatera Utara. I would like to express my gratitude and appreciation to the Dean of Faculty of Cultural Studies, Dr. Budi Agustono, M.S, The Head of English Departement, Prof. T. Silvana Sinar, M.,Ph.D, and the secretary of English Department, Rahmadsyah Rangkuti, M.A.,Ph.D, and to all the lecturers of English Department for all assistances, valuable, knowledge and facilities during my academic year. My sicere gratitudes go to my Supervisor, Drs. Parindungan Purba, M.Hum and my Co-Supervisor, Dian Marisha Putri, S.S.,M.si who have given me a considerable amount contribution of knowledge, spare their valuable time to comment, encourage, and guide me in finishing this thesis. To my family, especially my mother is Daheli and my father is Alm. Tomi Muhammad. I want to say thank for their supports, advice, love in my days, who have taught me to be always patient and their prayers to make me a better person to everybody. Thanks to my beloved Husband, Andika Ramatullah Harahap, Amd for your support and advice who always make me feel calm and always ready for help me when I need your help all the time. And I also Thankyou for my mother in law is Hj.Dra, Desiana Trimurti Pangalilla who has accompanied from the proposal examination to the final examination. i Universitas Sumatera Utara To all my friends, thank you for their understanding and encouragement in many precious moments, especially to my closest friend who have always loyally supported my activities. In writing this thesis, I realized that this thesis is far from being perfect though I have done my best, so I hope suggestion for this thesis. Without any helps and support from all parties, this thesis would not be completed. Finally, I expect this thesis would be useful for the readers in the future. Medan, 13 March 2019 The Researcher Carolina No. Reg. 120705071 ii Universitas Sumatera Utara AUTHOR‟S DECLARATION I, CAROLINA DECLARE THAT I AM THE SOLE AUTHOR OF THIS THESIS EXCEPT WHERE REFERENCE IS MADE IN THE TEXT OF THIS THESIS. THIS THESIS CONTAINS NO MATERIAL PUBLISHED ELSEWHERE OR EXTRACTED IN WHOLE OR IN PART FROM A THESIS BY WHICH I HAVE QUALIFIED FOR OR AWARDED ANOTHER DEGREE. NO OTHER PERSON‟S WORK HAS BEEN USED WITHOUT DUE ACKNOWLEDGMENTS IN THE MAIN TEXT OF THIS THESIS. THIS THESIS HAS NOT BEEN SUBMITTED FOR THE AWARD OF ANOTHER DEGREE IN ANY TERTIARY EDUCATION. Signed : Date : 13th March 2019 iii Universitas Sumatera Utara COPYRIGHT DECLARATION NAME : CAROLINA TITLE OF THESIS : THE IMPACT OF PATRIARCHAL CULTURE IN CHINA FOR WOMEN IN XUE XINRAN‟S MEMOIR “THE GOOD WOMEN OF CHINA” QUALIFICATION : S-1/SARJANA DEPARTMENT : ENGLISH I AM WILLING THAT MY THESIS SHOULD BE AVAILABLE FOR REPRODUCTION AT THE DISRECTION OF THE LIBRARIAN OF DEPARTMENT OF ENGLISH, FACULTY OF CULTURAL STUDIES, UNIVERSITY OF SUMATERA UTARA ON THE UNDERSTANDING THAT USERS ARE MADE AWARE OF THEIR OBLIGATION UNDER THE LAW OF THE REPUBLIC OF INDONESIA. iv Universitas Sumatera Utara ABSTRAK Judul tesis ini adalah The Impact Of Patriarchal Culture In China For Women In Xue Xinran’s Memoir “The Good Women Of China”. Dalam penelitian ini, penulis memaparkan peristiwa dan efek negatif yang dialami wanita di Tiongkok dari budaya patriarki dan perspektif Xinran tentang budaya patriarki dan wanita di Tiongkok. Metode yang digunakan dalam menganalisis data The Good Women of China adalah penelitian kepustakaan dalam mengumpulkan data dan juga penelitian kualitatif. Data primer adalah memoar itu sendiri. Temuan-temuan dalam penelitian ini adalah sebagai berikut: aturan ayah atau 'patriarki' dalam sebuah keluarga di mana lelaki tertua adalah kepala keluarga dan mengendalikan istrinya, anak-anak, anggota keluarga lain dan budak. Selain itu, melalui waktu konsep patriarki dikembangkan menjadi sistem sosial di mana peran laki-laki sebagai otoritas utama adalah pusat. Ini merujuk pada sistem di mana pria memiliki otoritas atas wanita, anak-anak dan properti. Sebagai institusi yang berkuasa dan istimewa bagi laki-laki, patriarki tergantung pada subordinasi perempuan. Kemudian, Hampir semua cerita mengandung unsur-unsur kekerasan yang mengerikan, kekerasan seksual, dan penindasan sosial dan sangat tertekan. Selain itu, banyak insiden kekerasan terjadi ketika mereka masih anak-anak. Masalah-masalah yang dihadapi oleh para perempuan dalam berbagai bentuk kasus pemerkosaan, penculikan gadis-gadis untuk pernikahan paksa karena desa tidak memiliki anak perempuan karena pembunuhan perempuan, penindasan anak-anak karena orang tua mereka adalah orang Jepang atau menggunakan barang-barang asing. Kadang sampai membuat mereka tidak stabil secara mental, orang-orang sangat miskin