Perspective Transformation From Country Memory To Multi-discourse Narration

The various and ever-changing narrative perspectives of MoYan's fiction is a unique existence in contemporary Chinese literary circle. The unorthodox aesthetic effects created by his narrative experiments, such as the novelty in narrative order, the pleasure and tiredness in reading, the explosion of sensory description, the variety of cultural pursuits, the fluency and rhyming of language, the carnival of colors and the richness of imagoes, bring up the compliment-winning 'Mo Yan Style'. The following paper begins with a diachronic review and text analysis on the narrative perspectives and function of Mo Yan's fiction, then goes on with a thorough and systematic comparison between various comments on Mo Yan's narrative styles, and academically appraises the aesthetic style actualized by his efforts in narration.The paper consists of the Introduction, the Body and the Epilogue.The Introduction brings in the state of Mo Yan's fiction creation, the study on it and the perspectives of the paper.The Body includes four parts, as follows:Part I, Country Memory and Childish Perspective. This part deals with Mo Yan's country memory and its influence on the childish perspective in Mo Yan's early fiction, and explores the types of early narrative perspectives and their aesthetic effects by conducting a detailed text analysis.Part II, 'I-centered Thinking', Family Story and Neo-historicist Narration. 'I-centered' narration constitutes a majority in Mo Yan's short stories. The transformation of 'I' from the narration of childish country memory and adult legend to the compound perspective of the first and third persons makes it possible for Mo Yan to gain narrative passion in 'Northeast town, Gaomi', and creates the model text of Neo-historicist narration, Plump Breast, Budding Bottom.Part III, Multi-discourse and Polyphonic Narration: The Garlic Ballads, Sandal Torture and Forty-one Gunshots. Mo Yan's civilian cultural standpoint and his bom sense of literary destruction as a vanward novelist give the characters of his fiction equal narrative right as the narrator, which entitles his fiction a state of multi-discourse and polyphonic narration. Meanwhile, he learns eagerly and positively from the conventional and western narrative styles.