A Comparative Study Of Marquez 's And Magic Novels By Mo Yan

Gabriel Garcia Marquez, won the1982Nobel Prize for literature, is a famous writer from Columbia in Latin America, and the representative figure of the Latin American magic realism literature. His work is given priority to with novel creation,"the novels with rich imagination of the world, including agent mixed with fantasy and reality, reflects the life contradiction across the continent". In addition to its representative works One Hundred Years of Solitude and Cholera in the Period of Love, he also published the full-length novels the Demise of the Heads of the Fathers, General in the Maze, novellas the Colonel in the No One to Write to Him, Dead Twigs and Withered Leaves, collections of short stories the Blue of His Eyes, Grand Aunt’s Funeral, literature Guava Fragrance, movie script kidnapping and speeches I’m Not to Give You Speech.Mo Yan was awarded the2012Nobel Prize for literature, a famous contemporary Chinese writer. His work has been described as "the folk stories with virtual realism, history and modern harmony". The earliest work of literary world attention is published in1983, Folk Music, because of its "ethereal" unique sense of style, the novel is fond of Sun Li. In1985, Mo Yan continuously published five novellas such as Transparent Carrot, Ball Lightning, Blonde Baby and so on, and eight collections of short novels such as the Dry River, etc. He stand out from the crowd with a series of local works in literary world, full of "homesickness" and "hatred township" complex emotions and "unconstrained gives and glory", are classified as "root-searching literature" writer. Thereafter, Mo Yan’s creative spirit continued, created a great number of novellas and considerable full-length novels, such as Red Sorghum Family, the Wine Country, Thirteen Departments, Sandalwood Penalty, Big Breasts and Wide Hips, the Fatigue Life and Death, Frog and so on. In nearly30years, Mo Yan has been standing in the forefront of literary creation, been ceaseless. With constantly pursuing new and change, he has painted a colorful literary landscape, been a unique existence in the contemporary literary world.After many researchers in China studying the works of Gabriel Garcia Marquez, a series of translations and communications have a very far-reaching influence on Chinese contemporary writers. Among many Chinese writers who like Gabriel Garcia Marquez very much, Mo Yan is arguably the most respected one in promoting Gabriel Garcia Marquez. Mo Yan has admitted in public, his own novels were indeed influenced by Gabriel Garcia Marquez’s magical realism. And in nearly30years of his writing career, he has maintained the consistency and stability of its magic style. But Gabriel Garcia Marquez and Mo Yan are not simple with reference to the relationship of the influence. Between the two writers clearly in writing the magic, are still under the view of present different parts of the national characteristics and local culture. This paper uses the perspective of parallel study, mainly based on the full-length novel creation of two Nobel Prize winners Gabriel Garcia Marquez and Mo Yan, to analyze their similarities and differences on the word "magic". Under the witness of the same magical writing style, I’m working in the comparative study of two Nobel writers. At the same time, I’ll put the localization and nationality culture of the two regions in the context of globalization, world history and culture for further research.This paper consists of seven parts. The introduction part mainly includes the relationship between the fantasy fiction and magic realism of Latin American literary, and the significance of Gabriel Garcia Marquez and Mo Yan’s magical novel comparison research. This paper mainly study in comparative research in the field of fantasy novels as the center by the representative writer of the Latin American magic realism Gabriel Garcia Marquez and contemporary Chinese root-searching novels representative writer Mo Yan.The first chapter mainly analyzes the ideological root of that, although Gabriel Garcia Marquez and Mo Yan these two Nobel writers were in different historical and cultural background, they were all put into the magical writing. Mainly from three aspects of content analysis of each unique local culture in different nations, two Nobel writers’ childhood life experiences and their own national folk culture and so on.The second chapter mainly analyzes Gabriel Garcia Marquez and Mo Yan’s multidimensional themes in their magical novels. Gabriel Garcia Marquez and Mo Yan’s literary works describes the broad real life, and its theme is also complicated. The topic I choose to talk about is precisely based on the center of attention problems embodying in Gabriel Garcia Marquez and Mo Yan’s novel creation. This chapter mainly research from the following three aspects of the subject, in comparative studying Gabriel Garcia Marquez and Mo Yan’s novel work content:firstly, the comparative study in lonely themes of Gabriel Garcia Marquez and Mo Yan’s magic novels; Secondly, the comparative study in death themes of Gabriel Garcia Marquez and Mo Yan’s magic novels; Thirdly, the comparative study in absurd themes of Gabriel Garcia Marquez and Mo Yan’s magic novels. By comparison, I try to sum up their performance both on how these three themes reflect, their similarities and differences, as well as the causes of these differences.The third chapter mainly discusses Gabriel Garcia Marquez and Mo Yan’s multiple images in their magical novels. This chapter defines the concept of "image" at first, secondly with Gabriel Garcia Marquez and Mo Yan used a large number of images in their fantasy novels, the fact that the two writers classify multiple image interpretation of their text, organ imagery, natural image and color image types, in order to accurately grasp the important function of art and aesthetic value in the novel text.The fourth chapter mainly discusses the diversification of narrative art in Gabriel Garcia Marquez and Mo Yan’s magical novels. Art forms tend to determine the expression level of ideological content and artistic value. Accepting the influence of Gabriel Garcia Marquez’s Latin American magic realism, Mo Yan is sensitive to narrative art of magic realism first of all. He talks about and is interested in magic realism art of narrative time, magic realism narrative space settings and magic realism of modern mythic narrative technique. He reference from the aspects of these forms, copying magic realism. Of course, in the process of imitation, Mo Yan gradually added to his own innovation and creation. This chapter mainly works in comparative study on following three aspects, from "after many years" and "cycle" rebirth time pattern, Yin and Yang coexist with human and animal hybrid space structure, and combination of narrative with myth and reality, in order to gain a deeper understanding about Gabriel Garcia Marquez and Mo Yan.The fifth chapter mainly studies the history and reality in the works of magical realism. When Gabriel Garcia Marquez and Mo Yan describe their ethnic history and reality, they all like to use the historical consciousness or history, to call and find the way out of history. Mainly from the overall view of Gabriel Garcia Marquez and Mo Yan’s ethnic history, concentrated expression in the epitome of the history of the construction, the fate of the family history writing, as well as the reflection of the history of the revolutionary war. The conclusion part summarizes and sums up the main content and key points, briefly discusses the magical novels of Gabriel Garcia Marquez and Mo Yan’s creative ideas, as well as in the theme, image, narrative art, history and reflection on the present aspects of diversity. And combining with the experience of successful writing, two Nobel writers excavates its deeper meaning behind it.