The Dialogicality Of Mo Yan’s Novels

As the first Chinese writer to win the Nobel Prize in Literature,Mo Yan,with his unique sense of the rural world and firm folk stance,has created a series of works set in the northeastern countryside of Gaomi,presenting a different picture of the rural world and offering a new possibility for people to look at history and rural reality anew.Dialogue is a part of Mo Yan’s creation that cannot be ignored.He uses modern fictional techniques and combines useful components of folk literature to build a multi-layered dialogue pattern inside and outside the text.With the help of Bakhtin’s dialogue theory,this paper will focus on dialogue,explore and dig deeper into the dialogue within the text of Mo Yan’s novels,the dialogue between the texts,and the dialogue between the author and the readers,and consider the meaningful value of dialogue in Mo Yan’s fictional creation,in order to grasp Mo Yan’s creation more comprehensively.The thesis is divided into three main parts:The first part is the introduction,which briefly introduces the reason for the selection of the topic,compares the current situation of the research on Mo Yan’s novels at home and abroad,and finally presents the paper’s research concepts and methodologies.The second part is the main text,which is divided into four chapters.The first chapter is about the dialogue within the text of Mo Yan’s novel.It focuses on three aspects: the interaction of genres,the transformation of perspectives and the dialogue of language.Within the novel text of,Mo Yan’s insertion of different genres,such as songs and letters,has created an interactive dialogue between different genres while innovating the structure of the text.In the shift of perspective and exploration of narrative persona,the characters change from being the object of narration to being the subject of active dialogue,giving their own voice,and the text realizes the dialogues of the characters in the conversion of perspectives.At the same time,Mo Yan demonstrates the dialogic and carnivalesque nature of the language within the text through the use of diphthong forms such as parody,irony and dark dialect.The second chapter is about the dialogue between the texts of Mo Yan’s novels.The dialogue between Mo Yan’s texts is explored in four main dimensions: theme,character,plot and imagery.In terms of the novel’s themes,Mo Yan continues to write on such themes as "the degradation of the species" and family planning,revealing the author’s continuous concern for people and humanity while realizing the dialogue between different texts.In terms of characterization,Mo Yan sets up the eponymous character with the same type of character,which not only completes the characterization but also shows the lineage of character development in the dialogue.In the plot of the novel,Mo Yan sets up echoes and repetitions of the plot,forming an intertextual dialogue between the texts.Finally,In the use of imagery,Mo Yan deepens the connotation of imagery by writing repeatedly about the same imagery,showing the process of generating and constructing imagery in the dialogue of different texts.The third chapter is the dialogue between the author and readers of Mo Yan’s novels.It mainly analyzes from three dimensions: storyteller,"subtext",creative talk and speech.In his novel,Mo Yan creates a distinctive image of a storyteller on the one hand,and sets up people who listen to the story to complete the narrative of the novel together on the other,creatively developing the traditional "speaking-listening" model of storytelling and forming a dialogue with the virtual readers present.Mo Yan expresses the reasons for his creation and his thoughts through the introduction,the author’s words,and the "subtexts" such as the afterword and the surrogate afterword,forming a dialogue with the ideal reader.In addition,Mo Yan discloses his creative intentions through creative talks and speeches,and communicates directly with real readers.The connotation of the text is constantly deepened in the dialogue between the author and the reader.The fourth chapter is about the dialogicality and discovery of folklore in Mo Yan’s novels.It mainly explore the meaning and value of dialogue in Mo Yan’s novels.In the use of spoken dialect,Mo Yan showed the primitive and unrestrained vitality of the folk.In the process of subject construction,Mo Yan discovered a real folk voice different from the mainstream will,and realized an interactive dialogue between different discourses.In the light of the civilization of the countryside,Mo Yan not only saw the development and progress of the countryside,but also did not conceal the suffering and cruelty that still existed in the countryside,showing a real folk world where suffering and cruelty,development and progress coexist.The third part is the conclusion,which summarizes the dialogue of Mo Yan’s novels.By studying the dialogue of Mo Yan’s novels,it can be seen that Mo Yan’s novels realize multiple dialogues inside and outside the text.The dialogue of the novel not only shows the subjectivity of the individual,but also reflects Mo Yan’s thinking on multiple values.More importantly,it presents readers with an authentic civil society,allowing folk culture,long banished from mainstream culture,to be valued and folk discourse to be made visible.Although Mo Yan’s sense of dialogue and innovation has also created certain limitations in his writing,his consciousness of writing personal and legendary history from a folk standpoint also offers a new way of thinking about history.