What is the artistic image of Mo Yan's novels?

Mo Yan, a famous writer, created different types of female images in his novel world. At the same time, the female images created in his novels are very different in his early, middle and late creation, which is related to the author's own life experience and creative background.

Keywords: Mo Yan; Novel world; Kalipiga

I. Introduction

Mo Yan, a contemporary benchmark writer in China, has a unique novel language and diverse styles. Most of his novels revolve around female characters. It can even be said that the success of Mo Yan's novels is not unrelated to the successful portrayal of female images in his works. This paper discusses the creative sources of female images in Mo Yan's novels, summarizes the creative significance of female images in Mo Yan's works, analyzes different female images in Mo Yan's novels, and focuses on the changes of female images in different creative periods.

The Creation Source of Female Images in Mo Yan's Novels

1, the author's unique life experience. Mo Yan was born in a poor family since childhood. Because of political discrimination and poor life, the memory of his teenage life is more painful than happy. His hometown Shandong is the birthplace of Confucian culture. Therefore, the emotional experience of suffering and the brand left by moral principles are naturally reflected in his works.

2. The author's worship of women. Mo Yan openly admits that he is a female admirer, so the women in his works usually have the unyielding quality of struggling to survive in a miserable environment.

3. The author's deep affection for his mother. Mo Yan has a deep attachment to his mother, and thinks that his mother who takes endless care of him can carry heavy family burdens with her thin shoulders, and her image in her heart is tall and strong. Therefore, her mother has a great influence on her literary creation, and the female images in many of her works can find her shadow.

Thirdly, the creative significance of female images in Mo Yan's novels.

Mo Yan created different female images from the perspective of male writers, expressing his concern about the fate and social status of women, and at the same time expressing his criticism and negation of male chauvinism and patriarchy. The female images in Mo Yan's novels fully show the kindness and tenacity of women in China, as well as their courage and tenacity to actively fight in a tragic environment, which has certain cultural significance for modern women to affirm their self-worth.

Fourthly, the analysis of different female images in Mo Yan's novel world.

(A) rebellious female image

In Mo Yan's novel world, most female images are docile, but in order to pursue themselves, they rise up against the oppression of male power or husband's power, showing fearless resistance spirit. For example, Dai Fenglian, "my grandmother" in "Red Sorghum Family", can seize every opportunity at the turning point of fate in time and fight for her life, although she can't reverse the injustice of society to her fate. Fang Biyu of "The Strange Woman with White Cotton", whose performance of daring to love and hate in the novel shocked people who were almost ignorant and numb! The four mothers in Herbivorous Family fully reflect the author's high sense of identity with rebellious women.

(B) the image of a mother with a traditional spirit

The female images in Mo Yan's novel world contain many images of mothers with traditional spirit. For example, the image of the mother in "Big Breasts and Fat Buttocks" shows the traditional spirit of Chinese mothers' perseverance and perseverance, while the image of the mother in "Forty-one Artillery" shows the spirit of traditional women and mothers in China who struggle hard in a difficult living environment.

In the image of mother portrayed in Mo Yan's novels, waiting and tolerance, and being strong and resisting are almost the end of mother's life! Mo Yan deeply describes the enthusiasm, kindness, diligence, selflessness, dedication and tenacious fighting spirit of the mother characters described in his works, and uses various traditional mother images in his works to praise the great and tenacious fine qualities of Chinese mothers!

(C) The image of women who do not give in to suffering

In Mo Yan's novel world, there are many female images who do not give in to fate and suffering environment. For example, the female "warmth" in the novel "White Dog Swings" vividly shows the traditional rural female image that does not give in to fate and suffering. These female images in Mo Yan's novels, which do not yield to fate and suffering, dare to challenge secular authority and subvert the traditional patriarchal system, express the author Mo Yan's respect for women and praise for the awakening of women's rights in the sense of equal "people", as well as his denial and humanitarian feelings for the patriarchal system!

Verb (abbreviation of verb) An analysis of the fickle female images in Mo Yan's novels

(A) the pursuit of pure love of ordinary women

Mo Yan's early novels focus on describing ordinary women in love. Most of these female images have great desire for pure love, and at the same time they are more willing to make selfless dedication or even sacrifice to get the love in their minds. For example, the description of female characters in Mo Yan's early novel "Flying in the Spring Rain Night" vividly depicts the young and beautiful wife's deep yearning for her lover stationed in the border defense with delicate description techniques. In the novel Folk Music, Mo Yan successfully created the ordinary female image of Hua Jasmine, a small restaurant owner who pursues pure love. The platonic spiritual love between the protagonist Hua Jasmine and the folk artist Xiao Blind not only shows the strength and beauty of young people's lives in that era, but also highly praises the unconventional view of love among ordinary women. Most of the female images portrayed in Mo Yan's early novel The World are pure and beautiful, and love stories are usually used to express ordinary women's longing for pure love, so the female images depicted basically do not involve human sexual instinct desire.

(b) wild women

The novel Red Sorghum Family can be said to be a turning point and breakthrough in Mo Yan's creation. As soon as it went public, it attracted great attention from readers and critics, and Mo Yan has since become an iconic figure in contemporary literary circles. Because the wild female image of "Dai Fenglian" created by Red Sorghum Family almost completely subverts the female image in Mo Yan's early novels. Dai Fenglian, the hero of the novel, is not only a wild woman, but also has the spiritual temperament of daring to love and hate, being bold and open-minded. The novel changed its early writing style, and vividly showed the female instinct with rough folk narrative. Although it attracts many critics, it also brings endless literary enjoyment and reading pleasure to readers.

In fact, Mo Yan himself had realized before that, in order to form unique literary and artistic characteristics and styles, he had to innovate and break through the convention, so the shaping of female images with distinctive personality in this period became an important breakthrough in his novel art innovation.

(C) the pursuit of emotional women

After the Red Sorghum Family, most of the female images created in Mo Yan's later novels became the objects of desire in men's eyes. In his later novels, Mo Yan suddenly changed his previous writing style and used pen and ink to describe the physiological characteristics of women. For example, in the novel Joy published after Red Sorghum Family, Mo Yan even described women's physiological privacy in great detail.

In the novel "Big Breasts and Fat Buttocks", the female image of sensuality is very prominent. As the title shows, Mo Yan focuses on women's breasts and buttocks. The theme of this book focuses on the description of women's unique physiological characteristics and primitive instinctive desires. The author even used a microscope-like description technique to describe the breasts and buttocks of various women almost morbidly.