Mo Yan


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Mo Yan,

1955–, Chinese novelist, pen name of Guan Moye, b. Shandong prov. Mo is one of contemporary China's most prolific and popular writers. He left school in the fifth grade and did farm and factory work before he became a writer (1976–97) for the People's Liberation Army. He published his first short story in 1981, using the pseudonym Mo Yan [don't speak; shut up]. Mo was acclaimed for the novella Red Sorghum (1986, tr. 1993, film 1987), a tale of brutality, love, and resistance in the countryside during the early years of Communist rule. Mo's style mingles the earthy realism of folk tales with events from Chinese history and elements from contemporary China. He frequently incorporates fantasy, hallucination, and satire into his fiction, using techniques from classical Chinese literature as well as from Western magic realismmagic realism,
primarily Latin American literary movement that arose in the 1960s. The term has been attributed to the Cuban writer Alejo Carpentier, who first applied it to Latin-American fiction in 1949.
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. Among his best-known novels are The Garlic Ballads (1989, tr. 1995); The Republic of Wine (1992, tr. 2000), which deals with China's alcohol obsession; Big Breasts and Wide Hips (1995, tr. 2004), a sprawling sexual/historical fiction; Sandalwood Death (2001, tr. 2013), a tale of peasant rebellion and violent death written in the style of Chinese folk opera; Life and Death Are Wearing Me Out (2006, tr. 2008), in which animal characters reenact life in China during the second half of the 20th cent.; Pow! (2003, tr. 2013), the tale of a boy's carnivorous obsessions; and Frog (2015), concerning the brutalities of China's one-child policy. He also has written dozens of short stories, e.g., Collected Works of Mo Yan (1995) and Shifu, You'll Do Anything for a Laugh (2000, tr. 2001), and many essays. Mo was awarded the Nobel Prize in Literature in 2012.

Bibliography

See study by S. W. Chan (2010).

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The questions addressed throughout this cluster of articles detect various neocolonialist manifestations, including the issues of cultural and literary translation, the functions of Nobel Prize in literature, the resistance to neocolonialism in contemporary Chinese literary theory, the relationship between neocolonialism and "seventeen-year-literature" in China, the postcolonial discourse in Mo Yan's reception in China and the conflicting neo-colonialist narratives in the varied representations of Africa in Ngugi and Naipaul's novels.
Cet espace, situUu[c] Uu lae1/4aoentrUu[c]e du pavillon, a drainUu[c] Uu lui seul un grand nombre de visiteurs, venus assister aux premiUuA res rencontres avec les hommes de lettres chinois don le Prix Nobel 2012 de littUu[c]rature, Mo Yan. Les maisons dae1/4aoUu[c]dition algUu[c]riennes, habituUu[c]es du Sila, ont pour la plupart choisi de reconduire les mUuo"mes concepts et stands que pour les prUu[c]cUu[c]dentes Uu[c]ditions.
They include core texts (such as contemporary writing by writers like Mo Yan), pre-class preparation, in-class learning and research activities, after-class practice, and extension activities.
Abstract: Mo Yan's award of the Nobel Prize in Literature provoked competing voices in the global Chinese media, ranging from official media to online citizen forums, and from Chinese mainland media to overseas Chinese Internet forums.
Born in 1960, he belongs to the same generation as Mo Yan, Yu Hua, and Su Tong, and he shares with these writers the ability to shift between the political tragedies of the recent past to the ostentation and materialism of the present.
By Mo Yan, translated from the Chinese by Howard Goldblatt
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Last year's winner was Chinese author Mo Yan and previous recipients include Ernest Hemmingway and Rudyard Kipling.