| In Chinese contemporary literary world, MO Yan is full of output and seeking for innovation from time to time. To a great extent, images of his fictions can stand for his performance:from contents to rhetoric skills, from choosing material overall to processing, from what he is running after to if he has had a success or not. Numerous and complicated images gather Mo Yan's intelligence and disposition, also have the feature of being both instant and lasting, which is filled with notable selfhood and shocking and guiding readers' experience. In a word, the special yard of images is a very vital dedication from Mo Yan to our national literature.Except the preface and epilogue, this thesis has four parts. In the first part, in order to make my study area more clear, I combine the mean of images in this thesis with the theories of literature and arts in Chinese and western history. His images exist as dualistic forms:major and subsidiary images, rural and urban images, natural and cultural images, beautiful and ugly images, and so on, with one mingling with the other. Instead of being completely contradict, they usually turn to others as for effect. In the second part, I go into how Mo Yan creates his images. By using limited characters view, repeat and symbol, contrast and analogy, and metaphor in the microcosmic degree, he finishes his images. In the third, I pay much attention about aesthetics effect of Mo Yan fictions'images——be heavy and complicated, unfamiliar and feelable. I take body images, complicate colors and sound images for example, to show the sense of overturn that Mo Yan has made. In the last part, I study the reason why Mo Yan constructs his Novel images in that way, such as experience of countryside, memory of childhood, the sense of belonging to the rural world, anxiety, and influence form other famous writers. All these factors impact Mo Yan and his penmanship.On basis of above four parts, my thesis also analyses and sums up Mo Yan's advantages and disadvantages about images of his fictions. |