Zeitschriftenartikel: „Mo, Yan“

1

江志全. „Misreading of Mo Yan“. Journal of Chinese Language and Literature ll, Nr. 59 (Oktober 2013): 225–39. http://dx.doi.org/10.26586/chls.2013..59.009.

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2

Huang, Alexander C. Y., und Howard Goldblatt. „Mo Yan as Humorist“. World Literature Today 83, Nr. 4 (2009): 32–37. http://dx.doi.org/10.1353/wlt.2009.0315.

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3

Zhang, Hua, und Yosra Ibrahim. „Mo Yan’s Symbolism and Literary Root-seeking“. Literary Studies 35, Nr. 01 (09.03.2022): 7–16. http://dx.doi.org/10.3126/litstud.v35i01.43686.

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Mo Yan is the first Chinese writer to win the Nobel Prize for Literature. After he won the Nobel Prize for Literature in October 2012, he immediately drew the attention of the world. In the past nine years, there have been many theoretical articles on Mo Yan’s creative style and narrative art, but a very few articles on Mo Yan’s root-seeking characteristics from the perspective of symbolism. This paper attempts to explore the ways Mo Yan searches for his roots through his writings.

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Wang, Jinyue. „Translating and Rewriting Chinese Proverbs: A Case Study of Howard Goldblatt’s English Translation of Mo Yan’s “Shengsi Pilao”“. English Language and Literature Studies 9, Nr. 2 (23.05.2019): 12. http://dx.doi.org/10.5539/ells.v9n2p12.

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Howard Goldblatt’s translation of Mo Yan’s novels remains controversial because he has made various changes in his translation. As a result, a lot of original messages in Mo Yan’s novels were not completely conveyed. In this paper, this author compared and analyzed several examples of Chinese proverbs selected from Mo Yan’s novel “Shengsi Pilao” and their translation in “Life and Death Are Wearing Me Out” translated by Howard Goldblatt, in an attempt to investigate how Goldblatt coped with linguistic and cultural challenges in the examples. Findings indicate that based on rewriting, Goldblatt has basically used six translation methods to translate Mo Yan’s Chinese proverbs in the novel into English and his transcreation which was previously neglected can be uncovered in his translation of the proverbs. This study can help other translators reflect on how to translate proverbs in other Chinese literary works into English and provide valuable references to researchers who intend to conduct research into this area.

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Zhao, Yuan-Yuan. „Análisis de dominios científicos de la investigación de la traducción de obras de Mo Yan en China a través de Citespace“. Hikma 20, Nr. 1 (22.04.2021): 275–305. http://dx.doi.org/10.21071/hikma.v20i1.13089.

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El presente trabajo tiene el fin de dar a conocer, con la aplicación de Citespace V.5.3.R7, herramienta para analizar registros bibliográficos de publicaciones relevantes, la tendencia del estudio traductológico de las obras de Mo Yan en China durante el período del 1999 al 2019. Por ello, se recopila una base de dato bibliográfico compuesta por 1,529 artículos académicos al respecto de la plataforma CNKI. Basándose en redes Pathfinder y Pruning sliced network, se revelan las concentraciones temáticas de referencias cocitadas, las líneas de investigación por palabras clave y clústeres, se analiza la distribución cuantitativa de las publicaciones, se destacan las revistas, instituciones y autores clave por medio de grafo y datos de CNKI. De acuerdo con los datos sacados, se harán contribuciones para profundizar el estudio traslativo de obras de Mo Yan. Palabras clave: Mo Yan, Bibliometría, CNKI, Traducción, Citespace

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Inge, M. Thomas. „Mo Yan: Through Western Eyes“. World Literature Today 74, Nr. 3 (2000): 501. http://dx.doi.org/10.2307/40155816.

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7

Shriver, Lionel. „Mo Yan,Frog: A Novel“. Population and Development Review 41, Nr. 3 (September 2015): 541–44. http://dx.doi.org/10.1111/j.1728-4457.2015.00073.x.

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8

Gupta, Suman. „Li Rui, Mo Yan, Yan Lianke and Lin Bai“. Wasafiri 23, Nr. 3 (September 2008): 28–36. http://dx.doi.org/10.1080/02690050802205233.

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9

Yu, Linghong. „The Aesthetics of the Ugly in Postmodernism (V. Sorokin's Novel "Blue Fat" and Mo Yan's Novel "The Land of Wine")“. Litera, Nr. 11 (November 2022): 26–33. http://dx.doi.org/10.25136/2409-8698.2022.11.39213.

