Pai Hsien-yung: Chinese literature: Literature in Taiwan after of these writers, such as Pai Hsien-yung, author of Yu-yüan ching-meng (; Wandering. I Lived, I Lost, I Remembered: Individual Responses to National Memory in Mu Xin 木心 and Pai Hsien-yung 白先勇. Wu Meng 鄔蒙. The University of British. Webcast sponsored by the Irving K. Barber Learning Centre and hosted by the UBC Department of Asian.


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An emeritus professor pai hsien yung East Asian languages and cultural studies at UC Santa Barbara, Pai is considered one of the greatest living writers of Chinese fiction and an author of seminal works of Chinese modernism.

All events are free and open to the public. In addition to his writing, Pai pai hsien yung known for his scholarly research and literary activism.

Prof. Pai Hsien-yung's talk - Category: A Talk with Prof. Pai Hsien-yung

Following a catered lunch, Pai will participate in two roundtable discussions about his films. The continuity hinted at in Fong Fong's last letter is consequently weakened.


Both stories show individuals making different choices in response to the personal disruptions wrought by national turmoil. While Chen Yin and others try to reconcile themselves to the discontinuity and live in the present, Li T'ung struggles to maintain her integrity.

Li also lives at a much faster tempo, an accelerated version of the story of her generation. The weight of this temporal pai hsien yung hits home in the reaction of Li T'ung's pai hsien yung to the news of her death, which C.

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Hsia has called 'one pai hsien yung the best' scenes 'in modern Chinese fiction for its firm, concrete realization of pathos unaccompanied by a trace of sentimentality. Li T'ung's destiny is their own, and in her anxious fight against time, she outpaced them all, dooming them to repeat her suffering in slow motion.


In 'Fong Fong', the process is reversed. Fong Fong, unlike Li T'ung, lives at the same pace as her generation.

紐約客 by Pai Hsien-yung

Like many young people, she is sent to a faraway province to work on a farm, and during the Cultural Revolution she is relocated again to the remote northeastern province of Heilongjiang where she starts a family, is allocated a banal job and bears children.

From the narrator's perspective, the discontinuity between who she is and who she was is unbearable, but her response is apathetic; she accepts her reality and allows it to transform her. Notably, Fong Fong first strikes the musician as an object of sexual desire during the time she works on the farm.

Far from destroying the delicate pai hsien yung student, farm work brings out her womanly beauty and sexual energy. The supposed 'bad' time has resulted in a joyous and desirable change in her.

In pai hsien yung last meeting after the Catastrophe, the garrulous, old Fong Fong tells her saga in an impassive manner, her self-narrative and appearance conforming to the class stereotype.


Once again, she lives at peace with the 'bad' time; indeed, no time is 'good' or 'bad' for her. Fong Fong's discontinuous identity troubles the musician, but she is in accord with the community, pai hsien yung with her time.

Modern Master

The musician presents himself, in sharp contrast to Fong Fong, as a stable subject through time. He summarizes his misfortune in the Catastrophe in a brief paragraph, presenting only a minimal narrative of his sufferings: We learn that he not only regained his former social status, but has won pai hsien yung.

His self-impression is confirmed by Fong Fong, who is shocked that that the musician is still alive and still looks young: However, this continuity is not something the musician takes delight in. The utopian vision of 'New Men' and a 'New Nation' celebrated by the Communist regime has made rupture a prevailing factor both in the national narrative and in individual life, as those who are 'still' pai hsien yung 'same single selves' are now the ones marginalized.

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