摘要：
Summary:

基于多年对跨文化交际理论以及文学作品《喜福会》中文化内涵的理论和实证研究，本文探讨了一个仍需进一步探索的问题：从母女关系深入研究中美文化冲突与融合。通过《喜福会》中母女关系的深入分析，本文揭示了中美文化冲突的具体表现、根源及融合路径，为跨文化沟通研究提供了新的视角。本文采用霍夫斯泰德的文化维度理论，从权力距离、个人主义和集体主义等维度分析母女文化差异引起的文化冲突，如在家庭观念、教育观念等方面。同时，文中指出母女冲突背后反映的是中美在价值观和思维方式上的差异，而融合则体现在新一代对两种文化的吸收、继承和创新上。这表明后者在研究跨文化作品时，可以利用文化理论深入挖掘角色关系背后的文化意义，关注文化冲突和融合对个体和社会层面的影响。此外，研究方法可以从多维度进行综合分析，进一步拓展跨文化研究的领域，为促进多元文化的和谐共处提供理论和实践参考。
Based on years of theoretical and empirical research on the theory of cross-cultural communication and the Chinese connotation of the literary work "The Joy Luck Club", this paper explores a question that still needs to be further explored: the in-depth study of the cultural conflict and integration between China and the United States from the mother-daughter relationship. Through the in-depth analysis of the mother-daughter relationship in The Joy Luck Club, this paper reveals the specific manifestations, root causes and integration paths of the cultural conflict between China and the United States, and provides a new perspective for the study of cross-cultural communication. This paper uses Hofstead's theory of cultural dimensions to analyze the cultural conflicts caused by the cultural differences between mothers and daughters from the dimensions of power distance, individualism and collectivism, such as family concepts and educational concepts. At the same time, the article points out that behind the conflict between mother and daughter is the difference between China and the United States in terms of values and ways of thinking, and the integration is reflected in the absorption, inheritance and innovation of the two cultures by the new generation. This suggests that the latter can use cultural theory to dig deeper into the cultural meaning behind the role relationship when studying cross-cultural works, and pay attention to the impact of cultural conflict and integration on the individual and social levels. In addition, the research methods can be comprehensively analyzed from multiple dimensions, further expand the field of cross-cultural studies, and provide theoretical and practical references for promoting the harmonious coexistence of multiple cultures.

关键词：文化维度理论；《喜福会》；中美文化；冲突与融合
Keywords: cultural dimension theory; "The Joy Luck Club"; Chinese and American Cultures; Conflict and integration

摘要：
Summary:

On the basis of several years of theoretical and empirical studies on cross-cultural communication theory and the interpretation of the cultural connotations in the literary works called《The Joy Luck Club》，this article addresses a problem that still requires further exploration：An in-depth study of Sino-American cultural conflict and fusion from the mother-daughter relationship and through in-depth analysis of the mother-daughter relationship in The Joy Luck Club, this paper reveals the specific manifestation, root cause and fusion path of Sino-American cultural conflict, providing a new perspective for cross-cultural communication research. This article uses Hofstede's cultural dimensions theory to analyze the conflicts caused by mother-daughter cultural differences from the dimensions of power distance, individualism and collectivism, such as in the family concept, education concept. At the same time, it is noted that behind the mother-daughter conflict is the difference between Chinese and American cultures in terms of values and ways of thinking, while the integration is reflected in the new generation's absorption, inheritance and innovation of the two cultures. This suggests that later researcher can use cultural theory to dig deeply into the cultural significance behind the relationship between characters, and pay attention to the impact of cultural conflict and integration on the individual and social levels when studying cross-cultural literary works. In addition, the research method can be comprehensively analyzed in multiple dimensions to further expand the field of cross-cultural research and provide theoretical and practical reference for promoting harmonious coexistence of multi-cultures.

关键词：cultural dimension theory；The Joy Luck Club；Chinese and American culture；conflict and fusion
Keywords: cultural dimension theory; The Joy Luck Club； Chinese and American culture； conflict and fusion

List of Abbreviations:（一些专有名词的缩写，如果没有可省略）
List of Abbreviations: (abbreviations for some proper nouns, omitted if not)

Table of Contents:

1 Introduction:

《喜福会》是美国华裔女作家谭恩美于1987年创作的长篇小说。作者通过描写四对母女间的代沟和隔阂冲突，反映了华裔母亲文化和异质文化相遇而生的碰撞与兼容以及两种文化在碰撞中对自我文化身份的艰难求索。这本书一经发表，就被列入《纽约时报》畅销书排行榜长达9个月，后来，这部小说被改编成电影，在国内外引起了剧烈反响。本文从霍夫斯泰德的文化维度理论对小说中的文化现象进行剖析，深入挖掘文本背后隐藏的文化内涵，进而更好的理解跨文化语境下群体的行为模式、情感体验以及身份认同的构建与重塑。
"The Joy Luck Club" is a novel written by Chinese American female writer Tan Enmei in 1987. By describing the generation gap and estranged conflict between the four pairs of mother and daughter, the author reflects the collision and compatibility born from the encounter between Chinese mother culture and heterogeneous culture, as well as the difficult search for their own cultural identity in the collision between the two cultures. The book was included in the New York Times bestseller list for nine months upon its publication, and the novel was later adapted into a film that caused a violent response at home and abroad. This paper analyzes the cultural phenomena in the novel from Hofstead's theory of cultural dimensions, and digs deep into the hidden cultural connotations behind the texts, so as to better understand the behavior patterns, emotional experiences, and identity construction and reshaping of groups in cross-cultural contexts.

Purpose and significance of the Research

华裔小说的发展的历史分为几个阶段，从19世纪中叶美国“淘金热”兴起，大量华工赴美，华裔文学开始萌芽，记录华工自身的经历；20世纪30年代至60年代，美国社会环境逐渐变化，罗斯福新政及二战等因素促使社会对华人的态度有所转变，第二代华人美国作家兴起，作品开始寻求证明华人是美国社会的一部分，展现华人同化与美国社会会的现象；20世纪60年代至今，美国通过《民权法案》和新的移民法，华裔人口大幅增长，华裔小说逐渐进入进入美国主流，随着时代发展，华裔小说在主题、形式等方面不断扩展，展现出更加丰富多元的艺术魅力。
The history of the development of Chinese fiction can be divided into several stages, starting from the rise of the "gold rush" in the United States in the mid-19th century, when a large number of Chinese workers went to the United States, and Chinese literature began to sprout, recording the experiences of Chinese workers themselves; From the 30s to the 60s of the 20th century, the social environment in the United States gradually changed, and factors such as Roosevelt's New Deal and World War II prompted a change in society's attitude towards the Chinese. Since the 60s of the 20th century, the United States has passed the Civil Rights Act and the new immigration law, the Chinese population has increased significantly, and Chinese American novels have gradually entered the mainstream of the United States.

华裔小说融合中西方文化元素，通过文学作品展现出文化的交流与碰撞，让读者了解到不同文化背景下人们的生活方式、价值观和思维模式。华裔小说吸引大量的国际读者，有助于促进文化的相互理解和包容。因此，分析用跨文化相关理论挖掘华裔小说背后的文化内涵值得读者们的关注。
Chinese fiction integrates elements of Chinese and Western cultures, and shows cultural exchanges and collisions through literary works, allowing readers to understand the lifestyles, values and thinking patterns of people in different cultural backgrounds. Chinese fiction attracts a large number of international readers and helps to promote mutual understanding and tolerance of cultures. Therefore, it is worth the attention of readers to analyze and use cross-cultural related theories to explore the cultural connotation behind Chinese novels.

霍夫斯泰德的文化维度理论为跨文化研究提供了经典框架，帮助研究者系统比较不同国家和地区的文化差异，实践应用价值高。此外《喜福会》具有较高的知名度，荣获1990年洛杉矶图书奖等多个奖项，作为海外华裔文学经典之作，以独特的叙事结构与深刻文化内涵，展现华裔女性在美国生活及她们面临的文化冲突与身份认同问题，为华裔文学发展奠定了基础，具有很高的研究价值。因此本研究以霍夫斯泰德的文化维度理论为基础，以《喜福会》为研究对象，分析文本背后隐藏的文化内涵。
Hofstead's theory of cultural dimensions provides a classical framework for cross-cultural studies, which helps researchers systematically compare the cultural differences of different countries and regions, and has high practical application value. In addition, The Joy Luck Club has a high reputation and won many awards such as the 1990 Los Angeles Book Award, as a classic of overseas Chinese literature, with a unique narrative structure and profound cultural connotation, showing the life of Chinese American women in the United States and the cultural conflicts and identity issues they face, laying the foundation for the development of Chinese American literature, and has high research value. Therefore, based on Hofstead's theory of the cultural dimension, this study takes The Joy Luck Club as the research object to analyze the hidden cultural connotations behind the text.

本研究旨在运用霍夫斯泰德的文化维度理论对《喜福会》的文本进行分析，用该理论分析能够总结出在跨文化环境中，不同文化维度的差异如何导致误解，帮助人们更好理解和处理文化差异带来的问题，更好实现跨文化交流。
The purpose of this study is to use Hofstede's theory of cultural dimensions to analyze the text of The Joy Luck Club, which can summarize how differences in different cultural dimensions lead to misunderstandings in a cross-cultural environment, help people better understand and deal with the problems caused by cultural differences, and better achieve cross-cultural communication.

Previous Research on 霍夫斯泰德文化维度理论 Abroad
Previous Research on Hofstede's Theory of Cultural Dimensions Abroad

霍夫斯泰德文化维度理论由荷兰心理学家吉尔特·霍夫斯泰德于1980年提出，是衡量不同国家文化差异的框架，后来其测试样本范围不断扩大，涵盖不同群体的跨国研究，维度也不断的增加和细化。在20年代80年代后该理论不断发展与完善，吉尔特·简·霍夫斯泰德继承和发展了父亲吉尔特·霍夫斯泰德的理论，探讨了文化维度对跨文化合作等方面的影响并与其他学者合著了《心灵的文化和组织软件：跨文化合作及其对生存的重要性》。学者们尝试对理进行创新，提出文化维度的新分类或新测量方法，或者从新视角对文化维度进行解读和应用，为跨文化研究提供新思路。迈克尔·哈里斯·邦德于20世纪后期在远东地区的研究成果促使霍夫斯泰德增加了长期取向这一文化维度，该维度在最初被称为儒家动力论，为跨文化研究提供了新的视角，使得人们更加关注文化价值观中的时间导向因素，并在1986年出版《The Psychology of the Chinese People》，研究了中国人群体心理特征和行为模式，为跨文化研究提供中国文化视角。同样是在20世纪后期，特里安迪斯对个人主义与集体主义维度提出了不同看法，他认为该理论过于简化这一复杂的文化现象，个人主义与集体主义并非简单的两级对立，而是存在多种表现形式和复杂的影响因素，不同文化中的表现形式存在差异，该言论引发后续的学者更深入地探讨了文化维度的复杂性与多样性，提供了新思路。
Hofstede's theory of cultural dimensions was developed by the Dutch psychologist Geert SteadHofstead proposed it in 1980 as a framework for measuring cultural differences between different countries, and its test sample has since expanded to include cross-country studies of different groups, and the dimensions have been continuously increased and refined. In the 20's and 80's after the development and refinement of the theory, Geert JaneHofstead inherited and developed his father, GeertHofstede's theory, which explores the impact of the cultural dimension on intercultural cooperation, and co-authored The Cultural and Organizational Software of the Mind: Intercultural Cooperation and Its Importance for Survival. Scholars have tried to innovate theories, propose new classifications or new measurement methods for cultural dimensions, or interpret and apply cultural dimensions from new perspectives, so as to provide new ideas for cross-cultural research. MichaelHarrisBond's work in the Far East in the late 20th century prompted Hofstede to add a cultural dimension of long-term orientation, which was originally called Confucian dynamics, which provided a new perspective for cross-cultural studies, leading to a greater focus on time-oriented factors in cultural values, and in 1986 he published The Psychology of the Chinese People, which examined the psychological characteristics and behavioural patterns of Chinese groups. To provide a Chinese cultural perspective for cross-cultural studies. Also in the late 20th century, Triandis put forward a different view of the dimension of individualism and collectivism, arguing that the theory oversimplifies this complex cultural phenomenon, and that individualism and collectivism are not simply two levels of opposition, but there are multiple manifestations and complex influencing factors, and there are differences in the manifestations in different cultures.

到了21世纪初，迈克尔·明可夫通过对世界价值观调查数据的分析，将长期取向维度的分数扩展到了93个国家，并进一步确认了放纵与约束维度，完善了文化维度理论框架，为跨文化研究提供了更全面细致的理论框架。在2013年左右，Guffey等学者定义并验证了个人主义和集体主义、低权力距离和高权力距离等维度下的行为差异，通过实证研究为文化维度的测量和应用提供了新的方法和依据。
At the beginning of the 21st century, Michael Minkoff expanded the score of the long-term orientation dimension to 93 countries through the analysis of the data of the World Values Survey, and further confirmed the dimensions of indulgence and constraint, improved the theoretical framework of the cultural dimension, and provided a more comprehensive and detailed theoretical framework for cross-cultural studies. Around 2013, Guffey et al. defined and validated behavioral differences in dimensions such as individualism and collectivism, low power distance and high power distance, and provided a new method and basis for the measurement and application of cultural dimensions through empirical research.

