Nationalism and Identity Crisis: Analyzing “Farewell to My Concubine” Through Historical Contexts

Abstract

Derived from the traditional Peking Opera “Farewell to My Concubine,” Li Bihua’s adaptation depicts the characters navigating through China’s most tumultuous 20th-century period, marked by multiple ideological shifts and wars. Against this backdrop of societal upheaval, the characters grapple with profound identity crisis and uncertainty. This paper contends that Li’s novel reflects the challenges posed by nationalism and the ensuing crisis of self-identity. The study explores the characters’ responses across various transitional phases: from the late Qing Dynasty to the Republican Era, from Japanese colonial rule to Communist Party governance, and the period preceding Hong Kong’s return. Additionally, the paper analyzes how the complex relationship between protagonists Duan Xiaolou and Cheng Dieyi borrows thematic elements from the original Peking Opera play. Furthermore, it examines the fluctuations in the evolution of traditional Peking Opera plays amidst the rise of anti-feudalism. By exploring the anxiety and uncertainty prevalent among the populace leading up to Hong Kong’s return, the novel’s adaptation amplifies the theme of self-identity ambiguity. It heightens the sense of historical significance compared to its truncated film version. The study selects Li’s text as its primary source due to its comprehensive exploration of the themes of identity crisis and belongingness, which can be triggered by ideological shifts enforced by colonial powers or domestic politics. Despite being set in 20th-century China, individuals with analogous experiences may still find domestic and international resonance in contemporary times.