The Chinese past of these texts is almost always a pre-communist one and this allows … Tan to recycle ‘oriental,’ in this case old Chinese, stereotypes and clichés. Above all, China is depicted as a realm of magic and the supernatural, where incredible transformations can take place. tendency emerges with the unalterably Other, historically vague China of each text: a country of dragons, deities, and other mythical forms extraordinary, vast landscapes and extreme, often cataclysmic, events. One of the motifs whose misinterpretation may be responsible for such accusations is the representation of the binary opposition between the Old World and the New, which several critics now feel “tiresome.” 1 Ruth Maxey, for instance, argues that Tan’s use of motifs that are connected to her representation of the ancestral homeland, especially the “haunting memories” and “remarkable experiences,” 2 “serves to re-inscribe negative Chinese stereotypes” (2). Email:Īmy Tan has often been criticized for the self-colonizing aspect that her works, most notably The Joy Luck Club (1994), reveal. Salinger’s philosophy of art, and the questions of myth in Robert Holdstock’s fantasy novels. Her most recent articles focus on contemporary American authors, such as Marilynne Robinson, Linda Hogan, and Diana Abu-Jaber, but she has also written on Emily Dickinson’s poetry, William Faulkner´s concept of time, J. Her publications include The American Dream Reconsidered: New World Motifs in Shakespeare´s The Tempest and Their Transformations in American Literature (2008) and several articles on Shakespeare, and American literature. in English Language and Literature and an MA in Egyptology. Ildikó Limpár, Assistant Professor of English, Pázmány Péter Catholic University, Piliscsaba (Hungary) has a Ph.D. "Re-Naturalizing the Tamed Garden: Nature's Power in Amy Tan's The Joy Luck Club" by Ildikó Limpár
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