The Study Of Mo Yan's Novels From The Perspective Of Narrative Exchange

The narratology and narrative theories of Bakhtin, Wayne C. Booth, Seymour Chatman, Rimmon-Kenan and Jakob Lothe are particularly suitable for the interpretation of Mo Yan's novels, which provides a valuable perspective for the study of Mo Yan's novel narrative. Their theories are that every novel has a narrative communication mode including author, implied author, narrator, narratee, implied reader, and reader, which is a dynamic system. The novel narrative is a part of history that makes a contribution to the historical process from the inside.Mo Yan's novels vividly reflects above narrative theory, which highlight the characteristics of dialogue through '"double otherness", powerful and unconstrained style of narrative, free discourse, the advocation of "as people writing", and the positive interaction with readers in his novels. According to this narrative communication mode, we evaluate Mo Yan's novels objectively from the textual discourse, real communication,textual subject of Mo Yan's novels, which consists of six chapters below.Chapter one, "Internal context of Mo Yan's novel narrative",analyzing Mo Yan's experience and "Double otherness" that has a civilizing influence on novel narrative. The geographical, cultural and ecological environment and Mo Yan's difficult childhood experience in his hometown is a well of Mo Yan's novels. Mo Yan retains an ambiguous attitude toward his own hometown: "I didn't realize until I'd grown up that Northeast Gaomi Township is easily the most beautiful and most repulsive, the most unusual and the most common, most sacred and most corrupt, most heroic and most bastardly,hardest-drinking and hardest-loving place in the world." It is the original power in Mo Yan's Novels. Mo Yan looks for the lost or spiritual hometown through the desire of the historical narrative.Chapter two, "External context of Mo Yan's novel narrative", stressing on the analysis of Moyan's writing background. In western learning spreading to the East,emerging at a time in the mid-1980s when young Chinese writers began to look beyond political ideology for theme and subject matter, when the forces of mod-ernism began to reach Chinese intellectuals through translations of foreign literature, Mo Yan has created a singular and compelling fictional voice.Mo Yan's novel narrative has a distinctive"polyphony" feature,which is a backwash of "monologue" literature. Faulkner and Marquez's and other modernist literature, especially the magic realism,exert an important influence on the narration of Mo Yan's novels. At the same time, Mo Yan's novel narrative is the unique reflects of Chinese contemporary literature.Chapter three,"Mo Yan's novel narrative mode",analyzing the narrative mode of"Storytelling in the square". In the narrative of Mo Yan's novels,the "Mo Yan tone"becomes the focus, and forms a unique practice way. With traditional narrative form and modern narrative skills, Mo Yan's novel narrative mode is more diverse and complex. A noteworthy feature of Mo Yan's innovative technique is his entirely original use of point of view. As the novel begins, with one of the most remarkable openings to be found in fiction,we discover that the story of a grandfather is being told by a grandson through the voice and sentiments of his father. This technique shows the characteristics of narrative dialogue,which means that the narrator is really the author of the text suiting the facts to his own interests, and that we too are at liberty to accept or reject what we will of the narrative. Mo Yan effectively undermines the trust readers once placed in their taletellers by suggesting that myth and belief are more important than history, which without losing the modern vision when he is sinking into the traditional culture.Chapter four,"Implied author and implied reader of Mo Yan's novels",analyzing the"textual intention" of Mo Yan's novel narrative. Mo Yan expresses intent of text through the communication of implied author and the implied reader. In view of the mainstream ideology of "for the people writing",Mo Yan puts forward the point of view of"as people writing" which is special strategy and wisdom of Mo Yan's novels narrative. It inherits the spiritual essence of the bottom narrative in the modern novel, at the same time,which shows a different narrative style. Mo Yan's novel is stylistically impressive,emotionally powerful, and intellectually engaging, which is the most imaginatively conceived and artistically accomplished narrative evocations of the complexity of peasant life ever written in twentieth-century Chinese fiction. "As people writing" is a kind of adherence to ideal, which has an important enlightenment to the prosperity and development of China contemporary literature.Chapter five,"Mo Yan's novel narrative and the readers",analyzing the readers'reception and criticism on the novels.The literary creation is a narrative communication between authors and readers. Narrative communication determines the success or failure of the ultimate meaning of novel narrative, which has a great influence on Mo Yan's novel narrative. In Mo Yan's writing career,a fair evaluation of the readers, film adaptation,warm praise and fierce criticism on Mo Yan's Novels have an important influence on Mo Yan's novel narrative, at the same time, which has a same influence on aesthetic concept of readers.In all, Mo Yan's novel narrative reflects the Contemporary development, exploration,confusion, pain and thinking in the society, as the outward sign of a values shift of literature,from which we can find the development and changes of China's contemporary literary theory and criticism.