The Research On The Language In Moyan's Fiction

Mo-Yan is one of the most important writers since "new-time literature". Hisworks are of magnificent imagination, the language wild, the narration great, and thussend out unique literary sound and step alone in the literary world with strong vigor.Mo Yan, as "this one" in the contemporary literary field in china, whose wide-spreadand long-lasting influences are perhaps hard for any other writer to follow, comparedto his contemporary writers in the 1980s..Mo Yan's unique style "as a commonperson" and style of "mixed languages"——so common as to be almost spokenlanguage, have won universal attention and extensive recognition from the public andthe theorists, so as to pose one upsurge after another, accordingly, to greatly suggesthis unique value and significance as a master of language.But up to now, theorists' study of Mo Yan places a stronger emphasis on hismile-stone of production, angle of narration, aesthetic style and other aspects, butlittle on the language in his works. Recently, though some scholars have made a moresystemic study of the language, they failed to study him as "this one" of literaturefrom the art of language. As for this, this thesis mainly takes Red Sorghum, PlumpBreast and Fat Buns and Sandalwood Punishment as case studies, and uses thesis oflinguistics and rhetoric to make a whole observation and systemic study of thelanguage traits in hisworks, combined with the society, the author and the text.The theme of the article can be divided into four organic parts: three phases ofMo Yan's language style in his works, traits of folk language, rhetorical specialty andcauses and reconsidering of his language style. The introduction part chiefly presentsMo Yan's biography and creative works.The 1st chapter discusses three phases of his language style. This chapter Willtake his novel as material, and from the lasting angle, check the formation and changeof this language style: phase of imitating classics, experimental vanguard and theretuning to the folk. Meanwhile, it will point out its inadequacy of language study ineach phase.The 2nd expounds the features of folk language in his works. Here it will mainlyprobe into the characteristics of the dialect and the common saying, and throughlisting vulgar and dirty words, provide convincing evidences for the reconsideringabout his vulgar terms in the later part. First, the characteristics of the dialect: this thesis will analyze the use of dialectin Mo Yan's fiction from the angle of pragmatics, discuss its literary functions andaesthetic effects, and try to thoroughly inquire the principles of using dialect in hisfictional works.Secondly, the features of the common saying: here it will focus on probing intothe literary functions of proverbs and idioms.Thirdly, vulgar and dirty words: it will, based on the analysis of the case studiesof these words in his works, emphasize that cautious attitude must be held when usingsuch terms. However, casually and randomly using them in large numbers, and evenadding something nonsense to it, being in flood, thus it will not only greatly lower theideological tone of his works, but it will also, only speaking of the language, disgustpeople, producing boorish and despicable feelings, thus destroy the works or evenmake the writer's own moral cultivation dubious.The 3rd discusses the rhetorical features in his works, stressing on the emergenceof hallucination, phonetic rhetoric and rhetorical features, etc. To check Mo Yan'sfiction from the angle of rhetoric, there are many things worth studying. Just take thediction as an example, there various kinds of diction, some of which are used in anextraordinary way. For instance, rhetoric like parable, personification, irony, etc, areused in an extremely changeable way in most of his works. This can not only enrichthe perceptual pictures in his works, but also make the text more readable, Ieaving thereaders a deeper space for thought.The 4th analyzes the causes of Mo Yan's language style in his works, andfurther construes the more complex causes of this style. The article will comb out fourbasic elements shared by various kinds of causes in the three phases: the writer'sexperiences, the writer's consciousness of hardships, the writer's creative value andlinguistic awareness, criticism of Mo Yan's fictional language style. This article willprincipally reconsider these in the field of literature and society, as well as thesignificance resulting from them.