Previous Research on 霍夫斯泰德文化维度理论at Home
Previous Research on Hofstede's Theory of Cultural Dimensions at Home

在 20 世纪 90 年代，国内的跨文化传播研究领域开始将目光投向霍夫斯泰德的文化维度理论，并展开深入的探究。纳西夫与王永亮在《现代外国哲学社会科学文摘》所刊载的文章里，以霍夫斯泰德的文化价值观调查作为跨文化研究的经典范例，从多个关键维度，例如“标准、方法和理论简单化、取样和测试手段、数据收集与分析、分析层次、结果的普遍适应性”等方面着手，着重提出了一系列旨在减少与克服跨文化研究中方法论问题的建设性意见。
In the 90s of the 20th century, the field of cross-cultural communication research in China began to focus on Hofstead's theory of cultural dimensions and carried out in-depth exploration. In their article published in the Journal of Modern Foreign Philosophy and Social Science Digest, Nassif and Wang Yongliang take Hofstede's survey of cultural values as a classic example of cross-cultural research, and focus on a series of constructive suggestions aimed at reducing and overcoming methodological problems in cross-cultural studies from several key dimensions, such as "simplification of standards, methods and theories, sampling and testing methods, data collection and analysis, level of analysis, and universal adaptability of results".

在 1998 年，郑士贵对原刊于英国出版物的霍夫斯泰德针对香港和英国重新开展研究的消息进行了直译，这一事件成为霍夫斯泰德文化维度理论自身适用性得以有效检验的有力佐证。而到了 1999 年，童辉杰通过将中国人的国民性格与日、俄、美三国展开比较研究，对霍夫斯泰德在调查过程中所应用的测量量表提出了合理质疑，同时还创新性地提出从历史与文化传统的独特视角来深入研究中国人国民性格的可能性。同样是在 1999 年，胡博站在人力资源管理的专业视角，针对文化差异给中国酒店所带来的影响展开实证研究，在研究中详细介绍了霍夫斯泰德文化维度理论，并且精准确定了不同时期中国人的核心信仰及其在商业领域所蕴含的价值。
In 1998, Zheng Shigui provided a literal translation of Hofstede's re-conduct of research on Hong Kong and the United Kingdom, originally published in a British publication, and this event became a strong evidence that Hofstede's theory of cultural dimensions could be effectively tested for its own applicability. In 1999, Tong Huijie conducted a comparative study of the national character of Chinese with that of Japan, Russia, and the United States, and raised reasonable doubts about the measurement scale used by Hofstead in the survey process, and also innovatively proposed the possibility of in-depth research on the national character of Chinese people from the unique perspective of history and cultural tradition. Also in 1999, from the professional perspective of human resource management, Hu Bo conducted an empirical study on the impact of cultural differences on Chinese hotels, in which he introduced Hofstede's theory of cultural dimensions in detail, and accurately determined the core beliefs of Chinese in different periods and their values in the business field.

正是以这一系列的研究与探索为开端，霍夫斯泰德的文化维度理论在中国跨文化传播的实践进程与应用范畴内逐渐获得广泛的关注，并引发众多学者与业内人士的深入探讨。步入 21 世纪之后，国内对于霍夫斯泰德及其文化纬度理论的研究迈入全新的发展阶段，研究成果在数量上呈现出逐年稳步递增的显著态势，研究的深度与广度也在不断拓展与延伸，为跨文化传播研究在国内的进一步发展奠定了坚实的理论基础。在2013年，陈东平发表在《湖北大学学报（哲学社会科学版）》的文章中探讨了霍夫四泰的文化研究的完善过程，并结合中国文化的实际特点，旨在帮助中国企业正确认识跨国经营中的文化差异问题，寻求符合中国文化特点的企业跨文化管理模式。王庆平在2014年发表的《基于霍夫四泰的民族文化维度理论的中俄文化比较研究》对中俄文化在六个维度上的异同进行了分析，有助于增进对中俄文化的理解。学者们对霍夫斯泰德文化维度理论的进一步研究在多领域的国际交流与合作实践中发挥着越来越重要的参考和指导作用。
It is precisely with this series of research and exploration as the beginning that Hofstede's theory of cultural dimensions has gradually gained wide attention in the practice and application of cross-cultural communication in China, and has aroused in-depth discussions among many scholars and industry insiders. After entering the 21st century, the research on Hofstede and his theory of cultural latitude has entered a new stage of development, and the number of research results has shown a significant trend of steady increase year by year, and the depth and breadth of research have also been continuously expanded and extended, laying a solid theoretical foundation for the further development of cross-cultural communication research in China. In 2013, Chen Dongping published an article in the Journal of Hubei University (Philosophy and Social Science Edition) to discuss the improvement process of Hove Sitai's cultural research, and combined with the actual characteristics of Chinese culture, aiming to help Chinese enterprises correctly understand the cultural differences in transnational operations, and seek a cross-cultural management model that conforms to the characteristics of Chinese culture. Wang Qingping's 2014 book "A Comparative Study of Chinese and Russian Cultures Based on Hof's Theory of the Dimensions of National Culture" analyzes the similarities and differences between Chinese and Russian cultures in six dimensions, which is helpful to enhance the understanding of Chinese and Russian cultures. The further research of Hofstede's theory of cultural dimensions by scholars has played an increasingly important reference and guiding role in the practice of international exchange and cooperation in many fields.

2 Theory and Methodology:

在本章节中，重点是介绍研究小说文本的理论基础以及该理论在小说中的具体体现。本节的结构首先是介绍小说大概内容以及理论的关键概念，然后详细介绍该理论下的五个小分支以及它们在小说文本中的具体表现。
In this chapter, the focus is on the theoretical basis for the study of novel texts and how this theory is embodied in fiction. The structure of this section begins with an introduction to the general content of the novel and the key concepts of the theory, and then details the five sub-branches of the theory and their specific manifestations in the text of the novel.

2.1 喜福会概述
2.1 Overview of the Joy Luck Club

《喜福会》（The Joy Luck Club）是由美国华裔作家谭恩美（Amy Tan）于1989年创作的一部长篇小说，讲述的是第一代华裔移民与她们的女儿之间的情感冲突，而这种冲突源于中西文化差异。书中的四位母亲素云（Suyuan Woo）、林多（Lin do Jong）、莺莺（Ying-Ying）、安美（An-Mei Hsu）经历曲折从中国来到美国，各有一个女儿，分别是：君（June Woo）、薇莉（Waverly）、李娜（Lena）、露丝（Rose Hsu）。四位母亲在中国都有不堪回首的苦难和过去，深深烙下了中国文化的烙印，她们都希望自己的女儿可以适应美国的环境但却保留中国的气质，能够在美国获得成功，但是女儿们因为从小在美国长大，习惯了按照美国的准则生活，而这些生活却是中国母亲嗤之以鼻的，两代人的冲突不可避免。（渭南师范）从本质上，母女两代人的矛盾和冲突其实就是中美文化的碰撞，起初女儿们不能理解他们母亲及其他们代表的中国文化，但随着时间的流逝，女儿们开始理解母亲、同情母亲的悲惨过去并由衷接受了她们的母亲，母女通过互相理解让彼此更加紧密地联系在了一起。（西北师大）
The Joy Luck Club is a 1989 novel by Chinese-American writer Amy Tan about the emotional conflict between first-generation Chinese immigrants and their daughters, which stems from cultural differences between China and the West. The four mothers in the book, Suyuan Woo, Lin do Jong, Ying-Ying, and An-Mei Hsu, each have a daughter: June Woo, Waverly, Lena, and Rose Hsu. The four mothers all have unbearable sufferings and pasts in China, deeply imprinted by Chinese culture, and they all hope that their daughters can adapt to the American environment but retain the Chinese temperament and be successful in the United States, but because the daughters grew up in the United States, they are used to living according to American standards, and these lives are scorned by Chinese mothers, and the conflict between the two generations is inevitable. At first, the daughters could not understand their mother and the Chinese culture they represented, but as time passed, the daughters began to understand their mother, sympathize with their mother's tragic past and sincerely accept their mother, and mother and daughter became more closely connected to each other through mutual understanding. (Northwest Normal University).

2.2霍夫斯泰德文化维度理论的定义
2.2 Definition of Hofstede's Theory of Cultural Dimensions

荷兰社会心理学家吉尔特·霍夫斯泰德教授因对跨文化组织机构的开创性研究及其提出的文化维度理论而享有盛名，该文化维度理论使用以衡量不同国家之间文化差异的六维框架。20世纪60年代末，吉尔特·霍夫斯泰德以自己所工作的IBM跨国公司在50多个国家和3个跨国地区的分公司为基础，进行了员工意见调查并将调查结果运用于工作中，霍夫斯泰德通过对相关资料的分析，发现在别的大公司中不同文化之间也有显著差别，但答案却根据国家而类似，他认为人们具有特定的“思想程式”，并且这种“思想程式”是在童年发展并且被他们的文化所加强的。其包括一个文化里的各种观念并且通过文化里的主要价值被表现出来。（渭南师范），文化维度理论解释了不同成员在各自社会文化、自身成长经验指导下所产生的不同思维、感觉、行为取向。
Dutch social psychologist Geert AProfessor Hofstede is known for his groundbreaking research on cross-cultural organizational institutions and his proposed theory of the cultural dimension, which uses a six-dimensional framework to measure cultural differences between different countries. At the end of the 60s of the 20th century, GeertBased on the subsidiaries of IBM multinational companies in more than 50 countries and 3 multinational regions, Hofstede conducted a survey of employees' opinions and applied the results to their work. It is developed in childhood and strengthened by their culture. It encompasses the ideas of a culture and is expressed through the main values of the culture. The cultural dimension theory explains the different thinking, feeling, and behavior orientations of different members under the guidance of their own social culture and their own growth experience.

2.3霍夫斯泰德文化维度理论的内容及其在《喜福会》中的体现
2.3 The content of Hofstede's theory of the cultural dimension and its embodiment in The Joy Luck Club

霍夫斯泰德初步在《文化的效应》一书中提出了分析国家文化的四个维度理论并用来衡量和解释跨文化中的文化冲突。包括权力距离（power distance）、集体主义与个人主义（collectivism，individualism）、阳刚气质与阴柔气质（masculinity，femininity）、不确定性规避（uncertainty avoidance）。此后，受学者彭麦克华人价值观调查及迈克尔·明科夫世界观问卷调查的启发，霍夫斯泰德先后以长期导向与短期导向、自身放纵与约束扩充其原有框架，形成完整的霍夫斯泰德文化维度理论。
Hofstede, in his book The Effect of Culture, initially proposed a four-dimensional theory for analyzing national culture, which is used to measure and explain cultural conflict across cultures. Including power distance, collectivism and individualism, masculinity and femininity, and uncertainty avoidance. Since then, he has been surveyed by scholars Peng Mack Chinese Values and Michael MackInspired by the Minkov worldview questionnaire, Hofstead has expanded its original framework with long-term orientation and short-term orientation, self-indulgence and constraint, and formed a complete Hofstead theory of cultural dimensions.

2.3.1权力距离power distance
2.3.1 Power distance

霍夫斯泰德在《文化与组织：心里软件的力量》一书中指出“权力距离”的定义：在某种文化与机构中，其弱势成员对于权力分配不平衡的期待和接纳程度，这里的组织机构是指社会的一个基本单位，包括家庭、社会以及学校，霍夫斯泰德用权力距离指数PDI（power Distance Index）来形容权力的距离差异，指数越高权力距离越大，在权力较大的社会，人们接受较强的等级制；在权力距离较小的社会，人们接受较弱的等级制，（西北师大）权力距离在家庭、学校、公司，甚至朋友之前所有的社会层次都存在。（安徽文学）。
In his book Culture and Organization: The Power of Software in the Mind, Hofstede defines "power distance" as the distribution of power among the weaker members of a culture and institutionUnbalanced expectation and acceptance, the organization here refers to a basic unit of society, including family, society and school, Hofstede uses the power distance index PDI (power distance index) to describe the distance difference in power, the higher the index, the greater the power distance, in the society with greater power, people accept a stronger hierarchy; In societies with smaller power distances, people accept weaker hierarchies, and power distances exist at all levels of society before family, school, company, and even friends. (Anhui Literature).

