| Studying the influence of Mo Yan's reading on his creation is of great value for clarifying the origin of Mo Yan's creation.The introduction starts from two aspects.On the first hand,it discusses the general research situation of this topic at home and abroad,analyzes the related research results based on Mo Yan's reading history,and finds out the blank spots and areas to be further studied,so as to clarify the direction of this topic.The second aspect states the significance and research path of the topic selection.This paper clarifies the relationship between Mo Yan's reading and creation,which is conducive to combing the path of Mo Yan's literary creation and providing valuable mirror for others to study.The author determines two research paths:the first one is based on Mo Yan's reading history,starting from his positive reading,partial reading and misreading,studying the connection and difference between Mo Yan's creation and reading,exploring the law of literary creation and analyzing the interactive relationship between literature and field.This paper focuses on selecting Mo Yan's writers and works with high reading frequency and deep impression,and analyzes the dimension and innovation of Mo Yan's inheritance of literary tradition,so as to clarify the relationship between Mo Yan's inheritance,misreading and innovation,without random comparison and over-explanation.The second research path is to analyze the relationship between Mo Yan's works and other writers' works,deduce Mo Yan's reading situation,and draw Mo Yan's reading history,which lays a solid foundation for further research on the relationship between Mo Yan's reading and creation.The first chapter summarizes Mo Yan's reading situation.The author discusses the value of reading,sorts out Mo Yan's reading history,analyzes the temporal characteristics,reading scope and reading contents of Mo Yan's reading,clarifies the relationship between Mo Yan's reading and creation,and studies it from four angles:reading and imitation,reading and personality,reading and experience,criticism and creation,which can provide a mirror for other writers' reading and creation.Mo Yan believes that imitation is the starting point of innovation,but we should transplant,transform and graft others' experience to create new works and highlight our personal style.On the understanding of the relationship between criticism and creation,Mo Yan thinks that rational criticism has the function of guiding reading and creation,but opposes irrational criticism and criticism on the top line.The second chapter discusses the relationship between Chinese modern literature reading and Mo Yan's creation.First of all,the author summarizes Mo Yan's reading of modern literature,clarifies the writers and works that Mo Yan reads,and analyzes his reading priorities.Secondly,the author clarifies Mo Yan's reading purpose,sorts out Mo Yan's reading situation of Lu Xun's works,clarifies his reading stages and analyzes his reading cognition,so as to explore the path of Mo Yan's transformation of reading experience,because reading Lu Xun's works is an important part of Mo Yan's reading history,which is of great significance as the research focus.On the study of reading Lu Xun's influence on Mo Yan's creation,the paper is involved in two aspects:general discussion and case study.The author generally discusses the "Lu Xun influence" and heterogeneous existence in Mo Yan's creation,explores the way that Mo Yan borrows"Lu Xun elements" and gives new ideas,and conducts research from three directions:enlightenment thought,expression of life and death,context and identity.In the aspect of case study,the paper selects the losers written by Mo Yan and Lu Xun to study Mo Yan's inheritance and innovation of Lu Xun.Mo Yan imitated Lu Xun's novels White Light and Kong Yiji in theme,characters and plot setting.The author also discusses the similarities and differences between Lu Xun and Mo Yan's hometown writing,and analyzes the limitations of their hometown writing.Lu Xun's hometown is complex.In his early creation,his hometown showed an image of backwardness,decline and ugliness under the scrutiny of enlightenment.However,in his later creation,Lu Xun reflected on the enlightenment itself,giving up the freedom of his hometown in constant reflection,and his hometown was constantly growing,showing various aspects.Mo Yan inherits and innovates Lu Xun's literary tradition,constructs his hometown as a "common people" at the bottom and expands his hometown.However,where is the boundary of his hometown is still a problem.Furthermore,from Mo Yan's reading experience,the paper selects the common concerns of the two writers,analyzes their similarities and differences,mainly analyzes Mo Yan's misreading of Shen Congwen,so as to better understand the connection between their works.It is mainly analyzed from the following aspects:the theme of water,the label of "countryman",the discovery of hometown,the narrative of "suffering" and the different reading methods of "writing with people".The paper also selects the executioner images written by Lu Xun,Shen Congwen and Mo Yan to study,mainly from the perspectives of character images,identity and ritual redemption,and finds out the operating mechanism of executioner's psychological balance,so as to analyze the interactive relationship between executioner and society and family,and clarify the relationship between the author,social culture and modernity.The third chapter discusses the influence of contemporary literature reading on Mo Yan's creation.Mo Yan's reading of contemporary literary works includes the reading resources explicitly mentioned by the author and those not mentioned.For the latter,we can find the evidence of Mo Yan's reading through text comparison.The author focuses on Mo Yan's reading of red literature,from the aspects of reading scope,reading emphasis and reading cognition.In different periods of reading theory,Mo Yan talked about the same content and emphasis.He talked about the influence of red literature on him from two aspects:narrative style and human nature writing.According to the reading theory and text close reading,the author analyzes the red quality in Mo Yan's works,and discusses the path of Mo Yan's creative transformation of red literature resources from the aspects of characterization and form renewal.Based on Mo Yan's reading of military literature,this paper also selects military literature as an analysis case,analyzes Mo Yan's military literature works from pedigree,taboo,emotional core,war background,military thinking and landscape discovery,and finds the trace of Mo Yan's imitation of red literature and the path of innovation.Mo Yan also focused on reading Zhao