sehingga semua saudara dari satu keluarga berbagi satu pakaian yang mereka kenakan secara bergantian, karena semua pakaian kecil yang dimiliki keluarga jatuh kepada anak laki-laki. Kata kunci: Dampak, Partiarki, China, Wanita, Memoar v Universitas Sumatera Utara ABSTRACT The title of this thesis is The Impact Of Patriarchal Culture In China For Women In Xue Xinran‟s Memoir “The Good Women Of China”. In this research, the researcher explain the events and negative effects that women in China experienced from patriarchal culture and Xinran‟s perspective of patriarchal culture and women in China. The method that is used in analyzing the data of The Good Women of China is library research in collecting the data and also qualitative research. The primary data is the memoir itself. The findings in this reseach are as follows: the rule of the father or the 'patriarch' in a family where the eldest male is the head of the family and controls his wife, children, other members of the family and slaves. Through time, the concept of patriarchy is developed into a social system in which the role of male as the primary authority is central. It refers to a system where men have authority over women, children and property. As an institution of male rule and privilege, patriarchy is dependent on female subordination. Then, Almost all stories contain elements of horrible violence, sexual assault, and social suppression and are greatly depressing. Moreover, many of incidences of violence are met out to them when they were children. The problems faced by the women take many forms - rape cases, kidnapping of girls for forced marriage because village lacks daughter due to female foeticide, bullying of children because their parents are Japanese or use foreign goods- sometimes to extent of turning them mentally unstable, people so poor that all sisters of a family shared a single dress which they wore in turns, since all the little clothing the family went to sons. Keywords: impact, patriarchal, china, woman, memoir. vi Universitas Sumatera Utara TABLE OF CONTENTS ACKNOWLEDGEMENTS …………………………………..……………..i AUTHOR‟S DECLARATION ………………………………………………iii COPYRIGHT DECLARATION …………………………………..……….iv ABSTRAK …………………………………..…...............………………….. v ABSTRACT …………………………………..……………………………vi TABLE OF CONTENTS …………………………………..…………….....vii CHAPTER I: INTRODUCTION .................................................................. 1 1.1 Background of the Study ................................................... 1 1.2 Problem of the Study .......................................................... 4 1.3 Objective of the Study ....................................................... 5 1.4 Scope of the Study .............................................................. 5 1.5 Significance of the Study ...................................................
Load more

Recommended publications
  • Contemporary China: a Book List
    PRINCETON UNIVERSITY: Woodrow Wilson School, Politics Department, East Asian Studies Program CONTEMPORARY CHINA: A BOOK LIST by Lubna Malik and Lynn White Winter 2007-2008 Edition This list is available on the web at: http://www.princeton.edu/~lynn/chinabib.pdf which can be viewed and printed with an Adobe Acrobat Reader. Variation of font sizes may cause pagination to differ slightly in the web and paper editions. No list of books can be totally up-to-date. Please surf to find further items. Also consult http://www.princeton.edu/~lynn/chinawebs.doc for clicable URLs. This list of items in English has several purposes: --to help advise students' course essays, junior papers, policy workshops, and senior theses about contemporary China; --to supplement the required reading lists of courses on "Chinese Development" and "Chinese Politics," for which students may find books to review in this list; --to provide graduate students with a list that may suggest books for paper topics and may slightly help their study for exams in Chinese politics; a few of the compiler's favorite books are starred on the list, but not much should be made of this because such books may be old or the subjects may not meet present interests; --to supplement a bibliography of all Asian serials in the Princeton Libraries that was compiled long ago by Frances Chen and Maureen Donovan; many of these are now available on the web,e.g., from “J-Stor”; --to suggest to book selectors in the Princeton libraries items that are suitable for acquisition; to provide a computerized list on which researchers can search for keywords of interests; and to provide a resource that many teachers at various other universities have also used.