根据霍夫斯泰德统计数据，中国的PDI是80，而美国是40，相比较而言，中国人把尊重上级领导，孝顺父母长辈，尊敬老师作为传统美德，其权力距离指数较高，具有明显的上下级思想。西方文化中崇尚人人平等，追求自我独立，其权力距离较小。中国传统文化认为每个人在社会中都应该各司其位，社会等级制度是有益的，可以保证社会的分工，位高权重的人不应该被质疑。美国文化则认为权威人物是可以被挑战的，社会不公或者等级制度应该尽量被减少，权力更是不能滥用（渭南师范）美国的父母认为孩子跟自己在人格上是平等的，要与孩子平等相处，会尊重自己孩子的兴趣爱好，而在中国，尊重长辈被认为是一种美德，是孝顺的表现，小孩从小被要求完全服从自己父母和老师，中国父母认为孩子尚小，不能做出正确的选择，所以替他们安排。
According to Hofstead statistics, China's PDI is 80, while the United States is 40, in comparison, Chinese regard respect for superior leaders, filial piety to parents and elders, and respect for teachers as traditional virtues. In Western culture, everyone is equal and self-independent, and its power distance is small. Traditional Chinese culture believes that everyone should have their own place in society, that social hierarchy is beneficial, that it can ensure the division of labor in society, and that people in high positions of authority should not be questioned. American culture believes that authority figures can be challenged, social injustice or hierarchy should be minimized, and power cannot be abused (Weinan Normal) American parents believe that their children are equal in personality with themselves, and they should get along with their children on an equal footing, and will respect their children's interests and hobbies, while in China, respect for elders is considered a virtue and a manifestation of filial piety, and children are required to obey their parents and teachers completely from an early age, and Chinese parents think that children are still youngcan't make the right choice, so arrange for them.

在高权力距离的社会中，强调子女有赡养老人的义务。而中国作为典型的高权力距离的社会，强调孝敬长辈，提倡“百善孝为先”，孝是指孝顺、孝敬，而孝顺是指为了回报父母的养育之恩，顺从父母的意志，按照父母意愿办事，这些观念植根于中国的儒家思想。在中国，传统的儒家思想强调等级关系的重要性，指出对于年长的、地位高的和有权势的人应该表示尊重。（西北师大）安美的母亲在自己母亲快要过世时，毫不犹豫采用了中国最古老最彻底的尽孝方式，主动提出为母亲割肉做药引子，根据古老的传说做了一碗起死回生的汤让母亲服下，尽管她母亲最后还是离开了人间，但这也是一种孝道，是女儿敬重母亲的一种方式。（安徽文学）。在《喜福会》中，当君的母亲素云让她去弹琴时，君说“我再也不弹琴了，我为什么要弹呢？我不是你的奴隶，这里不是中国，你不能逼我。”而她母亲的回答是“世上有两种女儿，服从父母的女儿和随心所欲的女儿，这个家只容得下一种女儿——服从的女儿。”对于从小受美国教育熏陶的君来说，她的反抗是有原因的，是理所应当的，她是独立的个体，母亲不能将意愿强加在自己身上。而在素云看来，服从母亲是天经地义的，女儿不能反抗母亲的要求，这是孝顺的表现。（渭南师范）林多在四岁的时候，被她妈妈承诺给有钱的黄太太，在她十五岁的时候就许配给黄家做媳妇，作为女儿，林多别无选择，只能顺从母亲的安排。在中国的封建文化中，妻子是附属于丈夫的，得顺从丈夫的意愿，在新婚当晚，比林多年龄还小且还是个孩子的丈夫便说他是当家的，一切由他说的算。而林多对于包办婚姻的反抗也是充满中国文化样式的：我看到我们的老祖宗了，他们很生气，他们说如果我们这段婚姻继续下去的话，天裕一定活不成了。林多搬出了中国文化中家庭权威代表的“老祖宗”，其在家族事务中拥有最高权力，他的意愿每个家庭成员都必须服从。（渭南师范）
In a society with a high power distance, it is emphasized that children have the obligation to support the elderly. As a typical society with a high power distance, China emphasizes filial piety to the elders and advocates "filial piety first", filial piety refers to filial piety and filial piety, and filial piety refers to the return of parents' nurturing kindness, obeying the will of parents, and acting according to their parents' wishes, these concepts are rooted in Chinese Confucianism. In China, traditional Confucianism emphasizes the importance of hierarchical relationships, stating that respect should be shown for the elderly, high-status, and powerful. When her mother was about to pass away, Anmei's mother did not hesitate to adopt the oldest and most thorough way of filial piety in China, and offered to cut her mother's flesh to make a medicine primer, and made a bowl of soup to bring her back to life according to ancient legends for her mother to take, although her mother finally left the world, but this is also a kind of filial piety, and it is a way for daughters to respect their mothers. (Anhui Literature). In "The Joy Luck Club", when Jun's mother Suyun asked her to play the piano, Jun said, "I don't play the piano again, why should I play it?" I'm not your slave, this is not China, you can't force me. Her mother's answer was, "There are two kinds of daughters in the world, those who obey their parents and those who do as they please, and there is only one kind of daughter in this family—obedient daughters." For Jun, who has been educated in the United States since childhood, her rebellion is justified and deserved, she is an independent individual, and her mother cannot impose her will on herself. In Su Yun's view, it is natural to obey her mother, and a daughter cannot resist her mother's request, which is a manifestation of filial piety. When Lin Duo was four years old, she was promised by her mother to the rich Mrs. Huang, and when she was fifteen years old, she was promised to be married to the Huang family as a daughter-in-law. In Chinese feudal culture, the wife was subordinate to her husband and had to obey her husband's wishes, and on the wedding night, her husband, who was younger than Lindo and was still a child, said that he was in charge of the house, and everything was up to him. And Lindo's rebellion against arranged marriages is also full of Chinese cultural style: I saw our ancestors, and they were very angry, and they said that if our marriage continued, Tianyu would not survive. Lindo moved out of the "old ancestor" of the authoritative representative of the family in Chinese culture, who had the supreme power in family affairs, and his wishes must be obeyed by every member of the family. (Weinan Normal School).

在低权力距离社会中，父母做错了事，孩子完全可以指出来，父母的权威可以被挑战。露丝第一次去见美国男友的父母时，男朋友母亲对她说的一些种族歧视的话恰好被男朋友听到了，他对自己的父母很生气，说到“我只知道你是个坏蛋，但今天第一次我以你为耻”并拽着露丝离开了他母亲。露丝男朋友对待母亲的态度在中国的文化中是无法想象的。（渭南师范）
In a society with low power distance, when parents do something wrong, children can point it out and parental authority can be challenged. When Ruth went to meet her boyfriend's parents for the first time, her boyfriend's mother happened to hear some racist words about her, and he was angry with his parents, saying "I only knew you were a bad guy, but today for the first time I was ashamed of you" and dragged Ruth away from his mother. Ruth's boyfriend's attitude towards his mother is unimaginable in Chinese culture. (Weinan Normal School).

2.3.2集体主义，个人主义collectivism，individualism
2.3.2 Collectivism, individualism, individualism

关于集体主义与个人主义，霍夫斯泰德列出下列定义：在个人主义倾向的社会，人们之间的联系较为松散，大家只关心自己以及核心家庭，在集体主义倾向的社会，人们从出生起就融入到强大且紧密的内群体中，这个群体为人们提供终身的保护以换取人们对该群体的绝对忠诚，霍夫斯泰德采用IDV（individualism index）来衡量某个社会的个体主义与集体主义倾向，该指数越高，社会成员的个体主义倾向越明显；反之，则社会成员的集体主义倾向越明显。根据霍夫斯泰德统计数据，中国的IDV是20，而美国的是91，很明显，中国文化归于集体主义文化较高，而美国归于个体主义文化较高。（西北师大）在集体主义价值观中，集体利益凌驾于个人利益之上，社会个体都应以集体利益为先，重视集体、重视家庭；在个人主义价值观中，每个人都应拥有独立的人格、权力、思想和自由，强调追寻个人的利益。
Regarding collectivism and individualism, Hofstead listed the following definitions: in a society with an individualistic tendency, people are loosely connected with each other, and everyone only cares about themselves and their nuclear family, in a society with a collectivist tendency, people are integrated into a strong and close-knit inner group from birth, and this group provides people with lifelong protection in exchange for people's absolute loyalty to the group, Hofstede adopts IDV (individualism). index) to measure the individualistic and collectivist tendencies of a certain society, the higher the index, the more obvious the individualistic tendencies of the members of the society; On the contrary, the collectivist tendency of members of society is more obvious. According to Hofstead statistics, China's IDV is 20, compared to 91 in the United States, and it is clear that Chinese culture is higher attributed to collectivist culture, while the United States is attributed to individualist culture higher. In the values of collectivism, collective interests override individual interests, and social individuals should put collective interests first, attach importance to the collective, and attach importance to the family and family; In individualistic values, each person should have an independent personality, power, thought, and freedom, emphasizing the pursuit of personal interests.

中国是典型的集体主义倾向国家，在中国的传统家族观念中，强调个人是家庭中的一员，要注重家族的荣誉，个人的荣誉是整个家族的荣誉，在《喜福会》中，母亲们从小接受的就是中国传统文化的洗礼，她们的人生观、价值观不仅建立在个人的成就上，更表现在对子女的期待上，把子女教育好是母亲的责任与义务之一。薇莉从小在下棋方面有天赋，赢得了很多奖杯，但她的母亲喜欢拿其作为炫耀的资本。中国父母总望子成龙，望女成凤，自己的子女得到某项荣誉就感觉这项荣誉是他们自己的，女儿得了冠军，林多好像她自己得了冠军似得，在林多看来，她和女儿是不分彼此的，女儿的成绩当然是自己的成绩，甚至比她自己的成绩更适合炫耀。而作为从小生长在美国的薇莉来说，他们崇尚个人奋斗、维护私权和平等，认为父母不可以干涉自己的生活，自己的成功与家庭无关，获得的那些荣誉和奖项都是自己努力得到的，是属于自己的，自己和妈妈是两个独立的个体。她说：“你为什么总那我来向人炫耀？如果你想炫耀，你为什么不自己学下棋？”女儿回到家后，林多说“这个女儿不在意这个家，我们也不在意她。”言下之意是她把女儿薇莉排斥在了家庭这个集体之外。（渭南师范）在中国文化中，个人的耻辱也是个人所属家庭的耻辱，安美妈妈在安美四岁时因为在她丈夫死后不久被迫嫁给一个有钱人当小老婆给家族蒙羞，被家庭驱逐，家里人要把她从家谱里去掉。一个人被逐出家门或名字在家谱里被删掉说明这个人已经完全与家族脱离了关系，家族已经不承认这个人的存在，她以后发生的事情都对这个家族来说无关紧要了。（渭南师范）
China is a typical collectivist tendency of the country, in China's traditional family concept, emphasizing that the individual is a member of the family, to pay attention to the honor of the family, the honor of the individual is the honor of the whole family, in the "Joy Luck Club", mothers have received the baptism of traditional Chinese culture since childhood, their outlook on life and values are not only based on personal achievements, but also in the expectations of children, and it is one of the responsibilities and obligations of mothers to educate their children well. Willy was gifted at chess from a young age and won many trophies, but her mother liked to use it as a bragging rights. Chinese parents always hope that their sons will become dragons, and their daughters will become phoenixes, and their children will feel that this honor is their own, and their daughters will win the championship, and Lin Duo will seem to have won the championship herself, in Lin Duo's view, she and her daughter are indistinguishable from each other, and her daughter's achievements are of course their own achievements, and even more suitable for showing off than her own achievements. As Wei Li, who grew up in the United States, they advocate personal struggle, private rights and equality, believe that their parents cannot interfere in their lives, their success has nothing to do with their families, and the honors and awards they have won are all obtained by their own efforts, they belong to themselves, and they and their mother are two independent individuals. She said, "Why do you always show me off?" If you want to show off, why don't you learn to play chess yourself? When the daughter returned home, Lindo said, "This daughter doesn't care about this family, and we don't care about her." The implication is that she has excluded her daughter, Willy, from the family. In Chinese culture, the shame of the individual is also the shame of the family to which the individual belongs, and when Anmei was four years old, Anmei's mother was expelled from the family because she was forced to marry a rich man as a little wife shortly after her husband's death, and the family wanted to remove her from the family tree. The expulsion of a person from the family or the deletion of her name from the family tree indicates that the person has completely disconnected from the family, the family no longer acknowledges the existence of the person, and what happens to her in the future is irrelevant to the family. (Weinan Normal School).

