On The Agreement Between Mo Yan’s Novels And Nietzsche’s Aesthetic Thought From The Perspective Of Dionysian Spirit And Tragedy

This paper mainly focuses on the correspondence between Dionysian spirit and tragic outlook on life in Mo Yan’s novels and Dionysian spirit and tragic idea in Nietzsche’s aesthetic thought.The core of this paper is to interpret and explain Mo Yan’s novels through Nietzsche’s aesthetic thought.Nietzsche’s aesthetic thought mainly lies in elucidating its core concept "will to power" by relying on Dionysian spirit,and its fundamental purport is to further achieve the purpose of reassessing the value of life on the basis of reassessing tragic art.Therefore,his aesthetic thought revolves around irrational and procreative Dionysian spirit and breaking through the tragic life view of death and suffering.The reason why Nietzsche’s aesthetic thought is chosen as the theoretical viewpoint to interpret Mo Yan’s novels is that with the surge of western literature and philosophical thought in 1980 s,it became the focus of Chinese young students’ attention and discussion,and after the third heat wave of Nietzsche’s aesthetic thought was introduced into China,Mo Yan’s novels,as a young writer who began to be active in the literary world in 1980 s,could not avoid the influence of western literature on him,and his novels were full of traces of Nietzsche’s aesthetic thought.Mo Yan expressed the irrational Dionysian spirit positively in his concrete work Red Sorghum and negatively in Wine Country.In his many long and short stories,he tried his best to show the hero’s publicity of the original desire of life and freedom of sex,and his eulogy of reproductive image and worship.These are the docking between Mo Yan’s novels and Nietzsche’s aesthetic thought.However,his meticulous description of suffering in his work Breastful Breasts and Fat Buttocks,his extreme description of death in Sandalwood Punishment,and his repeated narration of eternal vitality in many works are highly consistent with Nietzsche’s aesthetic philosophy of "tragedy".By interpreting and explaining Mo Yan’s novels through Nietzsche’s aesthetic thought,we can show his novels from a brand-new perspective,and make a more comprehensive and complete interpretation and appreciation of the aesthetics of Mo Yan’s novels.This paper is divided into three chapters.The first chapter,first of all,summarizes the two important dissemination periods of Nietzsche’s aesthetic thought in China in the 1920 s and 1980 s,and the profound influence of the dissemination of thought on the society and literati at that time;Then it expounds the theoretical support of Mo Yan’s works in accordance with Nietzsche’s aesthetic thought and the realistic possibility of Mo Yan’s acceptance and absorption of Nietzsche’s aesthetic thought.The second chapter discusses the connection between Mo Yan’s novels and the Dionysian spirit in Nietzsche’s aesthetic thought,which is one of the two main bodies of this paper.This chapter is divided into two sections.Firstly,this paper expounds the irrational Dionysian spirit in Nietzsche’s aesthetic thought.Based on this theory,the author emphatically analyzes Mo Yan’s two novels: Red Sorghum,which is writing irrational Dionysian spirit,and Jiuguo,which is writing irrational Dionysian spirit in reverse.Through these two works,this paper discusses the connection between Mo Yan’s works and irrational Dionysian spirit in Nietzsche’s aesthetic thought.Secondly,it expounds Mo Yan’s novels’ description of the original desire of life and freedom of sexual love,as well as the description of reproductive images and worship,which are in line with Nietzsche’s theoretical thought of boldly seeking reproduction in the spirit of Dionysus.The third chapter discusses the agreement between Mo Yan’s novels and Nietzsche’s aesthetic idea of "tragedy",which is the second main body of this paper.This chapter is divided into two sections.On the basis of clarifying what Nietzsche’s aesthetic philosophy of "tragedy" is,the first section discusses the concept of "tragedy" embodied in "Fat Breasts and Buttocks",which depicts suffering,and "Sandalwood Punishment",which writes death.In the second section,it expounds the bloody life bodies that are still unyielding under the hardships and struggles in Mo Yan’s novels,and the eternity of life achieved by individual life in suffering and death,all of which are highly consistent with Nietzsche’s tragic outlook on life.