Shuli and imitated it in his creation.The author sorts out Mo Yan's reading of Zhao Shuli and the influence of reading on his creation,analyzes Mo Yan's misreading,and clarifies the similarities and differences between the two writers in terms of creation theme,purpose and form.This paper analyzes the similarities and differences of Mo Yan's and Zhao Shuli's writing on the same theme,such as youth education,marriage and law,and grassroots cadres.He took Zhao Shuli as the object of study and continued to explore the social problems put forward by Zhao Shuli.The difference is that Mo Yan used many ways to show social problems,such as corruption,waste and bureaucracy.Mo Yan emphasized performance over reproduction,exposure over correction,and appealed for fairness for the grassroots,but seldom put forward effective solutions.By living and working with farmers,Zhao Shuli discovered the real problems in rural areas and found ways to solve them.The paper also compares the folk paths of the two writers' creations,mainly from four aspects:narration and description,setting "buttons",narrative thickness and drawing lessons from rap art.However,their focus is different.Zhao Shuli uses traditional rap art to "educate" the people,so that farmers can better understand the party's policies,participate in collective labor and solve the problems existing at the grass-roots level.He focuses on the depth,breadth and utility of works dissemination,so he reformed traditional art.Mo Yan borrowed rap art to create,which highlighted the classical style and localization characteristics,but did not aim at enlightenment.The author also combs the general situation of Mo Yan's reading of martial arts novels,analyzes the characteristics and existing problems of his quasi-martial arts novels,finds out the relationship between Mo Yan and martial arts novels in Jianghu writing,martial arts,suspense setting and characterization,and finds out the details of the influence of reading on Mo Yan's creation and the limitations of his creation.Mo Yan's martial arts novels attract readers,learn from the advantages and disadvantages of his characterization,borrow martial arts methods,momentum skills and martial arts ideas,and combine symbols and fables to create novels,especially deconstruct martial arts novels with modern and post-modern concepts.It can be said that Mo Yan's quasi-martial arts novels have a breakthrough tendency.The fourth chapter discusses Mo Yan's ways of integrating diverse experiences.The first section analyzes Mo Yan's rewriting of ancient stories,finds the similarities and differences between Mo Yan and other writers in rewriting ancient stories,clarifies the path of Mo Yan's innovation,and also finds the limitations of his creation.Mo Yan is good at writing stories of losers,highlighting the social value of women,attaching importance to the growth process of characters,and upgrading and transforming ancient stories through modern concepts.Firstly,the author compares Guo Moruo's historical dramas with Mo Yan's Our Jing Ke and Farewell My Concubine from the perspectives of material selection,story telling and female images,and traces back to Mo Yan's reading of Guo Moruo.Starting from the enlightenment thought,Guo Moruo paid attention to fictional plot,was not loyal to the original work,and was good at shaping female images.Both Mo Yan and Guo Moruo drew materials from Historical Records,and were good at filling in the blanks of historical stories,even making up the details of stories,which tended to change the characters' images and highlighted the value and status of women.Secondly,the paper compares the ancient stories rewritten by Mo Yan with Lu Xun's new historical compilation,finds their differences and similarities from the aspects of material selection,path and experience,and analyzes the limitations of their rewriting stories;Mo Yan broke through the cultural context of the original work and attached importance to the personal growth history and the subjective value of women,while Lu Xun drew materials from various historical materials without subverting historical stories and characters.From this perspective,the innovation is limited.The second section discusses Mo Yan's way of reconstructing the image of a lone farmer.By comparing Mo Yan's practical experience and book experience,especially comparing Mo Yan's novels and works with related themes,the author finds out the connection and differences between Mo Yan and them,which is conducive to insight into the connection between works and times and social systems.This paper selects other novels of independent households for comparison,and finds out the way for Mo Yan to learn from book experience.The author finds that there are similarities between the images and stories of the lone farmer in Life and Death Fatigue and Great Changes in the Mountain Areas.The difference is that Mo Yan synthesized the characteristics of the independent households in Great Changes in the Mountain and Township,combined with his personal experience,and shaped the image of Blue Face,who has a simple sense of nature and labor,which reflects the simple relationship between farmers and land.The Great Changes in Rural Areas focuses on the process"of "joining the society" of independent households,inserting the links of mobilization,competition,persuasion and restriction to highlight the appeal of collectivism.Secondly,the paper analyzes the single-agent households and their social relationships in Mo Yan's Life and Death Fatigue and Jin Yun's Nirvana,and finds that they have obvious corresponding relationships,which are reflected in the attitude of single-agent households towards land,their personal experiences and interpersonal relationships.In the third section,the author inspects the landlord image in the revolutionary history and literary history,traces back to the origin of the landlord image in Mo Yan's works through pedigree research,clarifies Mo Yan's innovation,and reiterates the value and significance of his creation.Mo Yan's novels echo the works of red literature and fellow writers,inherit their themes,plots,characters and language patterns,and make creative transformation,which enriches the landlord image,liberates the landlord from the solidified image,and separates the landlord identity and landlord quality.The conclusion further sums up the relationship between Mo Yan's reading and creation,re-examines Mo Yan's emphasis and misreading direction,and shows the support of reading resources for Mo Yan's creation and the negative effects brought by it.This part mainly discusses the topic selection,research value,research content,research path,research limitations and unfinished exploration. |
PDF Full Text Request