作为个体主义的直接产物-隐私权，在个体主义取向的社会中被当做人们的最高需求，是合法并且合理的，如果它收到侵犯，个人就如同收到了侮辱，而这种隐私权在集体主义取向的人们中是不被理解和接受的。薇莉与母亲之间就为此产生了隔阂。薇莉说“还在我上一次结婚时，她常常随便来访而不事先打个电话或打个招呼，直到有一次我实在忍受不了就向她提议，如果她什么时候想上来我家，至少应该先打个电话。从那之后她就再也不上来我家了，除非我向她提出正式的邀请。”显然，作为在美国出生和长大的女儿，薇莉认为母亲的随意来访侵犯了自己的隐私权，而来自集体主义文化的母亲却认为女儿的家就是自己的家，不能理解这种对隐私权的需求，因此觉得收到了伤害。（西北师大）
As a direct product of individualism, the right to privacy is regarded as the highest demand of people in an individualistic society, which is legitimate and reasonable, and if it is violated, the individual is as if it has been insulted, and this right to privacy is not understood and accepted by people with a collectivist orientation. There is a gap between Willy and her mother. "The last time I got married, she used to come in without calling or saying hello beforehand, until one time I couldn't stand it anymore and suggested to her that if she wanted to come to my house at any time, she should at least make a phone call first," Willy said. She never came to my house since, unless I made her a formal invitation. Clearly, as a daughter born and raised in the United States, Willy felt hurt by her mother's casual visits that violated her right to privacy, while a mother from a collectivist culture felt hurt by her belief that her daughter's home was her own and could not understand this need for privacy. (Northwest Normal University).

2.3.3阳刚气质与阴柔气质masculinity，femininity
2.3.3 Masculine and feminine masculinity, femininity

该维度是指社会中不同性别角色分布的情况，在注重阳刚气质的社会中，人们希望男人在外勇闯天下，而女人在家抚养下一代，其社会定位往往为家庭妇女，性别角色区分明显；在注重阴柔气质的社会中，人们不太注重外在的成就和男子气概，更加注重性别平等，没有固定的性别责任，男女都有抚育家庭的责任。（渭南师范）这种阳刚-阴柔气质可以用阳刚气质指数MAS（Masculinity Index）来表示，该指数越高，社会的阳刚气质越明显，，社会性别角色界定越清晰，反之则社会性别角色界定越模糊（西北师大）
In a society that focuses on masculinity, people expect men to brave the world outside, while women raise the next generation at home, and their social positioning is often housewife, and gender roles are clearly distinguished. In a society that focuses on femininity, people pay less attention to external achievements and masculinity, and pay more attention to gender equality, there is no fixed gender responsibility, and both men and women have the responsibility to raise the family. This masculine-feminine temperament can be expressed by the masculine temperament index MAS (Masculinity Index), the higher the index, the more obvious the masculine temperament of the society, and the clearer the definition of gender roles, and vice versa, the more ambiguous the definition of gender roles (Northwest Normal University).

在该维度上现代中国和美国社会两性社会地位基本平等，资源和性别配置基本平衡，然而在旧中国时期，女性的社会地位较为低下，她们的社会责任多以传宗接代为主，女性在成家后相夫教子最为常见。林多每晚给她的婆婆黄太太熬她喜欢喝的汤，尽量做好一个好儿媳，这表明了她接受阳刚气质文化给她的角色定位。她婆婆黄太太说:“我孙子在哪呢？你这算是当的哪门子媳妇啊？怪谁啊？这都怪你自己，东跑西跑的，把我儿子给你的种子都流失了，从现在起，你给我在床上躺着，知道我抱上孙子为止。”在旧中国时期娶媳妇就是为了传宗接代，并且只有男孩才能传宗接代，所以女性的首要任务就是生男孩，而林多没有为婆家生下男孩，在婆家看来自然是没有尽到做媳妇的本分；在旧中国文化中，性别不平等非常明显，男人不仅可以同时娶好几个妻子，还能按照地位顺序给妻子排序，并且因为“母凭子贵”，生了儿子的妻子更有地位，二太太将安美妈妈剩下的儿子占为己有，拥有了丈夫唯一的儿子，所以最受丈夫重视；从小在美国长大的露丝，结婚后在丈夫身后默默付出，丈夫不用开口她就已经为丈夫做好一切，以至于丈夫认为她这么做是理所应当的。露丝获得了大学的奖学金却因为丈夫放弃了，她毫无怨言地接受了文化赋予自己家庭妇女的角色定位，让丈夫在外拼搏，自己作为丈夫背后默默支持的人。
In this dimension, the social status of the sexes in modern China and the United States is basically equal, and the allocation of resources and gender is basically balanced, but in the old Chinese period, the social status of women was relatively low, and their social responsibilities were mainly based on inheritance, and it was most common for women to marry and raise children after starting a family. Lin Duo boils the soup she likes to drink for her mother-in-law, Mrs. Huang, every night, and tries to be a good daughter-in-law, which shows that she accepts the role orientation given to her by the culture of masculinity. Her mother-in-law, Mrs. Huang, said, "Where is my grandson? What kind of daughter-in-law are you? Who is to blame? It's all your own fault, running around, losing all the seeds that my son gave you, and from now on, you will lie on my bed for me, until I hold my grandson. "In the old Chinese period, marrying a daughter-in-law was to pass on the lineage, and only boys could pass on the lineage, so the first task of women was to give birth to a boy, and Lin Duo did not give birth to a boy for her in-laws, so in the eyes of her in-laws, she naturally did not fulfill her duty as a daughter-in-law; In the old Chinese culture, gender inequality is very obvious, men can not only marry several wives at the same time, but also rank wives in order of status, and because "mothers are more expensive than children", wives who have given birth to sons have more status, and the second wife takes the remaining sons of Anmei's mother as her own and has her husband's only son, so she is most valued by her husband; Ruth, who grew up in the United States, paid silently behind her husband after she got married, and she did everything for her husband without opening her mouth, so that her husband took it for granted. Ruth won a scholarship to college but gave it up because of her husband, and she accepted the role of a housewife given to her by culture without complaint, letting her husband work hard outside the home, and she was the silent supporter behind her husband.

然而，随着时代的发展，母亲们与女儿们开始纷纷对传统社会定位产生反思和质疑，四位母亲摆脱了自己以前破碎的婚姻，踏上了前往美国的道路；莺莺用自己破碎的婚姻经历告诉女儿不能重蹈覆辙，她帮助女儿李娜重新走出阴影，李娜向丈夫吐露出自己的心声，开始了他们平等的交流。
However, with the development of the times, mothers and daughters began to reflect on and question the traditional social positioning, and the four mothers got rid of their previously broken marriages and embarked on the road to the United States; Yingying uses her broken marriage experience to tell her daughter that she can't repeat the mistakes of the past, she helps her daughter Li Na to come out of the shadows again, Li Na confides in her husband and begins their communication on an equal footing.

2.3.4不确定性规避uncertainty avoidance
2.3.4 Uncertainty avoidance

对于不确定性规避，霍夫斯泰德将其定义为：某种文化中的成员在面对不确定的或未知的情况时感到威胁的程度，这种感觉通过紧张感和对规定的需求来表达。处于高不确定规避文化中的成员往往更容易陷入焦虑，他们尽力避开模棱两可的情况，主动采取行动。（语言与文化研究）避免不确定性的强弱程度由“不确定性规避指数”UAI（Uncertainty Avoidance Index）来表示，指数越高，不确定性规避倾向越强，反之则越弱。（西北师大）在不确定性规避指数高的文化中，人们承担风险的意愿较弱，相反，在不确定性规避指数低的文化中，人们对不同于他们以往所熟悉的观点保持一种容忍态度，人们承担风险的意愿较强，容易接受多变的环境。（名作欣赏）对不确定性容忍度较高的美国文化认为，应该尽量减少规范社会行为的仪式礼节，允许离经叛道，鼓励冒险和尝试新的事物，人们对变化的容忍度较高，用协商或斗争的方式来解决争议。尽量避免不确定性的中国文化认为“人无远虑必有近忧”通过确立许多规章制度来规范社会行为来确保安全，不太乐意接受变化，对异议或离经叛道较难容忍。（渭南师范）中国文化崇尚含蓄，对于环境的威胁往往采取沉默、回避的态度，而西方人更强调直白，中国人强调遇事多忍耐，这样的想法根植于中国墨家思想。
Uncertainty avoidance is defined by Hofstead as the degree to which members of a culture feel threatened in the face of uncertain or unknown situations, expressed through tension and the need for provisions. Members in a culture of high uncertainty avoidance tend to be more likely to fall into anxiety, and they try to avoid ambiguity and take the initiative. The degree of uncertainty avoidance is expressed by the Uncertainty Avoidance Index (UAI), the higher the index, the stronger the uncertainty avoidance tendency, and vice versa. In cultures with a high uncertainty aversion index, people have a weaker willingness to take risks, while in cultures with a low uncertainty aversion index, people maintain a tolerant attitude towards views that are different from what they are familiar with, and people are more willing to take risks and are more likely to accept changing circumstances. American culture, which is more tolerant of uncertainty, believes that the rituals that regulate social behavior should be minimized, deviance should be allowed, risk-taking and experimentation should be encouraged, and people should be more tolerant of change, and disputes should be resolved through negotiation or struggle. Chinese culture, which tries to avoid uncertainty, believes that "people must have immediate worries if they have no foresight", and ensures safety by establishing many rules and regulations to regulate social behavior, is less willing to accept change, and is more difficult to tolerate dissent or deviance. Chinese culture is subtle and tends to be silent and evasive about environmental threats, while Westerners emphasize straightforwardness and Chinese emphasize patience in the face of problems, which is rooted in Chinese Mojia thought.

中国有许多礼仪来规范社会行为，薇莉的男友理查第一次来薇莉家做客时，恰巧没有遵循这些礼仪而导致了一些冲突。中国人饮酒，讲究浅尝辄止，细品一口则好，但是薇莉的男友一口气直接喝了一杯，又喝了第二杯；看到喜欢的菜便拿起菜盘往自己碗里倒了很多，而按照中国的礼仪，每次只能取少量。（渭南师范）基于中国的烹饪习惯，林多贬低自己的料理，在端出来自己做的菜时，林多谦虚的说:“这菜不够咸，没味道，不好吃。”而性格坦率，说话直白的理查说：“这菜只要多加点酱油就可以。”随后拿着一瓶酱油倒在菜里。
There are many etiquettes in China that regulate social behavior, and when Willy's boyfriend Richard first visited Willy's house, he happened to not follow these etiquettes, which led to some conflicts. Chinese drinking, pay attention to the taste, it is good to take a sip, but Wei Li's boyfriend directly drank one cup in one breath and drank a second glass; When I saw a dish I liked, I picked up a plate and poured a lot of it into my bowl, but according to Chinese etiquette, I can only take a small amount at a time. Based on Chinese cooking habits, Lin Duo belittled his own cuisine, and when he brought out the dishes he cooked, Lin Duo modestly said: "This dish is not salty enough, tasteless, and not delicious." And Richard, who has a frank personality and speaks bluntly, said: "This dish only needs to add more soy sauce." Then he took a bottle of soy sauce and poured it into the dish.

中国人遇事并非心直口快，而是采用更为含蓄的方式表达出来，有的时候是用言语，有的时候则是将自己的心意寄托到物品上。素云自君出生后便带着一块玉，有一次女儿说自己让她的母亲失望，说自己是一个废物，素云便把玉给了君，告诉她这是对她的美好期盼，因为玉在中国是美好的化身，在中国，黄金有价而玉无价。素云去世后，留给君一根天鹅羽毛，素云把期望都寄托在女儿身上，自己在战乱时的中国就像一只灰不溜秋的天鹅，天鹅象征着一种美丽的蜕变，素云希望自己的女儿能像蜕变后的小天鹅那般志向高远、美好。
Chinese people do not speak directly, but express themselves in a more subtle way, sometimes in words, sometimes in their own hearts and on objects. Su Yun has taken a piece of jade with her since she was born, and once her daughter said that she had disappointed her mother and said that she was a waste, so Su Yun gave the jade to Jun and told her that it was a good expectation for her, because jade is the embodiment of beauty in China, where gold has a price and jade is priceless. After Su Yun died, he left Jun a swan feather, Su Yun pinned his expectations on his daughter, he was like a gray swan in China during the war, the swan symbolized a beautiful transformation, Su Yun hoped that his daughter could be as ambitious and beautiful as the transformed little swan.

中国人遇事强忍，忍吞一切苦楚。在《喜福会》中的人面对婚姻都强调容忍。莺莺嫁给了一个坏男人，婚后男人出轨、家暴她，她的态度都是容忍，最终杀死了自己的孩子，遗憾终身。安美的母亲被迫成为吴清的四姨太，她的儿子被二姨太抢走，她也只能忍着，不懂反抗，最终以自杀来换取安美强大的精神，来反抗这种不公。
The Chinese are forbearant and swallow all suffering. The people in The Joy Luck Club emphasize tolerance when it comes to marriage. Yingying married a bad man, after marriage, the man cheated and abused her, her attitude was tolerated, and finally killed her own child, regretting it for life. Anmei's mother was forced to become Wu Qing's fourth aunt, her son was snatched away by the second aunt, she could only endure it, she didn't know how to resist, and finally committed suicide in exchange for Anmei's strong spirit to resist this injustice.

