On The Novels Of Profane Consciousness

Mo Yan writes his own life experience into lines and his literary creation is aprocess of spontaneous overflow of powerful feelings. In his novels, Mo Yan gives ablasphemous depiction for human beings and their life right at his fingertips, which isa special form of the critical spirit of his novels as well as a unique aesthetic style.This thesis, based on the interpretation of blasphemous depiction in Mo Yan’s novels,analyzes his profane consciousness in his literary creation and provokes us to thinkabout the functions and drawbacks of appreciation of ugliness in his writings byexploring the aesthetic world built by him.The main body of this thesis consists of several sections as followings:Introduction. In this section, the author analyzes the unique features of Mo Yan,both as a man and as a writer, and his novels and also states her reasons for the choiceof this topic. The thesis points out that Mo Yan has been trying to break rules andconventions in literary creation, which leads to a strong sense of profane andrebellious spirit permeating through his works. His profane consciousness stems fromhis uninhibited self-awareness. Driven by confrontation with society, Mo Yan, in hisliterary world, criticizes and blasphemes any social factors and self-factors whichrestrains his self-awareness and at the same time, gives a full play to the depiction ofappreciation of ugliness.Chapter one: Conscious rebellion against authority. The rebellious spirit isanalyzed from the doubt of the existstence of religious spirits, care for the realisticcondition of bureaucracy and the respect for the real appearance of political history.Mo Yan regards religion and theocracy as a nothingness, thus denyig the role of Godand the doctrine of karma and deconstructing religious authority. He discloses theevils of bureaucracy from the perspective of peasants living at the bottom of societyand displays their real life situation. Mo Yan places the complexity of human naturein historical reality, which, though, breaks the mode of characterization in“revolutionary historical novels”, makes the characterization be more plentiful, andthe history more realistic. Chapter two: Naked blasphemy against ethics. Mo Yan’s spirit of purfuit forfreedom of life is bound to conflict with ethics and morals. After judging andweighing, he chooses the former and let freedom stretch. The author, firstly, from therural social patterns, analyzes the shackles of traditional ethics on human nature,especially for women, and then illustrates how Mo Yan breaks this pattern to givehuman nature a free room to develop. Secondly, by comparing Mo Yan with Lu Xun,another influential writer, the author regards the description of people similar to Ah Qand the onlooker mode narration under Mo Yan’s lines as the inheritance of therevealing of national incorrigibility in Lu Xun’s writings. Finally, the author explainsthe reason why characters in Mo Yan’s writings have to make a breakthrough byviolating moral standards under special social circumstances.Chapter three: Aesthetic paradox：appreciation of ugliness in Mo Yan’s writings.Firstly, the author analyzes why and how Mo Yan changes his aesthetic style in hisliterary creation and then explores main methods used in appreciation of uglinesswriting. Mo Yan piles natural ugliness up social ugliness and treats it as beauty whileuglifies beautiful things. His appreciation for ungliness updates artistic values ofliterary works and people’s aesthetic conception and pursues his individualsubjectivity with a gesture of rebellion and denial. However, the irrational descriptionof appreciation of ugliness tends to confuse the line between beauty and ugliness,appreciation of ugliness and addiction to ugliness. Therefore, we should treat the issueobjectively and not respect it blindly.Conclusion: The author summarizes the profane consciousness and appreciationof ugliness writing in Mo Yan’s works and expresses her eager anticipation for hisnew works.