Yesi
Yesi (1948-January 6, 2013), whose real name is Liang Bingjun, was a native of Xinhui, Guangdong, and was the director of the Chinese Department of Lingnan University in Hong Kong.
Yesi has profound attainments in poetry, prose, novels, literary criticism, cultural studies, etc.
Won the "Thumb" Poetry Award and the "Art Alliance" Hong Kong Writers' Annual Award.
Chinese name: Liang Bingjun
Alias: Yesi
Nationality: Chinese
Birthplace: Xinhui, Guangdong
< p>Date of birth: 1948Date of death: January 6, 2013
Occupation: Writer
Graduation institution: Hong Kong Baptist University
p>Main achievements: "Thumb" Poetry Award
"Art League" Hong Kong Writers Annual Award
Representative works: "Paper Cutting", "New Year's Eve in Kunming", " "Mythical Lunch"
Character's Life
In 1949, he arrived in Hong Kong.
At the age of four, his father died.
At the age of 20, he started writing columns.
In the 1970s, he participated in the editing of "China Student Weekly".
After graduating from the Foreign Languages ??Department of Hong Kong Baptist University, he worked in a newspaper and as a middle school teacher.
In 1978, he went to the United States to pursue graduate studies.
In 1984, he received a PhD in comparative literature from the University of California, San Diego.
Teaches in the Department of English and Comparative Literature of the University of Hong Kong.
Serves as the head of the Chinese Department of Lingnan University in Hong Kong. He teaches literature and film, comparative literature, Hong Kong literature, modern literary criticism, and Chinese literary creation. etc. subjects.
In 2010, he confirmed to the media that he had lung cancer.
In 2012, the Hong Kong Book Fair specially invited Mr. Yes as Writer of the Year in recognition of his outstanding achievements and contributions in the literary world over the past half century.
Died in Hong Kong on January 6, 2013, at the age of 65.
On Characters
Collection of Essays
"Mythical Lunch"
"Landscape Characters"
"City Notes" ", Taipei Dongda Book Company, 1987
"The Moon Beyond the Boundary", Zhejiang Literature and Art Publishing House, 2000
"Walking in Berlin", Sanlian Bookstore, 2003
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"The Taste of the World", Renmin University of China Press, 2012
Collection of Poems
"The Gray Dove's Words in the Morning" Young Lion Literature and Art Society, first edition in November 1972, 1973 Reprinted in March 2018
Thunder and Cicada's bimonthly magazine first published in August 1978
"Free Poems" Oxford University Press first published in 1995
< p>"Museum""Thoughts on Clothes"
"Halfway: Selected Poems of Liang Bingjun" won the Hong Kong Chinese Literature Biennial Award.
"Floating Algae: Poems", China Federation of Literary and Art Circles Publishing Company, Bauhinia Book Series, 1995.
Collection of essays
"New Year's Eve in Kunming", Anhui Education Press, 2012.
"Books and City", Zhejiang University Press, 2012.
Novel Collection
"Island and Continent"
"Paper Cutting"
"City of Memory"
"Imaginary City"
"The Journey of the Troubled Doll", Lijiang Publishing House, 1996, full-length novel.
Collection of Reviews
"Hong Kong Cultural Space and Literature", Qing Bookstore, 1996.
"Ten Essays on Hong Kong Culture", Zhejiang University Press, 2012.
Photography Collection
"Yesi's Hong Kong"
Source of pen name
"Yesi" is a combination of two meaningless words .
According to him, the pen names used by people in the past often had certain meanings, allowing people to have a feeling for the author before even reading the work.
So Yesi hopes to break through this and use words that have no meaning as pen names.
So I chose two common function words in classical Chinese sentences as pen names.
It is also said that there is a word "Si" in the name of Yesi's father, so his son is "Yesi". (The Summer Reading Hero Club of the Chinese Language Newspaper on the first grade of junior high school)
Literature establishes Hong Kong
In the eyes of many people, Yesi used his literary works to establish Hong Kong’s cultural subjectivity and Agree. Liao Weitang said, "I think Yesi is not just a poet, not just a writer. His influence on the entire Hong Kong culture is very great, especially the influence on the local identity of Hong Kong culture. This effect is similar to that of many political commentators. , cultural criticism scholars rely on appeals and arguments. He truly uses his works to lay the foundation for cultural identity. Without cultural works, it is useless to advocate that Hong Kong has local culture and literature. Novels, cross-border art, etc. have established Hong Kong culture."
Hong Kong cultural figure Chen Guanzhong has a similar view to Liao Weitang. He told the Morning Post reporter: "Yesi has known for a long time that Hong Kong must have its own voice. He uses his own method to speak, and he has critical refutations of foreign views on Hong Kong and those who speak for Hong Kong.
Although he is a gentle person and his articles are gentle, he is resistant to external discussions. He was one of the first people to slowly awaken to the subjectivity of Hong Kong. Chen Guanzhong has known Yesi since the 1970s: "When I was still in middle school, I began to read his works, such as those published in the "China Student Weekly" at that time. We have known each other for a long time, and he also did several special topics on "Outside the Number", which I edited. My novel "Nothing Happened" was also handed over to him and published in a series edited by him. "
Liang Wendao did not use words like "subjectivity" to define Yesi's creation. He used "cultural sensibility." Liang Wendao told the Morning Post reporter, "I think that's the case. We can say How many magazines he has published, how many new trends of thought he has introduced, how many students he has taught, and how many literary and art societies he has founded, but in my opinion, none of these are important. His writing, especially his writing from the 1970s to the late 1990s, shaped, in my opinion, a cultural sensibility. What this sentence means is that the cultural people in Hong Kong are very different from those in mainland China and Taiwan. My friends from Mainland China are more vigorous, and they don’t mind writing big things when they write, and they have no objection to their own identity; Taiwan has a kind of warmth, even sometimes to the point of being sentimental; Hong Kong has a kind of coldness, and this coldness is not He is not interested in the work he is doing, but he is very persistent, but he will not say what great things he is doing, and he is even afraid of showing his emotions. This kind of Hong Kong cultural sensibility that is more speculative, doubtful and hesitant is largely defined and shaped by Yes's works. Hong Kong intellectuals of his generation, including him, Chen Guanzhong, Wing Nian-zhen, etc., all have this strange cold tone, and it can be particularly seen in Yesi.
His early novel "Paper Cut" is very important. There were no literary works from the three places in the 1980s written like this. It is very Hong Kong. A cultural person working in the media, take a step back and think about what you are doing. It can be seen from this that Hong Kong was the first to enter a contemporary capitalist city. He was the first to think about what such a city was, and what was the relationship between this kind of city and capitalist cultural production? He reflected very early on. This kind of reflection is not a fierce criticism or a direct confession, but always hesitant and self-deprecating.
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