2.3.5长期导向-短期导向Short-term，long-term orientation
2.3.5 Short-term, long-term orientation

长期取向和短期取向是指某一文化中的成员对延迟其物质、情感、社会需求的满足所接受的程度。长期取向文化中的成员尊重传统，强调长远发展，为未来考虑，强调节俭，而短期取向文化中的成员注重短期回报，不用考虑到传统，以过去和现在为导向。霍夫斯泰德将这种长期-短期导向用长期导向指数LTO（long-term orientation index）来表示，其数值越大，说明该社会的长期导向越明显；相反，数值越小则说明该社会的短期导向越明显。根据霍夫斯泰德的调查结果显示，中国的LTO为118，而美国则为29，可见中美文化长期导向-短期导向在这一维度上的巨大差异。（西北师大）
Long-term and short-term orientation refers to the degree to which members of a culture are receptive to delaying the fulfillment of their material, emotional, and social needs. Members in long-term cultures respect traditions, emphasize long-term development, think for the future, and emphasize frugality, while members in short-term cultures focus on short-term returns, regardless of tradition, and are guided by the past and present. Hofstead expressed this long-term orientation index (LTO), and the larger the value, the more obvious the long-term orientation of the society. Conversely, the lower the number, the more pronounced the short-term orientation of the society. According to Hofstede's survey results, China's LTO is 118, while the United States is 29, which shows the huge difference between the long-term orientation and short-term orientation of Chinese and American cultures in this dimension. (Northwest Normal University).

在长期导向程度较高的国家，人们把崇尚节俭当成是最重要的品质。中国作为长期导向的典型国家，信奉节俭，而美国无论是在个人层面还是政府层面信奉的是消费而并非节俭。在《喜福会》中，华裔母亲们在中国从小接受的教育便是节俭，省到就是赚到。薇莉在美容院抱怨自己的母亲林多：“这发色是家中的廉价药水染得，好像上美容院遭天谴似得。”林多则反驳：“我为什么要花这种钱?为什么，为什么我要花九十美元变成你那样？”从两人的对话中可以看出，受中国文化的影响，林多养成了节俭的习惯，而从小在美国成长的薇莉主张消费。（安徽文学）莺莺来到女儿李娜家，参观她的房子时不禁感叹：“哎呀，真会花钱，造孽啊!”；林多批评女儿薇莉的男友理查“不会过日子，和这么贵的酒”她还批评女儿太浪费了，要求女儿将杯里的咖啡喝干净，不要剩下一点时，引起了女儿的反感：“又来了妈，你别这样老派”。薇莉五年前送给母亲的新餐具一直不见母亲使用，以为是母亲不喜欢，而事实是母亲太喜欢了，不舍得用。（西北师大）
In countries with a high degree of long-term orientation, people regard frugality as the most important quality. China, as a typical country with a long-term orientation, believes in frugality, while the United States believes in consumption rather than frugality, both at the individual level and at the government level. In "The Joy Luck Club", Chinese mothers are taught to be frugal in China from an early age, and what they save is what they earn. Willy complained about her mother Lindo in the beauty salon: "This hair color is dyed by cheap potions at home, as if you were punished by God when you go to a beauty salon." Lindo retorted: "Why should I spend this kind of money? Why, why should I spend ninety dollars to be like you? From the conversation between the two, it can be seen that under the influence of Chinese culture, Lindo has developed the habit of frugality, while Weili, who grew up in the United States, advocates consumption. (Anhui Literature) Yingying came to her daughter Li Na's house, and when she visited her house, she couldn't help but sigh: "Oh, I really will spend money and create evil!"; Lindo criticized her daughter Willy's boyfriend Richard for "not living well, and such an expensive wine" She also criticized her daughter for being too wasteful, and asked her daughter to drink the coffee in the cup and not leave a little left, which caused her daughter's disgust: "Mom again, don't be so old-fashioned." The new tableware that Willy gave to her mother five years ago has not been used by her mother, thinking that her mother does not like it, but the fact is that her mother likes it too much and is reluctant to use it. (Northwest Normal University).

长期导向程度高低的国家之间还有一个显著的特征差异是谦卑，在长期导向程度高的文化中，谦卑被认为是一种基本的人类美德，在中国传统文化中时时要表现出这种谦卑。当薇莉和君在争论广告方案时，君觉得自己可以在修改文案，而薇莉觉得君没有能力为他们的公司写文案，修改也无济于事，此时，君的母亲立马摆出了谦卑的姿态说到：“的确，风格是教不会的，君没你深刻，想必是天生的。”君瞬间感到十分羞愧，她觉得薇莉的聪明再次超越了自己，而自己的母亲也背叛了自己，母女之间的误会又加深了。（安徽文学）母亲的那一番话只是中国式的谦虚，并非是母亲认为君真的不如别人。露丝在婚姻中为了丈夫默默付出，太在乎丈夫的意见以至于没了自己的主见，连晚饭吃什么都要丈夫来决定：“我们今晚出去吃吗？要是在家吃，有羊排，或是打电话叫外卖，听你的，我可以烤只鸡来代替羊排，你今天辛苦了一天，我无所谓，只要你开心。”露丝对于丈夫的爱都表现在对他的百依百顺上，而他丈夫却说：“我喜欢听你说自己的意见，即使我们意见相左，你以前不是这样的，你有自己的主见。”露丝的丈夫想要的是有主见的她，而不是谦卑得失去自我的人。
Another striking characteristic difference between countries with a high degree of long-term orientation is humility, which is considered a fundamental human virtue in cultures with a high degree of long-term orientation, and is always shown in traditional Chinese culture. When Willy and Jun were arguing about the advertising plan, Jun felt that she could revise the copy, and Willie felt that Jun was not capable of writing copywriting for their company, and the revision would not help, at this time, Jun's mother immediately put on a humble posture and said: "Indeed, style can't be taught, Jun is not as profound as you, it must be innate." Jun instantly felt very ashamed, she felt that Willy's cleverness had surpassed her again, and her mother had betrayed her, and the misunderstanding between mother and daughter had deepened. The mother's words are just Chinese-style modesty, not that the mother thinks that Jun is really inferior to others. Ruth paid silently for her husband in her marriage, and she cared so much about her husband's opinion that she had no opinion of her own, and even asked her husband to decide what to eat for dinner: "Shall we go out to eat tonight?" If you eat at home, have lamb chops, or call for takeout, listen to you, I can grill a chicken instead of lamb chops, you have a hard day today, I don't care, as long as you are happy. Ruth's love for her husband is reflected in her obedience to him, and his husband says, "I like to hear you say your own opinions, even if we disagree, you were not like this before, you have your own opinions." Ruth's husband wanted her to be assertive, not someone who was humble enough to lose himself.

2.3.6自身放纵与约束
2.3.6 Self-indulgence and restraint

自由放纵与约束维度是指某一社会对人基本需求与享受生活、享乐欲望的允许程度。放纵是指允许相对自由地满足与享受有关生活和娱乐的欲望，克制则强调应以严格的社会规范限制和调节这些满足欲望的行为（语言与文化研究），霍夫斯泰德对93个国家进行放纵-克制的指数进行排列，其指数越高则放纵倾向越明显，社会对自身约束力越小，对放纵的允许度越大，人们越不约束自身。反之则放纵倾向越弱，其中中国的指数为24，美国为68。
The dimension of free indulgence and restraint refers to the degree to which a certain society allows people's basic needs and desire to enjoy life and pleasure. Indulgence refers to allowing relative freedom to satisfy and enjoy desires related to life and entertainment, while restraint emphasizes that these desires should be limited and regulated by strict social norms (linguistic and cultural studies), Hofstead ranks the 93 countries with an index of indulgence-restraint, the higher the index, the more obvious the indulgence tendency, the less social constraint on itself, the greater the tolerance for indulgence, and the less people restrain themselves. On the contrary, the tendency to indulge is weaker, with an index of 24 for China and 68 for the United States.

低放纵社会往往具有克制自我、艰苦奋斗的文化倾向。安美在经历了母亲的悲惨遭遇和不公命运后，她将传统的中国文化价值观传递给女儿露丝，教育女儿要隐忍与顺从，这导致女儿露丝在婚姻中缺乏自我，将自己的需求和欲望压制最低，一切以家庭和丈夫为重，这体现了露丝在传统观念约束下对自我的压抑。从小在美国环境下长大的女儿，有着美国文化中的放纵，注重享受当下和幸福。薇莉因为母亲林多在下棋方面过度约束她、干涉其生活，她有着自己的主见和想法，因母亲干涉而产生逆反心理，不愿按照母亲的期望生活，放弃了下棋，注重个人的情感和欲望的满足；君也对母亲的安排及其反感，在钢琴表演结束后，君与母亲产生了冲突，最终放弃了钢琴，她渴望摆脱母亲的期望，不愿受到传统观念的束缚。
Low-indulgent societies tend to have a cultural tendency to self-restraint and hard work. After experiencing her mother's tragic experience and unfair fate, Anmei passed on traditional Chinese cultural values to her daughter Ruth, teaching her daughter to be forbearant and obedient, which led to her daughter Ruth's lack of self in marriage, suppressing her own needs and desires to the minimum, and putting her family and husband first, which reflects Ruth's self-suppression under the constraints of traditional concepts. The daughter, who grew up in an American environment, has the indulgence of American culture, focusing on enjoying the moment and happiness. Because her mother Lin Duo overly restricts her and interferes in her life in playing chess, she has her own opinions and ideas, and because of her mother's interference, she has a rebellious mentality, unwilling to live according to her mother's expectations, gives up playing chess, and pays attention to the satisfaction of personal emotions and desires; Jun also resents her mother's arrangement, and after the piano performance, Jun has a conflict with her mother and eventually gives up the piano, longing to be free from her mother's expectations and unwilling to be bound by traditional ideas.

2.4 Methodology of the Study

本研究采用基于霍夫斯泰德的文化维度理论的定性分析来研究《喜福会》的文本，重点研究其背后的文化内涵和现象及中美文化冲突与差异，此外，还辅以文献法（literature method），该方法为研究提供了全面的知识支撑，可以丰富对作品本身的理解。
This study uses a qualitative analysis based on Hofstede's theory of cultural dimensions to study the text of The Joy Luck Club, focusing on the cultural connotations and phenomena behind it, as well as the conflicts and differences between Chinese and American cultures, supplemented by the literature method, which provides comprehensive knowledge support for the research and can enrich the understanding of the work itself.

在研究路径上，主要分为三个阶段：选择阶段、分析阶段、总结阶段。首先，通过对《喜福会》的文本进行细致的阅读，标记出与文化相关的情节、象征元素等内容，然后运用霍夫斯泰德文化维度理论对所提取的文本进行阐释与分析，最后，本文总结了研究成果，并为中美文化的冲突与融合提供了一些具体的建议。
In the research path, it is mainly divided into three stages: selection stage, analysis stage, and summary stage. Firstly, through a careful reading of the text of The Joy Luck Club, the plots and symbolic elements related to the culture are marked, and then the extracted texts are explained and analyzed by using Hofstede's theory of cultural dimensions.

3 Results and Discussion

在《喜福会》这部作品里既体现了碰撞又展现了融合，这些文化的碰撞与融合，不仅塑造了书人物复杂而多元的性格与价值观，更生动展现了中美文化交流中独特而微妙的关系演变。
The Joy Luck Club is a work that not only shapes the complex and diverse personalities and values of the characters, but also vividly shows the unique and subtle evolution of the relationship between China and the United States.

3.1《喜福会》母女的隔阂与对抗蕴含着中美文化的碰撞与冲突
3.1 The estrangement and confrontation between mother and daughter in "The Joy Luck Club" contains the collision and conflict of Chinese and American cultures

母亲们深受传统中国文化熏陶，秉持重视家庭观念和价值取向；而女儿们生长于美国文化环境，接受着美式的自由、平等。这种根源上的差异使得母女在生活方式、婚姻观念、沟通模式等方面产生分歧，这也展示出两种文化相遇时的磨合与激荡。
Mothers are deeply influenced by traditional Chinese culture and uphold the importance of family values and values. The daughters grew up in the American cultural environment and accepted the American style of freedom and equality. This difference in roots causes mothers and daughters to diverge in terms of lifestyle, marriage concept, communication mode, etc., which also shows the run-in and agitation when the two cultures meet.

3.1.1中国的高背景文化与美国的低背景文化
3.1.1 China's high-background culture and America's low-background culture

美国人类学家、空间关系学的创始人爱德华·霍尔经过多年的研究，发现世界各国的文化虽然千差万别，但并非杂乱无章，大多数文化具有明显的倾向性，可以按照“语义依赖对话背景还是对话语言来传达的程度”，把文化大体分为高背景文化和低背景文化两大类。由于长期生活在不同的文化背景下，人们逐渐形成了不同的思维方式和价值观，这在一定程度上会给人们的交往带来一定问题，甚至是冲突。（山东社会）
Edward A. Edward, an American anthropologist and founder of spatial relationsAfter years of research, Hall found that although the cultures of various countries in the world are very different, they are not disorganized, and most cultures have obvious tendencies, and can be roughly divided into two categories: high background culture and low background culture according to the degree to which the semantics rely on the context of the dialogue or the language of the dialogue. Due to living in different cultural backgrounds for a long time, people have gradually formed different ways of thinking and values, which will bring certain problems and even conflicts to people's interactions to a certain extent. (Shandong Society).