    [Show full text]
  • Introduction King of Masks Is Representative of the Type of Mythic
    Introduction King of Masks is representative of the type of mythic film that embeds an abbreviated, traditional, sacred story—thus maintaining something of its original integrity—in an updated retelling of it. The narrative here is the Buddhist one of Miao-shan and the key episode that is cited in the movie, and thus abbreviates the story as a whole, is her descent into “hell.” The recapitulation, in addition, critiques the marginal and subordinate position of women to men in the narrated world and calls for women’s social empowerment. The Miao-shan myth has always had a lot to say about women and historically has helped provide increased religious opportunities for them. The myth, however, has not been applied to women in the larger secular society. This is what King of Masks tried to do in 1996. When such a narrated social re- application of the myth was accomplished in the story, a girl in 1930s Sichuan is allowed to learn and inherit a cultural vocation that had previously been the exclusive domain of males. Finally while this film seems to have set off no debates in the larger social world it inhabited, either in China or globally,1 it did address two issues in contemporary China that need to be elucidated in this paper: a new appreciation of Confucianism and a devastating underpopulation of women. So after examining the original myth and then its recapitulation in the film, a final section will look at these concerns in some detail. The Original Myth The great male Bodhisattva of Compassion, Avalokitesvara,2 had already developed into a female Kuan-yin (or Guanyin)3 for a number of pious people in China (seen as the Bodhisattva and eventually as the Goddess of Mercy) by the time the myth of her incarnation as Miao-shan was first written in the early 12th century.4 As developed through its first two literary stages, which form the basic plot, the story starts with Miao-shan being born the youngest daughter of a king.
    [Show full text]
  • Transculturality and New Global Governance PROOF
    Transculturality and New Global Governance Transculturality The Global China Dialogues (GCD) are a series of events with the key concepts of ‘transculturality’ and ‘social creativity’, aimed at enhancing public understanding of current global affairs and common interests via public dialogue and discussion between Chinese and non-Chinese academics, experts, professionals and practitioners and interested laypeople, from interdisciplinary and Transculturality and New comparative perspectives. Apart from universities, research institutions and professional think tanks, we also engage with governments of different countries and international organizations, media and publishers. Meanwhile, it is hoped this proceedings series would helpful to engaging Global Governance Chinese scholars and promoting knowledge of the contribution Chinese social sciences make to understanding global issues today. About the Editors 2nd Global China Dialogue (GCD II) and 2015 UK–China Cultural Exchange Professor Xiangqun Chang is Director of CCPN Global (a UK-based academic society), Editor of Journal of China With Appendices Including a Report from GCD I (12/2014) in Comparative Perspective (JCCP) and Chief Editor of Global China Press. She is also Honorary Professor of UCL (University College London), UK, and holder of several Professorships and Senior Fellowships at the UK and China. Her publications amount to two million words and include Guanxi or Li shang wanglai? Reciprocity, Social Support Networks, and Social Creativity in a Chinese Village (2009; 2010). Edited by and Ms Costanza Pernigotti is Assistant Translator of CCPN Global (UK), Assistant Editor of Journal of China in Xiangqun Chang Costanza Pernigotti Comparative Perspective (JCCP); Researcher at the Research Centre for Discourse and Communications, Zhejiang University of Media and Communications, China.
