Mo Yan
As Chine names, Guan Moye's family name is Guan, Mo Yan's family name is Mo.
Mo Yan
莫言
Mo Yan in 2008
Born Guan Moye (管谟业)
17 February 1955 (age 58)
Gaomi, Shandong, China
Pen name Mo Yan
Occupation Writer, teacher
Language Chine
Nationality Chine
Education Master of Literature and Art - Beijing
Normal University (1991)
Graduated - People's Liberation Army Art
School (1986)
Period 1981 – prent
Notable work(s) Red Sorghum Clan,
The Republic of Wine,
车站歌词Life and Death Are Wearing Me Out
Notable award(s) Nobel Prize in Literature 2012
Spou(s) Du Qinlan (杜勤兰) (1979-prent)
Children Guan Xiaoxiao (管笑笑) (Born in 1981)
Guan Moye (simplified Chine: 管谟业; traditional Chine: 管謨業;pinyin: Guǎn Móyè; born 17 February 1955), better known by the pen name Mo Yan (/moʊjɛn/, Chine: 莫言; pinyin: Mò Yán), is a Chine novelist and short story writer. He has been referred by Donald Morrison of U.S. news magazine TIME as "one of the most famous, oft-banned and widely pirated of all Chine
writers",[1] and by Jim Leach as the Chine answer to Franz Kafka or Joph Heller.[2] He is best known to Western readers for his 1987 novel Red Sorghum Clan, of which the Red
Sorghum and Sorghum Wine volumes were later adapted for the film Red Sorghum. In 2012, Mo was awarded the Nobel Prize in Literature for his work as a writer "who with hallucinatory
realism merges folk tales, history and the contemporary".[3][4]
Contents
博白[hide]
∙ 1 Early life婚姻法新规定
∙ 2 Pen name
∙ 3 Works
∙ 4 Influences
∙ 5 Style
∙ 6 Nobel Prize in Literature, 2012
∙7 Controversies and criticism
∙8 List of works
o8.1 Novels
o8.2 Short story and novella collections
o8.3 Other works
∙9 Awards and honours
∙10 Adaptations
∙11 See also
∙12 References
乡村振兴产业振兴∙13 Further reading
∙14 External links
Early life[edit]
Mo Yan was born in 1955, in Gaomi County in Shandong province to a family of farmers, in Dalan Township (which he fictionalid in his novels as "Northeast Township" of Gaomi County). Mo was公共事业管理专业
11 years old when the Cultural Revolution was launched, at which time he left school to work as a
farmer. At the age of 18, he began work at a cotton factory. During this period, which coincided with
a succession of political campaigns from the Great Leap Forward to the Cultural Revolution, his
access to literature was largely limited to novels in the socialist realist style under Mao Zedong, which centered largely on the themes of class struggle and conflict.[5]
At the clo of the Cultural Revolution in 1976, Mo enlisted in the People's Liberation
Army (PLA),[6] and began writing while he was still a soldier. During this post-Revolution era when he emerged as a writer, both the lyrical and epic works of Chine literature, as well as translations of foreign authors such as William Faulkner and Gabriel García Márquez, would make an impact on his works.[7] In 1984, he received a literary award from the PLA Magazine, and the same year began attending the Military Art Academy, where he first adopted the pen name of Mo Yan.[8] He published his first novella, A Transparent Radish, in 1984, and relead Red Sorghum in 1986, launc
hing his career as a nationally recognized novelist.[8] In 1991, he obtained a master's degree in Literature from Beijing Normal University.[6]
Pen name[edit]写作手法有哪些
"Mo Yan" — meaning "don't speak" in Chine — is his pen name.[9] In an interview with Jim Leach, chairman of the National Endowment for the Humanities, he explains that name comes from a warning from his father and mother not to speak his mind while outside, becau of China's
revolutionary political situation from the 1950s, when he grew up.[2] The pen name also relates to the subject matter of Mo Yan's writings, which reinterpret Chine political and xual history.[10] Works[edit]
Mo Yan began his career as a writer in the reform and opening up period, publishing dozens of short stories and novels in Chine. His first novel was Falling Rain on a Spring Night, published in
1981. Several of his novels were translated into English by Howard Goldblatt, professor of East Asian languages and literatures at the University of Notre Dame.[11]
Mo Yan's Red Sorghum Clan is a non-chronological novel about the generations of a Shandong fami
ly between 1923 and 1976. The author deals with upheavals in Chine history such as
