Abstract
Abstract This article mainly draws on Kam Louie’s wen/wu paradigm of Chinese masculinities and R. W. Connell’s concept of hegemonic masculinity to examine the representation of diasporic Chinese wen masculinities in the popular Chinese television drama A Native of Beijing in New York and Ha Jin’s novel A Free Life. The article argues that the two texts suggest there is no monolithic and static diasporic masculinity among contemporary immigrant Chinese wen men in the US; rather, immigrant Chinese wen men are constantly negotiating, forming and performing their diasporic masculinity according to their specific financial conditions, personal aspirations, as well as the economic situations in China.
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