高语境文化的社会成员由于历史、传统、民俗等高度的重叠性，绝大部分信息都已储存在既定的语境中，因此在人际交往上，该文化中的人们更擅长借助共有的“语境”进行交流。高语境文化是深深扎根于历史的，它是一种高度稳定且变化速度较为缓慢的文化，具有很强的凝聚力。中国人对祖宗的尊敬和崇拜就是一个典型的例子。在高语境文化中，人们并不仅仅通过语言来表达意思，手势、空间的运用，甚至沉默都能用来传递信息。（理论导刊）对于语境的依赖使得高语境文化成为一种集体主义导向的文化，人们追求整体和谐，人与人之间的关系非常紧密，家庭的利益也永远是放在第一位的。在低语境文化中，为了弥补语境中缺少的东西，大部分信息都处于传递的过程中，低语境文化中的成员多采用直率坦白的方式进行沟通，并且他们性格外向，热衷于表现自我。在低语境系统中，责任分散在整个系统中，低语境文化是个人主义导向的文化，强调自我和独立意识，人与人之间的关系是松散的。（山西师大）
Due to the high degree of overlap in history, tradition, folklore, etc., most of the information of members of a high-context culture has been stored in a given context, so in terms of interpersonal communication, people in this culture are better at communicating with the help of a shared "context". High-context culture is deeply rooted in history, it is a highly stable and slow change culture, and it has a strong cohesion. The Chinese's respect and worship of their ancestors is a typical example. In high-context cultures, people don't just express meaning through language, gestures, the use of space, and even silence can be used to convey information. The dependence on context makes high-context culture a collectivist-oriented culture, where people pursue overall harmony, the relationship between people is very close, and the interests of the family always come first. In a low-context culture, most of the information is in the process of being transmitted in order to make up for what is missing in the context, and members in the low-context culture tend to communicate in a straightforward and frank way, and they are outgoing and eager to express themselves. In a low-context system, responsibilities are scattered throughout the system, and low-context cultures are individualist-oriented cultures that emphasize self and independent consciousness, and relationships between people are loose. (Shanxi Normal University).

《喜福会》中的母亲们生长于旧中国，受高背景文化传统的影响，而女儿们虽然受到中国式的家庭教育，但由于从小生活在美国文化占主流的社会，她们不可避免地更加认同低背景文化，因此母亲们与女儿们的隔阂、误解随即产生。在中国传统文化语境中长大的母亲们，有着中国的生活准则，按照中国传统的价值观塑造女儿的性格，而从小生活在美国中的女儿，耳濡目染的是美国的生活方式和价值理念。两代人因分别来自高背景文化与低背景文化所以无法沟通思想进而产生冲突，女儿们似乎都不能理解母亲们的经历，往往为中国的习俗和规矩大伤脑筋。正如君所言：“我和妈妈从来没有互相理解过，我们翻译着彼此的意思。我似乎总不能完全听懂妈妈的话，而妈妈却总能在我的话中听出弦外之音。”
The mothers in "The Joy Luck Club" grew up in old China and were influenced by high-background cultural traditions, while the daughters were educated by Chinese-style homeschooling, but because they grew up in a society where American culture was the mainstream, they inevitably identified more with low-background culture, so the estrangement and misunderstanding between mothers and daughters followed. Mothers who grew up in the context of traditional Chinese culture have Chinese living principles and shape their daughters' personalities according to traditional Chinese values, while their daughters, who have lived in the United States since childhood, are exposed to the American way of life and values. The two generations are unable to communicate their ideas because they come from high and low backgrounds, and the daughters do not seem to understand their mothers' experiences, often frustrating with Chinese customs and rules. As Jun said, "My mother and I have never understood each other, and we translate each other's meanings." I never seemed to be able to fully understand my mother's words, but my mother could always hear the overtones in my words. ”

3.1.2中国家庭中的长幼尊卑与美国家庭的平等对立
3.1.2 The equality and inferiority of the elders and children in the Chinese family and the equality and opposition of the American family

受儒家伦理思想的影响，古老的中国文明体系是一个相对封闭的文化圈，逐步形成以家庭伦理为核心，家庭观念极强的“聚合型”行为模式。中国的儒家文化教育子女应该孝顺父母，家长是绝对的权威，子女必须无条件服从父母的安排，否则就是不守孝道。西方的航海文明和游牧文明使西方人生存发展的必由之路是走向外部世界，逐渐形成了“离散型”的行为模式，美国人对家庭观念十分的淡漠，崇尚个人的奋斗和成功，儿女长大后自动离开父母担起自己的责任与义务。（山东社会）在这种环境下成长的女儿们对于母亲们的中国式教育自然是反抗的并觉得不可理解，母亲们把女儿看成他们的生命延续，认为在各方面管教女儿是对她们的疼爱与关心，女儿们则认为母亲的行为阻碍了她们的自由。（徐州教育）在《喜福会》中，吴素云坚信女儿君是一位天才，憧憬女儿能成为一名神童，逼着女儿天天练习钢琴，吴素云靠着帮人打扫房间来换回君每周一次的钢琴课以及一台每天可以练习的钢琴，可是君却一点也不理解母亲的苦心，她从小生活在美国，崇尚自由和平等，她决定不听从母亲的摆布：“这里不是中国，我不是她的奴隶。”为了让母亲挫败，君故意在练习时偷懒，在钢琴演奏会上出丑，丢了母亲的脸。
Influenced by Confucian ethics, the ancient Chinese civilization system was a relatively closed cultural circle, and gradually formed an "aggregate" behavior model with family ethics as the core and a strong family concept. Chinese Confucian culture teaches that children should be filial to their parents, parents are the absolute authority, and children must unconditionally obey their parents' arrangements, otherwise they will not abide by filial piety. The seafaring civilization and nomadic civilization of the West make the only way for Westerners to survive and develop is to go to the outside world, and gradually form a "discrete" behavior pattern, Americans are very indifferent to the concept of family, advocating personal struggle and success, and children will automatically leave their parents to take on their own responsibilities and obligations when they grow up. Daughters who grew up in this environment naturally rebelled and found it incomprehensible to their mothers' Chinese-style education, who saw their daughters as the continuation of their lives, and saw their daughters as loving and caring for them in all aspects, while the daughters saw their mothers' actions as hindering their freedom. In "The Joy Luck Club", Wu Suyun firmly believes that her daughter Jun is a genius, and hopes that her daughter can become a prodigy, forcing her daughter to practice the piano every day, Wu Suyun relies on helping people clean the room in exchange for Jun's weekly piano lessons and a piano that can be practiced every day, but Jun does not understand her mother's hard work at all, she has lived in the United States since she was a child, advocating freedom and equality, she decided not to be at the mercy of her mother: "This is not China, I am not her slave." In order to frustrate his mother, Jun deliberately slouched during practice and made a fool of himself at the piano recital, which caused his mother's face.

3.1.3中国的同甘共苦与美国的个人奋斗
3.1.3 China's weal and woe and the personal struggle of the United States

在中国的传统文化中，一个人的能力往往不是体现他个人的价值，而是代表他所属群体的价值，因此，一个人做了坏事往往会祸及全家，一个人做的好事往往会光宗耀祖。中国人重视家族的力量，认为一家人应该有福同享，有难同当，父母望子成龙，孩子的成功可以让他们光宗耀祖。而在美国的文化中，十分强调独立意识，鼓励个人奋斗，美国人宁愿独享成功之乐或独吞失败之苦。（理论导刊）这样的中国文化“同甘共苦”便于美国文化的“个人奋斗”发生了碰撞。《喜福会》中，传统的中国母亲期望通过女儿的成就来弥补自己生活中的失意，但女儿却坚信“我就是我自己”。林多对于下棋一窍不通，却硬要参加女儿薇莉下棋过程，母亲自认为是女儿的“同盟”，不管是练棋还是比赛，都要站在女儿身后为她“出谋划策”，赢棋是母亲的功劳“是我提醒女儿，将马抄到对方后面去的，这不，她不是赢了？”女儿成功了母亲也跟着出名并且喜欢拿女儿到处炫耀，可是女儿却看不惯这些中国式的卖弄和吹嘘，“为什么你非要那我出风头，如果你自己想出风头，那么你为什么不学下棋呢？”
In traditional Chinese culture, a person's ability often does not reflect his personal value, but represents the value of the group to which he belongs. Chinese attach importance to the strength of the family, believing that the family should share blessings and difficulties, parents hope that their children will become dragons, and the success of their children can make them glorify their ancestors. In American culture, where a sense of independence is strongly emphasized and individual struggle is encouraged, Americans would rather enjoy the joy of success alone or the pain of failure alone. This kind of Chinese culture "shares weal and woe" and facilitates the collision of American culture's "personal struggle". In The Joy Luck Club, a traditional Chinese mother hopes to make up for her frustration in life through her daughter's achievements, but her daughter firmly believes that "I am who I am." Lin Duo doesn't know anything about chess, but insists on participating in the process of her daughter Weili playing chess, the mother thinks that she is her daughter's "ally", whether it is practicing chess or playing, she must stand behind her daughter to "give advice", and winning chess is the credit of her mother" "I reminded my daughter to copy the horse behind the other party, no, she didn't win?" The daughter succeeded, and the mother became famous and liked to show off her daughter everywhere, but the daughter was not used to these Chinese-style flaunting and boasting, "Why do you have to be in the limelight, if you want to be in the limelight yourself, then why don't you learn to play chess?" ”

3.1.4中国式的谦虚和美国式的直率
3.1.4 Chinese humility and American bluntness

中华民族的性格和气质比较内敛，在人际交往中提倡稳健、含蓄。在进行语言交流时，无需将话讲明，彼此就能心领神会；以谦虚为美德，对别人的夸赞往往予以否认。美国人主张自我奋斗，崇尚个人成就与自由，倡导人们大胆直率的表达自己的观点，对别人的赞扬乐于接受并表示感。（山东社会）为了赢得母亲支持，薇莉带男友理查来家里吃饭，在这之前反复叮嘱男友一些礼仪，并说：“饭后一定要告诉她，她烧的菜是你吃过最好吃的。”果然，薇莉的妈妈烧了一桌美味的中国菜，但按照中国的习惯，主人请客，总要自谦一番，说一些“做的不好，请多包涵”之类的反话，母亲对自己的拿手菜总是先谦虚一番。说自己的菜烧的不好，其实是想获得大家的表扬。（大众文艺）吃饭当晚，母亲端出自己的拿手菜并放到女婿面前，自己尝了一口故意说道：“这菜太淡了，没味，真是让人难以下咽。”母亲说这句话的本意是想提醒大家快来尝尝，然后称赞她的菜做的多么美味，可是理查却顺着母亲的话说到：“你知道，只要放点酱油就可以了。”说着就在这个色香味俱全的菜上到上一层酱油，母亲顿时变了脸色，变得目瞪口呆，在场的人也尴尬的不知道说什么好，理查自己却还蒙在鼓里，因为他根本就不能理解中国人的这种自贬式的谦虚。
The character and temperament of the Chinese nation are relatively introverted, and they advocate steadiness and subtlety in interpersonal communication. When communicating in a language, you don't need to say it clearly, you can understand each other; Modesty is a virtue, and praise from others is often denied. Americans advocate self-struggle, advocate personal achievement and freedom, advocate people to express their opinions boldly and bluntly, and are willing to accept and express their feelings for the praise of others. In order to win her mother's support, Willy brought her boyfriend Richard to the house for dinner, and before that, she repeatedly told her boyfriend some etiquette, and said: "After the meal, you must tell her that the dishes she cooks are the best you have ever eaten." Sure enough, Weili's mother cooked a table of delicious Chinese food, but according to Chinese customs, when the host treats guests, he always has to be humble, saying something counter-saying such as "if you don't do it well, please bear with me", and her mother is always humble about her specialty dish first. said that his dishes were not cooked well, but he actually wanted to get everyone's praise. On the night of the dinner, the mother brought out her specialty dish and put it in front of her son-in-law, tasted it herself and deliberately said: "This dish is too light and tasteless, it is really hard to swallow." Mother meant to remind everyone to come and try it, and then praise her for how delicious the food was, but Richard followed her mother's words and said, "You know, just put some soy sauce in it." Saying that on this dish with full color and aroma to the upper layer of soy sauce, the mother suddenly changed her face and became dumbfounded, and the people present were embarrassed and did not know what to say, but Richard himself was still in the dark, because he could not understand this self-deprecating modesty of the Chinese at all.