the War of Resistance Against Japane Aggression, the Communist revolution, and the Cultural Revolution, but in an unconventional way; for example from the point of view of the invading Japane soldiers.[12] His cond novel, The Garlic Ballads, is bad on a true story of when the farmers of Gaomi Township rioted against a government that would not buy its crops.The Republic of Wine is a satire around gastronomy and alcohol, which us cannibalism as a metaphor for Chine lf-destruction, following Lu X un.[12]Big Breasts & Wide Hips deals with female bodies, from a grandmother who breasts are shattered by Japane bullets, to a festival where one of the child characters, Shangguan Jintong, bless each woman of his town by stroking her
breasts.[13] The book was controversial in China becau some leftist critics regarded Big
Breasts' perceived negative portrayal of Communist soldiers.[13]
Extremely prolific, Mo Yan wrote Life and Death Are Wearing Me Out in only 42 days.[2] He compod the more than 500,000 characters contained in the original manuscript on traditional Chine paper using only ink and a writing brush. He prefers writing his novels by hand rather than by typing using a pinyin input method, becau the latter method "limits your vocabulary".[2]Life and
Death Are Wearing Me Out is the story of a landlord who is reincarnated in the form of various animals during the Chine land reform movement.[8] The landlord obrves and satirizes Communist society, such as when he (as a donkey) forces two mules to share food with him, becau "[in] the age mine is yours and yours is mine."[10]
Influences[edit]
养生知识大全
Mo Yan's works are predominantly social commentary, and he is strongly influenced by the social realism of Lu X un and the magical realism of Gabriel García Márquez. In terms of traditional Chine literature, he is deeply inspired by the folklore-bad classical epic novel Water Margin.[14] He also cites Journey to the West and Dream of the Red Chamber as formative influences.[2]
Mo Yan, who himlf reads foreign authors in translation, strongly advocates the reading of world literature.[15] At a speech to open the 2009 Frankfurt Book Fair, he discusd Goethe's idea of "world literature", stating that "literature can overcome the barriers that parate countries and nations".[16]
Style[edit]
Mo Yan's works are epic historical novels characterized by hallucinatory realism and containing elements of black humor.[10] A major theme in Mo Yan's works is the constancy of human greed and corruption, despite the influence of ideology.[12] Using dazzling, complex, and often graphically violent images, he ts many of his stories near his hometown, Northeast Gaomi Township in Shandong province. Mo Yan says he realid that he could make "[my] family, [the] people I'm familiar with, " his characters after reading William Faulkner's The Sound and the Fury.[2] He satirizes the genre of socialist realism by placing workers and bureaucrats into absurd situations.[10]
Mo Yan's writing is characterid by the blurring of distinction between "past and prent, dead and living, as well as good and bad".[13] Mo Yan appears in his novels as a mi-autobiographical character who retells and modifies the author's other stories.[8] His female characters often fail to obrve traditional gender roles, such as the mother in the Shangguan family in Big Breasts & Wide Hips fails to bear her husband sons, and who is instead an adulterer, becoming pregnant with girls by a Swedish missionary and a Japane soldier, among others. Male power is also portrayed cynically in Big Breasts & Wide Hips, and there is only one male hero in the novel.[13]
Nobel Prize in Literature, 2012[edit]
运动会的英文
Mo Yan In Stockholm to receive the Nobel Prize in Literature 2012
On 11 October 2012, the Swedish Academy announced that Mo Yan had received the Nobel Prize in Literature for his work that "with hallucinatory realism merges folk tales, history and the contemporary".[4]Aged 57 at the time of the announcement, he was the 109th recipient of the award and the first ever resident of mainland China to receive it—Chine-born Gao X ingjian, a citizen
of France, having been named the 2000 laureate. In his Award Ceremony Speech, speech, Per
Wästberg explained: "Mo Yan is a poet who tears down stereotypical propaganda posters, elevating the individual from an anonymous human mass. Using ridicule and sarcasm Mo Yan attacks history and its falsifications as well as deprivation and political hypocrisy."[17]
