Mo Yan Literary Thought Research

Mo Yan’s literary thought mainly for self-reflection, interpretation and evaluation of its work, also it has relatively independent literary significance, thus constitutes the entry to understand Mo Yan and the Contemporary Literary Theory. Mo Yan is a writer who grew up from Qilu folk. His childhood not only suffered from hunger and pain of loneliness, but also nourished by Qilu rural misery culture. Misery oppressed people, shaped people and achieved people. All of these imperceptibly permeated Mo Yan’s works and showed to the readers in the way of ups and downs in storylines. The simple desire that supports Mo Yan to write is "writing as a farmer", which derives from his endless love and unspeakable hatred to the land, the great compassion to rural people’s living plight. Country life and folk resources are not only Mo Yan’s countless resource to write but also his prop of thoughts and feelings. On the basis of these, Mo Yan absorbed Magical Realism’s writing method, put folklore, history and contemporary together to create a unique writing style and writing perspective. That is the point why Mo Yan obtained favor of the Swedish Academy and became China’s first local Nobel Prize in Literature. Mo Yan’s literary thought mainly shows features in four aspects:the relationship between literature and politics, he very clearly advocated dividing between literature and politics, but he also extremely profoundly pointed out that literature is inextricably linked to politics forever. Mo Yan’s works associated with all the major historical and political events in modern China and gave the literary understanding and explanation; in the sense of literature as Human, Mo Yan concerned real people, concerned about the fate of people stirred up by Chinese centuries change. Mo Yan used it to go deep into the human nature. Under the names of good or bad, guilt or innocence, he discovered the human nature with universal significance. Mo Yan usually "write the good guy as a bad one","write the bad guy as a good one","write oneself as a sinner". Behind all the statements is Mo Yan’s persistent exploration of human nature; in the view of language, he rooted in native language, wrote close to the rural and the history to activate the expressive force of Chinese, to polish Chinese fresh and sensitive. His language is most changeful, which presents a splendid sight and becomes the natural scale to differentiate his writing style; On the aesthetic, Mo Yan put utmost attention to "ugly". Instead of simply "treat ugliness as beauty", Mo Yan treats ugliness as an object of subjectivity, as the subject with great expressiveness, makes a painstaking investigation of disagreeable people’s human nature, give true dignity to ugliness. Mo Yan’s literature is the literature of ugliness. Through his work, the distinction between beauty and ugliness is relative, and showed its shallow and narrow, the most powerful beauty come to reveal its true in his work. Mo Yan’s literary thought constitutes the axis of the working of his literary thinking. These four are the most significant aspects. In terms of the influence of the literary thought, Mo Yan won the Nobel Prize in Literature is a particular notable events, which orientate Mo Yan’s works and his literature thoughts in the contemporary world literature. On the one hand, it evokes memories of the changing of Chinese literary thought. On the other hand, it is also provides helpful and meaningful perspective to see and understand the contemporary Chinese literary theory.