    [Show full text]
  • China's One Child Policy
    6/26/2019 China’s One Child Policy - Childhood Studies - Oxford Bibliographies China’s One Child Policy Martin K. Whyte LAST MODIFIED: 26 JUNE 2019 DOI: 10.1093/OBO/9780199791231-0221 Introduction For centuries, China has had the world’s largest population, although it will soon lose that title to India. When Mao Zedong and his colleagues seized national power in 1949, they were not sure how many Chinese there were (the first modern census was not conducted until 1953), and Mao initially argued that having a large and rapidly increasing population was a blessing for China, rather than a curse. However, the challenges of managing such a large and poor country soon changed the official view, and during some intervals in the 1950s and 1960s, China carried out voluntary family planning campaigns to try to reduce the birth rate. However, those campaigns were largely ineffective, with the only notable decline in fertility during those decades produced by the Great Leap Forward–induced mass famine of 1959–1961, not family planning efforts. As of 1970 the projected number of babies the average Chinese mother would have in her lifetime (termed the total fertility rate [TFR]) was still close to six. (China’s cities, where less than 20 percent of the population lived at the time, is an exception to these generalizations, with the 1960s family planning campaign playing some role in reducing the urban TFR in 1970 to 3.2.) Early in the 1970s, when Mao was still in charge (he died in 1976), China made a dramatic shift from voluntary family planning to mandatory birth limits under the slogan, “later (marriage ages), longer (birth intervals), and fewer” (births—no more than two babies for urban families and three for rural families).
    [Show full text]
  • Narrativity in Xinran's the Good Women of China and Sky Burial
    Connotations Vol. 16.1-3 (2006/2007) Self and Other: Narrativity in Xinran’s The Good Women of China and Sky Burial AMY LAI In the past two decades, a number of Chinese diaspora writers have attained worldwide fame and sparked the interests of historians and literary critics. Nobel Prize winner Gao Xingjian aside, one of the most prominent figures is Jung Chang, author of the best-selling and award-winning memoir Wild Swans: Three Daughters of China (1990), while Xinran (her full name Xinran Xue) is a much more recent exam- ple. Also born in the 1950s and an emigrant to the United Kingdom, she is the author of The Good Women of China [Zhongguo de haonuyan] (2002) and Sky Burial [Tianzang] (2004), both of which were originally written in Chinese, before being translated into English and other languages and sold all over the world. Despite the popularity and high appraisal of Xinran’s works, to date no critical study of either of them has been documented. This is probably because they have generally been categorized as auto/biographical literature and social documentaries, appreciated more for the realistic portraits which they offer of Chinese women as well as their socio-cultural and historical backgrounds, than for the literary and aesthetic values which are by no means lacking in these genres. This essay aims to explore the images of Chinese women, but especially how the first-person narrator, or “I,” interacts with the female characters in a genre that traverses fact and fiction. It will pay particular attention to the narrative structures, which help to bring out the concepts of “sameness” and “difference” in the representation of female subjects.
    [Show full text]
  • Julia Lovell As a Faithful Rewriter in Translating Chinese Literary Text: the Version of a Dictionary of Maqiao As a Case in Point
    Journal of Literature and Art Studies, May 2016, Vol. 6, No. 5, 571-578 doi: 10.17265/2159-5836/2016.05.013 D DAVID PUBLISHING Julia Lovell as a Faithful Rewriter in Translating Chinese Literary Text: The Version of A Dictionary of Maqiao as a Case in Point QIN Qian, YAN Fang-ming College of Foreign Studies, Jinan University, Guangzhou City, China As a professional translator, Chinese history lecturer and academic writer, Julia Lovell has made a lot of contributions in translating modern Chinese literary works into English. But the field of translation studies has not given due attention to her so far. Based on her own practice and understanding of translation, she presented the notion of faithful recreation as her translation principle. This article sheds light on how she implemented her translation notion in the process of her translation, taking her version of A Dictionary of Maqiao as a case to examine the effectiveness of her work under the guidance of faithful recreation. The discussion mainly focuses on the sound level, the grammatical level, pragmatic level, and original creativity. Keywords: translation principle, faithful recreation, creativity, effectiveness Introduction Julia Lovell, the British writer and literary translator, is a lecturer in Chinese history at the University of London. She started learning Chinese during her Cambridge University study and in 1997 she studied at Nanjing University for one year as an exchange student. From this period, she became interested in modern Chinese literature, which intrigues her to devote to translating Chinese literary works in the later period. Her translation mainly focuses on the modern Chinese works, including Han Shaogong’s A Dictionary of Maqiao (2005), Xinran’s Sky Burial (2004), Zhu Wen’s I Love Dollars (2006), Eileen Chang’s Lust, Caution (2007), Yan Lianke’s Serve the People (2008), and Lu Xun’s The Real Story of Ah-Q and Other Tales of China (2009).
    [Show full text]