英国诺丁汉代写Essay 文学作品

2020-06-10 03:49

散居侨民中的性别角色以及与之相关的定型观念是许多文学作品的中心主题。Amulya Malladi的南亚裔美国人小说《芒果季节》(2003),关注食物和印度女性之间的关系,以及遗传的性别角色。主人公普丽娅(Priya)在美国生活了7年后搬到了印度,她被刻画成文化上的错位,因为她连芒果都不能切成方块。而她意识到,错误地挥舞着“利器……”重刀…用来砍芒果可能会导致“失去几个手指”,[9]似乎象征着印度未婚移民妇女在返回家乡的传统环境中所遭受的社会威胁。由Sudha Bhuchar、Kristine Landon-Smith和Louise Wallinger创作的英国戏剧《亚洲男人的麻烦》(2006)描述了印度社会对女性做饭的期望,以及散居的印度女性如何因适应“西化”的生活方式而受到批评。这在“Chapati vs naan”[10]辩论中得到了巧妙的体现。这场辩论是对一些英裔印度妇女喜欢从商店买的印度烤饼,而不喜欢按照印度家庭的传统从零开始做印度薄饼的直接反应。这种立场代表了一种散居在外的渴望,即维护家庭传统,以及人们对女性作为文化保护者的期望。尽管将做饭作为女性的职责这一概念是对女性的一种歧视,但一些印度散居作家和电影制片人在他们的作品中赞颂了母亲的烹饪,这些作品代表了亲密的关系和由美食带来的难忘经历。在Hardeep Singh Kohli的《印度外卖:一个非常英国的故事》(2008)中,作者的母亲被描绘成一位出色的家庭厨师。他承认自己比不上母亲完美的厨艺,他说.
Gender roles within the diaspora and the stereotyping associated with them are the central thematic in many literary works. Amulya Malladi’s South Asian American novel The Mango Season (2003), focuses on the relationship between food and Indian women and inherited gender roles. The protagonist Priya, who moves to India after living in the US for seven years, is portrayed to be culturally displaced because she is unable to cut mangoes into even cubes. And her realization that wrongly wielding the “sharp . . . heavy knife . . . used” for mango-chopping could result in “missing a few fingers”[9] seems to symbolize the social threats unmarried diasporic Indian women undergo on returning home to a traditional setting. The British play ‘The Trouble with Asian Men’ (2006) by Sudha Bhuchar, Kristine Landon-Smith, and Louise Wallinger, depicts how Indian society expects women to cook and how diasporic Indian women are criticized for adapting to a ‘westernized’ way of living. This is wittily represented by the ‘Chapati vs naan’[10] debate. The debate is a direct reaction to how some British-Indian women prefer store-bought naan bread to making Chapatis from scratch as traditionally done in Indian homes. This stance represents the diasporic desire to maintain family traditions and how women are expected to act as conservators of culture. Even though the concept of assigning cooking as a woman’s duty is misogynistic, some diasporic Indian writers and filmmakers have celebrated their mothers’ cooking in their works which represents the intimate relationships and memorable experiences brought together by foodways. In Hardeep Singh Kohli’s Indian Takeaway: A Very British Story (2008), the writer’s mother is portrayed as an extraordinary home cook. He accepts failing to match his mother’s impeccable culinary skills by saying that,
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