| The research object of this dissertation is Mo Yan's novels creation and Chinese oral literary tradition.In his novel "sandalwood torture",Mo Yan mentioned in the postscript "great strides retreat",and later he repeatedly discussed on the "retreat"connotation.According to Mo Yan's own interpretation and his creative practice,we can confirm that Mo Yan's "retreat" is mainly to the return of Chinese oral tradition.There is no doubt that in the time which learned to the west Mo Yan's creation is indeed in the "retreat",and he is almost in the "traditional" at the beginning of his writing,and his "retreat" is so quite thorough that he has been "retreat" to the starting point of novel.Mo Yan "retreat" to the origin of the Chinese oral tradition,he led us to return to the original folk story situation,led us back to the period in which we listened stories around next to the adult.He used his original and modern creation interpreted the embryology of Chinese contemporary novels.According to the concept and connotation of the oral tradition,this paper mainly discussed on the association between Mo Yan's novel and China oral literary tradition from the traditional oral natural nourishing and the conscious pursuit of writing ideas,the decline and rise of the story,inheritance and development of traditional professional storytelling,the use of local dialect and proverb,Learn from folk songs and folk playlet.In the introduction part,the paper mainly explains the origin of the topic,the present research situation,the necessity of the research,the concept of oral tradition and the research methods.In order to avoid unnecessary disputes,the concept of the oral tradition is especially carded and cleaned up,and it is also that the concept and connotation of the oral tradition is the basis of defining the content and structure of this paper.The first chapter mainly discusses on the necessity and possibility of regression to the oral literary tradition from two aspects of Mo Yan through the oral tradition of natural nourishment and writing idea of the conscious pursuit,which also provide a basis for further expansion of the following chapters.Mo Yan was born in the Peace Village big bar Township GaoMi City Shandong provence,as rural areas the cultural level is relatively backward,few people read books,also does not see more,which provided the soil for the development of oral literature,and folk tales from the word of mouth has become the main transmission path of folk oral literature.As be influenced by what he constantly sees and hears from folk tales,he naturally becomes a beneficiary and a heir of oral literature.In addition,Mo Yan was also very like to listening to the stories from the professional story-teller when he was a small boy,and showed his storytelling talent.Also,because of some reason,Mo Yan' was leaved from school,did not experience education in junior high school and high school,and this "unfortunate" made him into the the ocean of the oral folk literature to absorb enough nutrition.Mo Yan not only was subconsciously influenced by oral literature,and he soon established to return the writing idea of the oral tradition.The influence of Chinese literary tradition and the conscious pursuit of writing ideas make it necessary for Mo Yan to draw the narrative art of Chinese oral literature in his works.The second chapter mainly discusses the important position of the "story" in the novels of Mo Yan and what is the important significance of this novel concept to tell the story in contemporary fiction creation.At the same time,it also discusses the insertion,deletion,and narrative function of folk stories in Mo Yan's novels,discusses the aesthetic significance of bawdy stories in Mo Yan's novel,also discusses the whole story style of Mo Yan's novels.The story is the center for the Chinese classical vernacular novels,then only to the modern times,due to the influence of Western literature,especially since "five four," novels is becoming poetic and prose,there are many writers and theorists have put forward different from the traditional novel point of view.In the new period of the 1980s,the topic whether it needs story of the novel is very popular,and it is the contempt for the story,and there is the tendency of the abstract creation of the novel.This is not only in the contemporary China,that is,in the West to provide theoretical resources and writing experience,but also to express the story is different from the traditional view,storytelling has been regarded as outdated writing methods.So,from a historical perspective,from the perspective of the changing world story in the novel,it can better embody the traditional and unique of Mo Yan's novels,but also embody Mo Yan insists his courage,reflecting Mo Yan's broad mind,broad vision and unconventional wisdom.When the memory of Mo Yan's childhood was aroused,the resources of oral literature came into his eyes,and brought them into the writing of his novels.On the one hand,in his novel Mo Yan taking the oral tradition skills telling the story,on the other hand,through direct narration,paraphrasing or making folk tales into the experience of the characters in the novel,etc,Mo Yan merged these folk stories with the plot of the novel and the main story of the novel without leaving any flaw.These embedded folk tales have the narrative function of the continuation of the story,enhancing the theme of the novel,creating and rendering the atmosphere of the novel.Mo Yan himself has been carefully considered for the folk tales embedded in his novels,however,it is undeniable that there are very few folk tales embedded in the novels and disjointed with the main story,resulting the defect of the narrative arts to a certain extent.Mo Yan's novels are deeply influenced by Chinese folk oral literature,as an important category of Chinese folk oral literature,obscene folklore plays an important role in Mo Yan's novels.The writing standpoint of the folk writing,the writing idea of returning to the oral tradition,and the carnival style of his creation make Mo Yan insert obscene folklore in his novels without avoiding the vulgar charge.The insertion of obscene folklore reflects the function of sexual initiation and sex education,which is helpful to reveal the