3.2《喜福会》中母女和解与沟通蕴含中美文化的交汇与融合
3.2 The reconciliation and communication between mother and daughter in "The Joy Luck Club" contains the convergence and integration of Chinese and American cultures

女儿们对母亲的理解和认同实质上是以女儿们为代表的美国文化和以母亲们为代表的中国文化之间的理解与认同，这既实现了东西文化之间的融合，也确立了文化平等交流的基础。《喜福会》不仅展现了真实的、处于困惑中的华裔生活，更重要的是表达了消除东西文化对立、促进东西文化的美好愿望。（山东社会）
The understanding and identification of the daughters with their mothers is essentially the understanding and identification between the American culture represented by the daughters and the Chinese culture represented by the mothers, which not only realizes the integration between Eastern and Western cultures, but also establishes the basis for cultural exchanges on an equal footing. "The Joy Luck Club" not only shows the real and confused life of Chinese Americans, but more importantly, expresses the good wish to eliminate the antagonism between Eastern and Western cultures and promote Eastern and Western cultures. (Shandong Society).

3.2.1女儿们理解母亲并认同中国文化
3.2.1 The daughters understand their mothers and identify with Chinese culture

母女间的隔阂也好，冲突和对抗也罢，最终也会融化在中国式博大的母爱中。流淌在他们身体里的中国血液，让女儿们有天生的中国式谦虚、孝顺和默默忍耐，这种中国基因潜伏在她们的血液中，当她们回归中国文化的怀抱中，这种基因才会突然地澎湃。随着岁月的流逝，女儿们在经历了生活、事业、婚姻的挫折后逐渐成熟，对自己的边缘地位有了进一步了解，同时也逐步感受到了中国文化对他们潜移默化的影响，母亲们的严厉更多是一种对他们的保护。吴素云在女儿三十岁生日时，将一台钢琴作为生日礼物送给女儿并说：“你在这方面很有天赋，其实如果你肯下点功夫，本来你可以在这方面有所作为的。”在母亲去世后，君又开始摸索着钢琴并弹了几节曾让她丢脸的歌曲：舒曼的《祈求的孩子》，让她惊叹的是，她自己竟这么快记起了乐谱，可惜的是母亲却再也听不到了。在故事的结尾，君带着天鹅羽毛的寄托回到了上海看望自己的两个孪生姐姐，说到：“这就是我的家，那融化在我血液里的基因，中国的基因，经历了这么多年，终于开始沸腾昂起。”这表明君的内心被伟大的母爱所震撼，也更能表面她内心对中国文化的再认识与认同。薇莉和母亲林多在理发店的镜子前破涕为笑、李娜听从了母亲的建议，走出来自己失败的婚姻，开启了新的生活、露丝从母亲的故事中认识了自己的价值，变得坚强有了自我，在破碎的婚姻中发出了自己的声音。（山东社会）
Whether it is the estrangement between mother and daughter, conflict and confrontation, it will eventually melt into the broad Chinese maternal love. The Chinese blood flowing in their bodies gives their daughters a natural Chinese style of modesty, filial piety and silent patience, and this Chinese gene lurks in their blood, and when they return to the embrace of Chinese culture, this gene will suddenly surge. As the years passed, the daughters gradually matured after experiencing setbacks in life, career, and marriage, and gained a better understanding of their marginal status, and at the same time gradually felt the subtle influence of Chinese culture on them, and the strictness of the mothers was more of a protection for them. On her daughter's thirtieth birthday, Wu Suyun gave her a piano as a birthday gift and said, "You are very talented in this area, in fact, if you are willing to put in some effort, you can make a difference in this area." After her mother's death, Jun began to fumble with the piano again and played a few songs that had disgraced her: Schumann's "The Praying Child", and to her amazement, she herself remembered the score so quickly, but unfortunately her mother could no longer hear it. At the end of the story, Jun returned to Shanghai with the sustenance of swan feathers to visit his two twin sisters, saying: "This is my home, the genes that melt in my blood, the genes of China, after so many years, finally began to boil and rise." This shows that Jun's heart is shocked by the great maternal love, and it can also surface her inner re-understanding and recognition of Chinese culture. Willy and her mother Lindo burst into tears and laughed in front of the barbershop mirror, Li Na followed her mother's advice and walked out of her failed marriage and started a new life, Ruth learned her own value from her mother's story, became strong and had her own self, and made her voice heard in the broken marriage. (Shandong Society).

3.2.2母亲们逐渐接受美国文化
3.2.2 Mothers gradually embraced American culture

《喜福会》描述了母亲因成长的文化背景不同而在日常交流中与女儿的产生了价值观等方面的冲突，为了消除彼此见得隔阂与冲突，母亲们也做出了极大的努力，在经历了与女儿们多次的冲突与误解后，母亲们以更宽容的心去包容女儿的反抗与误解，她们也不断受美国文化的同化与影响，做出了许多改变。深受中国传统文化影响的母亲们穿上美国风格的衬衫与长裤，说着被女儿嘲笑的蹩脚英语。林多从一开始不接受女儿与美国男友理查私奔，愤怒之下脱下鞋子打女儿女婿，到后来接受女儿的美国男友并慈爱的教理查如何吃螃蟹。尽管在第一次见面时理查做出了许多与中国文化不相符的行为，例如大口喝酒、误解林多的意思并将酱油倒在菜里，林多抛开文化差异接受理查实际上是对美国文化与中国文化差异的尊重和宽容。（河海大学）
"The Joy Luck Club" describes the conflict between mothers and their daughters in daily communication due to different cultural backgrounds, in order to eliminate the estrangement and conflict between each other, mothers have also made great efforts, after experiencing many conflicts and misunderstandings with their daughters, mothers tolerate their daughters' resistance and misunderstandings with a more tolerant heart, and they have been constantly assimilated and influenced by American culture, and have made many changes. Mothers who are heavily influenced by traditional Chinese culture don American-style shirts and trousers and speak broken English that their daughters mock. Lindo went from not accepting his daughter's elopement with her American boyfriend Richard at the beginning, taking off her shoes and beating her daughter's son-in-law in anger, to later accepting her daughter's American boyfriend and lovingly teaching Richard how to eat crabs. Although Richard did many things that were inconsistent with Chinese culture during the first meeting, such as gulping down alcohol, misunderstanding Lindo's meaning, and pouring soy sauce into the dish, Lindo's acceptance of Richard's cultural differences was actually a sign of respect and tolerance for the differences between American culture and Chinese culture. (Hohai University).

3.2.3中国的强盛促进中美文化融合
3.2.3 China's strength promotes the integration of Chinese and American cultures

在近几个世纪中，东西方之间的关系一直存在着一个不平等的状态，正所谓，“弱国无外交”，贫弱的国家在经济强生的国家面前自然处于“失语”的状态。《喜福会》中的母亲们于20世纪40年代移居美国，当时的中国兵荒马乱，国家积贫积弱。新中国成立后，中国共产党领导全国人民在治理国家和发展经济上经过了从计划经济到市场经济，从闭关自守到改革开放的探索过程，人民逐渐富裕，国家逐渐强大，中国越来越活跃在世界的大舞台上（山东社会）有着强大祖国之称的美国华裔们所代表的中国文化日益得到美国人多理解和尊重，从而与美国主流文化融合也成为必然。
In recent centuries, there has been a state of inequality between the East and the West, as the saying goes, "weak countries have no diplomacy", and poor and weak countries are naturally in a state of "aphasia" in the face of economically strong countries. The mothers in "The Joy Luck Club" emigrated to the United States in the 40s of the 20th century, when China was in turmoil and the country was poor and weak. After the founding of the People's Republic of China, the Communist Party of China led the people of the whole country to go through the process of exploration from a planned economy to a market economy, from self-isolation to reform and opening up, the people gradually became rich, the country gradually became stronger, China became more and more active on the world stage (Shandong society), and the Chinese culture represented by the Chinese Americans who are known as the powerful motherland is increasingly understood and respected by Americans, so that it has become inevitable to integrate with the mainstream culture of the United States.

4 Conclusion:

基于霍夫斯泰德文化维度理论，本研究从权力距离、个人主义与集体主义、阳刚气质与阴柔气质、不确定性规避、长期取向与短期取向、自身放纵与约束六个维度以及中美文化冲突与融合来分析《喜福会》文本背后蕴藏的文化内涵。本章将总结本研究的一些要点，尽管本研究仍存在一些不足之处，但希望能为对《喜福会》的解读提供一些参考与建议。
Based on Hofstede's theory of cultural dimensions, this study analyzes the cultural connotations behind the text of The Joy Luck Club from six dimensions: power distance, individualism and collectivism, masculinity and femininity, uncertainty avoidance, long-term orientation and short-term orientation, self-indulgence and constraint, and the conflict and integration of Chinese and American cultures. This chapter will summarize some of the main points of this study, although there are still some shortcomings in this study, it is hoped to provide some references and suggestions for the interpretation of The Joy Luck Club.

4.1 Summary of the Study

本研究运用霍夫斯泰德文化维度理论剖析了《喜福会》中展现的文化现象与人物关系，从而解释了隐藏在背后的深刻文化内涵与价值冲突，《喜福会》中的母女关系蕴含着冲突却也蕴含了中西文化的融合。
This study uses Hofstede's theory of cultural dimensions to analyze the cultural phenomena and character relationships shown in The Joy Luck Club, so as to explain the profound cultural connotations and value conflicts hidden behind them.

在权力距离维度上，母亲们传承的中国文化背景体现出较大的权力距离，重视长辈权威以及家庭秩序，而女儿们受美国较小权力距离文化影响，追求平等自主和独立人格，对母亲的传统权威模式产生抵触，与母亲产生冲突。
In terms of power distance, the Chinese cultural background inherited by mothers reflects a large power distance, attaching importance to the authority of elders and family order, while the daughters are influenced by the small power distance culture in the United States and pursue equality, autonomy and independent personality, which conflicts with the traditional authority model of mothers.

在个人主义与集体主义维度揭示了母亲们的集体主义倾向，她们以家庭整体利益为核心，期望女儿遵循家庭期望。女儿们则在个人主义环境下成长，注重自身的个体发展和自我价值的实现，这种差异导致母女间在生活目标等方面产生碰撞与沟通障碍。
In the dimensions of individualism and collectivism, the collectivist tendency of mothers is revealed, and they take the overall interests of the family as the core and expect their daughters to follow the family expectations. The daughters grow up in an individualistic environment, focusing on their own individual development and the realization of self-worth, which leads to collisions and communication barriers between mothers and daughters in terms of life goals.

在阳刚气质与阴柔气质维度方面，旧中国时期的传统价值观念使得母亲们与女儿们大多接受阳刚气质文化给她们的定位，无怨言地接受文化赋予的家庭妇女定位。然而随着时代的发展，女儿们接触到美国文化中强调女性平等和独立的观念后，开始对传统的社会定位产生反思与质疑，展现出更多元的个性特质。
In terms of masculinity and femininity, the traditional values of the old Chinese period made most mothers and daughters accept the position given to them by the culture of masculinity, and accept the position of housewives given by the culture without complaint. However, with the development of the times, after the daughters came into contact with the concept of women's equality and independence in American culture, they began to reflect on and question the traditional social positioning, showing more diverse personality traits.

至于不确定性规避维度，中国较高的不确定性规避使母亲们依赖传统经验，在教育和家庭管理中遵循固定模式及礼仪并且更愿用更含蓄的方式表达自己的观点，这便于乐于接受新事物、心直口快的女儿们产生一定的摩擦。
As for the uncertainty avoidance dimension, China's high uncertainty avoidance makes mothers rely on traditional experience, follow fixed patterns and etiquette in education and family management, and are more willing to express their opinions in a more subtle way, which facilitates a certain amount of friction among daughters who are willing to accept new things and are outspoken.

在长期取向与短期取向维度，母亲们受中国长期文化影响，节俭被视为一种美德，母亲们注重节俭和长远规划，而女儿们倾向于当下满足和及时消费，在生活观念上与母亲产生分歧
In terms of long-term orientation and short-term orientation, mothers are influenced by Chinese long-term culture, thrift is regarded as a virtue, mothers pay attention to thrift and long-term planning, while daughters tend to be satisfied in the moment and consume in time, and have differences with mothers in terms of life concepts

自由放纵与约束维度展现出母亲们遵循中国传统的约束型文化，在情感、行为、欲望上较为克制，女儿们则更追求个性化与自由化，不拘泥于传统的规范和束缚。这也成为母女间难以调和的矛盾点之一。
The dimensions of free indulgence and restraint show that mothers follow the traditional Chinese culture of restraint and are more restrained in emotion, behavior, and desire, while daughters are more individualized and free, and are not bound by traditional norms and constraints. This has also become one of the contradictions between mother and daughter that are difficult to reconcile.

