This paper discusses the concept of sisters friendship, which extends from kinship to women's social relations based on common life experience and rights demands, reflecting the development of gender based social relations.

Sisters friendship towards community

Explored the evolution of female friendship in Western literary history and its relationship with social status and rights. From ancient times to the Middle Ages, women were marginalized due to a lack of citizenship, and their friendships were mostly limited to the private sphere. During the Renaissance, the socialization and openness of women's friendships began to be linked to the struggle for equal rights. From the 11th to the 13th century, aristocratic women gained certain rights in the fields of family and society. In the late Middle Ages, the concept of gender equality emerged and the status of women was elevated. Starting from the 16th century, upper and middle class women in Europe began to gain social communication rights and expressed their emotions towards same-sex friends through Neoplatonism. In the 17th century, women's salons were popular in France, where noblewomen expanded their circle of friends and friendships crossed genders and social classes. In the 18th century, women's literary salons such as the Blue Sox Society emerged in England, where participants discussed literary, social, and political issues and participated in social activities. Around 1800, the Romantic movement encouraged women to express friendship, and women's schools, seminaries, and universities were established. Women's magazines celebrated women's friendship. In the 20th century, technological development, widespread education rights, and two world wars provided opportunities for women to participate in social life. In the climax of the feminist movement in the 1960s, "sisters friendship is strength" became a loud slogan, advocating an independent women's movement based on sisters friendship. However, in the 1980s, this advocacy was resisted due to neglecting factors such as race and class. Since the 1990s, global flows have brought about transnational cooperation, the feminist movement has moved towards leapfrogging and unity, and global sisters friendship has become a new pursuit. At the same time, the academic community pays attention to the internal homogenization tendency of "sisters friendship", and the research focus shifts from female commonness to difference. Sisters friendship has become a cultural symbol and poetic discourse, which is an important symbol for feminists to construct a female community.

The 'Bai Na Bei' as a cultural metaphorical symbol

In the second half of the 20th century, feminism, civil rights and other movements promoted the exploration of the history of sisters friendship, in which the narrative and aesthetic of "Baina Beibei" were endowed with rich cultural connotations. There are multiple theories about the origin of the baina, but they are all closely related to women's lives. In the 1890s, women in Britain and Africa responded to material scarcity by sewing barnacles, forming a socially functional "sewing party". Baina is not only the purpose of gatherings, but its aesthetic function and cultural connotation are also increasingly prominent, becoming a symbol of women's emotions, unity, and cooperation. Black female writers such as Morrison and Walker frequently use the scene of sewing bagels in their works as a symbol of female family history inheritance and mutual support. Bana has become a carrier of cultural memory for black people, reflecting the sense of community and political ideals of black women. Walker symbolizes the personal growth and self redemption of black girls in "The Color Purple" through the use of the Belle. In The Choice of sisters, Schovalt explores the cultural and aesthetic connotation of the quilt as a metaphor for the secret cooperative relationship between women. Since the second half of the 20th century, the concept of equality, difference, and diversity in Bai Na has been fully explored and has become a metaphor in political and aesthetic sense. The narrative and aesthetic aspects of Baina have also been borrowed by other ethnic minority writers, such as Tan Enmei's integration of Baina style narrative and traditional Chinese culture in "The Joy Luck Club".

The narrative of 'Bai Na Bei' in 'The Joy Luck Club'

In the second half of the 20th century, Chinese American women's literature developed rapidly, focusing on female themes, especially intergenerational conflicts and contradictions between mothers and daughters in Chinese families. The rise of female writers is related to ideological liberation such as the women's movement, civil rights movement, and pan Asian movement. Women's organizations in the Asian women's movement call for equal rights and promote the development of Chinese women's subjectivity. However, traditional Chinese culture and the cultural enclaves of Chinatown in the United States have strengthened the attachment and identification of the first generation of female immigrants with traditional female identities, leading to cultural games and intergenerational conflicts. Through the stories of four Chinese mother daughter pairs in "The Joy Luck Club," Tan Enmei portrays the conflicts and reconciliation between mother and daughter, transcending the scope of the family and presenting within the cultural community of the "Joy Luck Club. The novel portrays Wu Jingmei replacing her deceased mother and becoming a member of the Mahjong Club. Through playing Mahjong, she learns about her mother, eliminates misunderstandings, and achieves self reconciliation. The story is divided into four parts, with the mother and daughter alternating between telling Chinese stories and American life, forming a circular structure. The narrative style is like sewing a quilt, with individual narratives embedded in collective narratives, spreading the historical picture of the family, nation, and country. The stories of four mother daughter pairs, such as "Bai Na Bei", showcase the life scenes of Chinese women, express the emotions and strength of unity and cooperation, and connect the mother daughter relationship and ethnic historical and cultural identity, becoming a friendly community that combines blood, geography, and spiritual community functions, demonstrating the pursuit of an ideal community.

From Cultural Aggregation to Harmonious Coexistence: Women's Wisdom in Mahjong Club

Explored the "Joy Luck Club" as a cultural aggregation link for Chinese American women, and compared to the 19th century sewing party, it incorporated more Eastern wisdom in the context of multicultural conflict and integration in the 20th century. The Joy Luck Club embodies the spiritual needs of women, resolves gender conflicts, cultural clashes, and intergenerational conflicts, and showcases the resilience, optimism, adaptability, and integrated survival strategies of Chinese women. The Xifu Club was first born in Guilin, China. It was a mahjong club called by Wu Suyuan, which became a way for them to forget their pain and uplift their spirits in extremely harsh environments. In a foreign country, the Joy Luck Club has become the entertainment and comfort for the mother generation to recall the memory of their homeland and forget the real pain. They have unique language, clothing and food, created a third space and cultural enclave dedicated to Chinese Americans, and demonstrated the strong vitality of Chinese American women.