complexity of human nature and shape the characters in the novel.The insertion of the story can deepen the theme of the novel,give the novel a more open interpretation of space,help to fully understand the character suffered by the sexual repression psychology,get a more accurate understanding of the characters and their motives.The obscene folklores make the depression of "living" and "sex" a certain degree of relief.Civil life is too heavy and they need to resist the suffering of life by the laugh of the obscene folklores.Folk tales embedded in the novels of Mo Yan and embedding style and narrative function,like the tip of the iceberg,reflecting the contact between Mo Yan's novels and oral literature.But in fact,if only from the perspective of overall Mo Yan's novels,it can also be seen in Mo Yan's novels in terms of form and content,or from the language the structure is closely linked with the oral traditionThe third chapter is the study of Mo Yan's novels on the inheritance and innovation of traditional professional storytelling.Mo Yan's novels have been influenced greatly by Chinese traditional storytelling.Firstly,it is the reconstruction and variation in Mo Yan's Novels' "Quasi story-telling site".Mo Yan's novels mostly contain multiple narrative levels,and levels of the narrator obscured the feature of the storytelling of the story level narrated by the narrator.The narrator of the story level tells stories to the storyteller's identity in his tone,jumps out of the story and intervenes to the narration.The story is their own or been associated with themselves,so it can be seen the "related story" told by the full of personalized narrator of Mo Yan's novel,and so this narrator is very different to the traditional storytelling mode of the "different story" storyteller.In Mo Yan's Novels "tell-listen" of narrative patter,each character is specific,storytelling sites are diversified,and the tone of storytelling is chat style,which have made the form of the storyteller from the traditional monologue type into a dialogical type,from one-way infusion to two-way communication.Secondly,it can be seen from the narrative feature of jumping in and jumping out,telling and discussing.In the story the narrator's comment is one of the most distinctive features of the traditional storytelling.Mo Yan as a storyteller influenced by traditional writer,in his novels maintains full calm and objective,but we can feel the writer's voice in his works and we can see the writer's intervention.Thirdly,Mo Yan's novels also reflect the Greenwood tradition inherited from the traditional storytelling,and present some legend hero.Mo Yan influenced by traditional storytelling,his novels have a relationship between the historical romance,hero legend,novels,and other types of chivalrous and detective novels,and have a remarkable feature of the legendary chivalrous and outlaws of the marshes.Fourthly,as to Mo Yan's novel language is influenced by the art of storytelling,so it is often synonymous,does not care about the language concise,but casually spits out,thus forming a vital language of great momentum.This can be seen from several aspects,such as Mo Yan like to use parallelism,elegance and communion,and pay attention to the language style of hybrid.The fourth chapter mainly discusses the use of local proverbs,folk songs and folk playlet in Mo Yan's novels.As a writer of rural origin,Mo Yan is familiar with proverb saying in the heart,and he has made full use of them in his writing.Folk songs is popular in folk and Mo Yan was influenced by this kind of oral literature subtle in his novel,making full use of all these kinds of resources to create folk characters,express thoughts on society and life,show unique customs,praise and sincere love,build wild novels mysterious atmosphere and reveal the carnival spirit and life,but also with the ballad to construct a unique world of children.Mao Qiang,LvJu,Liu Qiang and so on,these are all Shandong folk playlets.Mo Yan is very familiar with them and the cultural connotation has become part of his life,once it is realized to hold high the banner of northeast Gaomi Township literary Kingdom,folk opera appeared in his novels is only natural.Folk drama in Mo Yan's novels exhibit chaotic vast folk life and heroic,and the structure of "play in play" plays an important role to shape the character,promote the development of the plot.Mo Yan's"sandalwobd torture" of "retreat" is to play to speak,to express one's emotion,to narrative all through folk playlets,which makes the whole novel echoed the opera melody,and makes "dramatic fiction,fiction drama" effect.The sixth chapter mainly discusses the return of Mo Yan's novels to the oral tradition and the maintenance of t'he world.Mo Yan's narrative art has undergone a series of changes.The first is from the original in accordance with the theory of writing textbooks to avant-garde writing under the influence of Western literature,and then from the avant-garde writing under the influence of Western literature to escape Western influence to return to traditional writing.However,in the process of returning to the oral tradition,the pioneer of Mo Yan's works has never changed.When he is in the use of oral tradition artistic form,he will also miss the modern techniques,and in the use of modern techniques he will reflect on the excessive use of techniques to prevent works "incomprehensible".Mo Yan turns to the national narrative tradition to draw nutrition when Chinese is in blind to the study of Western literature,while the West novel skills have not been abandoned in his good writings.It can be said that the creation of Mo Yan is seeking the perfect fusion of traditional and modern,and he tries to make his creation both local distinctive but also full of worldliness.The characteristics of Mo Yan's novels are more obvious in comparison with.the "new storytelling" writer Zhao Shuli's novels.The conclusion of the paper is to explore the important significance of Mo Yan's writing returning to the Chinese oral tradition,that Mo Yan can keep nationality and not to lose the globalization of creation provides a reference for the path selection of nationalization of China contemporary literature. |
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