通过对上述研究的总结，基于霍夫斯泰德文化维度理论及中美文化蕴含冲突和融合，可以对文化交流提出以下具体建议。
Based on Hofstede's theory of cultural dimensions and the conflict and integration of Chinese and American cultures, the following specific suggestions can be put forward for cultural exchange.

在文化融合与传承方面，移民及其后代置身于复杂多元的文化环境中，不可避免地面临文化认同挑战，需在继承本土文化的基础上接纳新文化，从而达成融合。《喜福会》中的女儿们既受美国文化的影响，又有中国文化作为她们的根基。在全球化的背景下，应积极寻找两者文化平衡，构建文化认同。不同文化背景的人在交往时，应互相尊重理解，提高对不同文化维度差异的敏感度，提前了解对方文化背景，调整交流策略，减少冲突误解，增进交流合作。
In terms of cultural integration and inheritance, immigrants and their descendants are inevitably faced with the challenge of cultural identity in a complex and diverse cultural environment, and need to accept new cultures on the basis of inheriting their native cultures in order to achieve integration. The daughters in The Joy Luck Club are influenced by both American culture and Chinese culture as their roots. In the context of globalization, we should actively seek a balance between the two cultures and build cultural identity. People with different cultural backgrounds should respect and understand each other, improve their sensitivity to the differences in different cultural dimensions, understand each other's cultural backgrounds in advance, adjust communication strategies, reduce conflicts and misunderstandings, and enhance exchanges and cooperation.

中美文化在多个层面展现出显著的差异，例如权力距离、个人主义与集体主义等维度的不同，在交流中，中美双方应秉持开放包容的态度，尊重彼此的文化差异，避免因文化误解而产生的冲突和偏见，应通过深入了解对方文化，建立感情纽带，更好地进行合作。国之交在于民相亲，两国人民间的友好交往是中美关系发展的基础。应继续鼓励和支持民间组织、社会团体、企业和个人之间各种形式的交流活动，增进两国人民之间的了解与友谊。
In the exchanges, China and the United States should uphold an open and inclusive attitude, respect each other's cultural differences, avoid conflicts and prejudices caused by cultural misunderstandings, and establish emotional ties through in-depth understanding of each other's cultures to better cooperate. Friendship between the two peoples lies in people-to-people relations, and friendly exchanges between the two peoples are the foundation for the development of Sino-US relations. We should continue to encourage and support various forms of exchanges between non-governmental organizations, social organizations, enterprises and individuals to enhance understanding and friendship between the two peoples.

在教育交流方面，中美双方应积极推动教育资源的共享与互换，通过互派留学生、师生交流等方式，让双方学生和教育工作者能够亲身体验不同的教育模式，汲取彼此之长，不仅有助于个人学术与职业素养的提升，更能在年轻一代的心中种下文化理解与包容的种子，为未来中美文化的交流与合作培养远远不断地新生力量。在家庭、商业等领域应建立有效的沟通机制，促进双方深入交流，可以再教育中开展跨文化课程，在企业中进行跨文化培训，帮助双方更好地理解彼此文化习惯和价值观。
In terms of educational exchanges, China and the United States should actively promote the sharing and exchange of educational resources, so that students and educators from both sides can experience different educational models and learn from each other's strengths through the exchange of international students, teachers and students, etc., which will not only help improve personal academic and professional quality, but also plant the seeds of cultural understanding and tolerance in the hearts of the younger generation, and cultivate a new force for future cultural exchanges and cooperation between China and the United States. An effective communication mechanism should be established in the fields of family and business to promote in-depth exchanges between the two sides, and cross-cultural courses can be carried out in re-education and cross-cultural training in enterprises to help both parties better understand each other's cultural habits and values.

4.2 Implications of the Study

这项研究的意义可以从以下三个来叙述。
The significance of this study can be described from the following three.

首先，它深化了跨文化文学的研究视角。传统对于《喜福会》的文学研究多聚焦于情节、人物形象、主题表达等方面，运用霍夫斯泰德文化维度理论进行研究，为这部作品开辟了全新的跨文化研究视角。它不在局限于文本表面的叙事，而是深入挖掘文字背后所隐藏的中美文化内涵。通过对权力距离、个人主义与集体主义、不确定性规避等维度在小说中的剖析能够解释出文学作品是如何成为文化的载体，反映不同文化群体的价值观念、行为模式以及社会结构。这有助于丰富文学研究的方法体系，为其他跨文化文学作品的研究提供可借鉴的范例。
First, it deepens the research perspective of cross-cultural literature. Traditionally, the literary research on The Joy Luck Club has focused on the plot, characters, and theme expression, and has used Hofstede's theory of cultural dimensions to open up a new cross-cultural research perspective for this work. It is not limited to the narrative on the surface of the text, but digs deep into the connotation of Chinese and American culture hidden behind the text. Through the analysis of power distance, individualism and collectivism, uncertainty avoidance and other dimensions in the novel, we can explain how literary works become the carriers of culture, reflecting the values, behavior patterns and social structures of different cultural groups. This will help to enrich the methodology of literary studies and provide examples for the study of other cross-cultural literary works.

其次，它增进了对中美文化差异的理解与认知。在全球化日益深入的今天，中美两国作为世界上具有重要影响力的大国，其文化交流与互动愈发频繁。然而由于历史、地理、社会制度等多种因素的影响，中美文化存在诸多显著差异。《喜福会》以移民家庭作为切入点，生动展现了中美文化在家庭与个人层面的碰撞与交融。借助霍夫四台的文化维度理论对小说进行研究，可以清晰梳理出中美文化在各个维度的不同表现形式，这种深入分析有助于两国人民更全面、客观、深入地理解彼此的文化差异，减少因文化误解而产生的偏见与冲突。
Second, it enhances the understanding and recognition of the cultural differences between China and the United States. In today's increasingly globalized world, China and the United States, as major countries with important influence in the world, have become more and more frequent in cultural exchanges and interactions. However, due to the influence of various factors such as history, geography, and social system, there are many significant differences between Chinese and American cultures. "The Joy Luck Club" takes immigrant families as the starting point, vividly showing the collision and integration of Chinese and American cultures at the family and personal levels. With the help of Hove's theory of cultural dimensions, the study of the novel can clearly sort out the different manifestations of Chinese and American cultures in various dimensions, which can help the people of the two countries to understand each other's cultural differences more comprehensively, objectively and deeply, and reduce the prejudice and conflict caused by cultural misunderstanding.

finally，研究《喜福会》文化维度对于现实中的跨文化交流与融合实践具有重要的指导意义。在国际商务、交流合作、外交关系等众多领域，中美两国的交流合作日益紧密。了解霍夫四台的理论各个维度上的差异和特点，可以帮助从事跨文化的人员们制定更有效的交流方式。同时，研究也为一名群体在异国文化环境中的适应与融合提供启示，鼓励他们在保持自身文化根基的同时，积极接纳和融入当地文化，从而推动整个社会层面的跨文化交流与融合过程。
Finallyly, the study of the cultural dimension of The Joy Luck Club has important guiding significance for the practice of cross-cultural communication and integration in reality. In many fields such as international business, exchanges and cooperation, and diplomatic relations, exchanges and cooperation between China and the United States have become increasingly close. Understanding the differences and characteristics of the various dimensions of Hough's theory can help people involved in cross-cultural communication to develop more effective communication methods. At the same time, the study also provides inspiration for a group's adaptation and integration in a foreign cultural environment, encouraging them to actively accept and integrate into the local culture while maintaining their own cultural roots, so as to promote the process of cross-cultural communication and integration at the whole social level.

4.3 Limitations of the Study

尽管有了上述发现，本文仍存在一些局限性。
Despite the above findings, there are some limitations to this paper.

首先，霍夫斯泰德文化维度理论是基于大规模的国家层面调研数据构建的宏观框架，在应用于《喜福会》这部文学作品所展现的个人层面与家庭层面的现象时，可能会出现尺度不匹配的问题。作品中人物的经历和情感纠纷具有高度的个体性与情境性、人物间具有错综复杂的情感纠葛以及细致入微的生活经历，该理论存在将复杂个体文化简单归类的问题，容易将复杂多元的个体文化现象生硬地归于宽泛的国家文化类别中。
First of all, Hofstede's theory of cultural dimensions is a macro framework based on large-scale national-level survey data, and when applied to the phenomenon of the individual and family levels presented in the literary work The Joy Luck Club, there may be a mismatch between the scales. The experiences and emotional disputes of the characters in the works are highly individual and situational, and the characters have intricate emotional entanglements and nuanced life experiences, which has the problem of simply classifying complex individual cultures, and it is easy to rigidly classify complex and diverse individual cultural phenomena into broad national cultural categories.

其次，理论具有静态性，它所描绘的文化维度在较长时间跨度内相对固定不变。而《喜福会》中展现的却是一个动态的文化交融与变迁的过程，尤其是在移民背景下，第二代移民的文化身份重构等现象难以在霍夫斯泰德这一相对固定的文化维度中得到充分的体现，该理论难以全面涵盖作品中文化演变的动态特征。随着时代的飞速发展以及全球化进程的迅猛加速，新的文化价值观、行为模式不断涌现，再这样的动态文化语境下，霍夫斯泰德文化维度理论由于自身的静态局限性，难以与时俱进跟上作品中的文化演变节奏，无法全面地剖析文化在移民经历中的多元性与动态性。
Second, the theory is static, and the cultural dimensions it depicts are relatively fixed over a long period of time. However, what is shown in "The Joy Luck Club" is a dynamic process of cultural integration and change, especially in the context of immigration, the phenomenon of cultural identity reconstruction of the second generation of immigrants is difficult to be fully reflected in the relatively fixed cultural dimension of Hofstede, and the theory is difficult to fully cover the dynamic characteristics of the evolution of Chinese works. With the rapid development of the times and the rapid acceleration of globalization, new cultural values and behavior patterns are constantly emerging, and in such a dynamic cultural context, Hofstede's theory of cultural dimensions is difficult to keep pace with the times and keep up with the pace of cultural evolution in his works due to its own static limitations, and it is impossible to comprehensively analyze the diversity and dynamics of culture in the migration experience.

再者，文化具有多元性与复杂性，她涵盖了社会生活的方方面面，包括但不限于语言、习俗、艺术、宗教信仰等多个维度。霍夫斯泰德文化维度理论仅从几个特定的维度进行剖析，可能忽略了作品中其他重要的文化内涵或其他因素。如宗教信仰在母女关系和家庭文化传承中的特殊作用等，它可能影响着家庭的价值观念、行为准则以及成员之间的相处模式，但是这一重要的文化因素确未在霍夫斯泰德文化维度理论中得到足够的重视与深入挖掘，从而使研究的文化视角不够全面，无法完整地解读《喜福会》所蕴藏的丰富文化。
In addition, culture is diverse and complex, and it encompasses all aspects of social life, including but not limited to language, customs, art, religious beliefs and other dimensions. Hofstede's theory of cultural dimensions dissects only a few specific dimensions, and may ignore other important cultural connotations or other factors in the work. For example, the special role of religious belief in the relationship between mothers and daughters and the inheritance of family culture may affect the values of the family, the code of conduct and the way members get along with each other, but this important cultural factor has not been paid enough attention and in-depth excavation in Hofstede's theory of cultural dimensions, so that the cultural perspective of the research is not comprehensive and cannot fully interpret the rich culture contained in The Joy Luck Club.

4.4 Suggestions for Further Research

首先，应引用动态文化研究模型，将霍夫斯泰德文化维度作为一个分析截面，综合考量时间、社会环境变化等因素对文化的影响，以解决理论静态性与作品文化动态性的矛盾。其次，拓展多元文化研究维度。在运用霍夫斯泰德理论这一维度外，纳入宗教、民俗等更多文化元素的研究视角，从而构建更全面的文化解读体系，克服原理论维度有限的局限。最后，整合运用跨学科的研究方法，结合社会学、心理学等知识，探究作品中任务文化观念背后的心理动机与认知模式，为从霍夫斯泰德文化维度理论出发的研究提供更丰富的阐释路径，提升对《喜福会》这类文学作品文化内涵研究的深度与广度。
First of all, the dynamic cultural research model should be introduced, and the Hofstedean cultural dimension should be taken as an analytical cross-section, and the influence of time, social environment and other factors on culture should be comprehensively considered, so as to solve the contradiction between the static nature of theory and the cultural dynamics of works. Second, expand the dimension of multicultural studies. In addition to the dimension of Hofstede's theory, the research perspective of more cultural elements such as religion and folklore is incorporated, so as to construct a more comprehensive cultural interpretation system and overcome the limitations of the limited dimension of the original theory. Finally, this paper integrates and uses interdisciplinary research methods, combined with sociology, psychology and other knowledge, to explore the psychological motivation and cognitive mode behind the concept of task culture in the works, so as to provide a richer interpretation path for the study of Hofstede's cultural dimension theory, and improve the depth and breadth of the research on the cultural connotation of literary works such as The Joy Luck Club.

Bibliography

Appendix A

Appendix B

Acknowledgement