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The article discusses aesthetic guidelines in postmodern literature. The emphasis is placed on the analysis of the aesthetics of the ugly in the novels of V. Sorokin "Blue Fat" and Mo Yan "The Land of Wine", the similarities and differences of the work of the two writers are revealed. Sorokin and Mo Yan are from two completely different countries, nevertheless their literary style and language are similar. The creativity of both is marked by the presence of multidimensional literary experiments. In "Blue Fat" and "The Land of Wine" there is an abundance of violent scenes, as well as detailed descriptions of violent bloody scenes. Sex scenes are also widely represented in both novels. The description of physiological details and nauseating details also occupies a significant part in both novels. In addition to the aesthetics of the ugly, both writers are heirs of the classical literature of their countries. Both writers create their own artistic world based on the aesthetics of the ugly. Unlike Sorokin, Mo Yang is obsessed with depicting the comparison between good and evil, beautiful and ugly. According to Mo Yan, the world is cruel, but evil can never prevail over good. In "Blue Fat" there are many Chinese elements of everyday life, which gives the novel an oriental flavor. Mo Yan also admits to the influence of Russian classical and Soviet literature on him: in the novel "The Land of Wine" the words of I. Lenin and L. Tolstoy are quoted. All this, as it was shown in the article, proves that the works of Vladimir Sorokin and Mo Yan have existing similarities. The heritage and development of the traditional literature of their country, the reinterpretation of modern society and its values, a self-sufficient artistic world based on the aesthetics of the ugly, is accompanied by an abundance of literary experiments, which allows both writers not only to show their talents in literary circles, but also to successfully demonstrate their own national mentality.

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Zhang, Yue. „Reconfiguring History through Literature: Cultural Memory and Mo Yan’s Historical Play Our Jing Ke“. Modern Chinese Literature and Culture 34, Nr. 1 (Juni 2022): 97–127. http://dx.doi.org/10.3366/mclc.2022.0006.

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In a departure from his usual work, Mo Yan’s (1955–) historical play Our Jing Ke ( Women de Jing Ke) reinterprets the story of the assassin Jing Ke (d. 227 BCE). The play adopts most of its characters and plot points from previous accounts, particularly The Grand Scribe’s Records ( Shiji), and the basic structure follows the cultural memory of Jing Ke. However, there are major innovations in Mo Yan’s interpretation of the story, including the title of the play; the investigation of the theme of fame; the creation of a new major character, Lady Yan; the use of colloquial, humorous, and information-dense language; and the adoption of modernist literary devices to reinterpret the motivation behind the assassination. Through these innovations, Mo Yan contests the traditional reception of the lore of Jing Ke and adds new elements to its cultural memory. Simultaneously, Mo Yan relates this popular story to contemporary Chinese social reality and concerns. To better understand both the retrospective revisions and prospective efforts to reach contemporary audiences, this article places Our Jing Ke in the context of the long reception and cultural memory of Jing Ke as well as in the context of Mo Yan’s life experience and other writings.

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Fontaine, Fanny. „Yinde Zhang, Mo Yan, le lieu de la fiction (Mo Yan, the Place of Fiction)“,. China Perspectives 2015, Nr. 4 (01.12.2015): 72–73. http://dx.doi.org/10.4000/chinaperspectives.6875.

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12

Liu, Weiqin, und Chengfa Yu. „Comments on Per Wästberg’s Presentation Speech for the 2012 Nobel Prize in Literature“. English Language and Literature Studies 6, Nr. 3 (29.08.2016): 21. http://dx.doi.org/10.5539/ells.v6n3p21.

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In Per Wästberg’s presentation speech for the 2012 Nobel Prize in Literature, some information should deserve the attention of the Chinese academic circle. There is some truth in his compliments of Mo Yan, such as “he is a poet”, “he is a wonderful portrayer of nature”, “he knows everything and describes everything especially about a forgotten peasant world”, “in his work, world literature speaks with a voice that drowns out most contemporaries”. Wästberg also offers his interpretation and review of some of Mo Yan’s works. However, the speech inevitably shows Westerners’ misunderstanding of Mo Yan and his works and their ideological prejudice against China and the Chinese society.

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Ye, Fan. „El olor de la guayaba y el sabor del sorgo rojo: El realismo mágico en la literatura de China y de Latinoamérica“. Co-herencia 12, Nr. 22 (Juni 2015): 27–39. http://dx.doi.org/10.17230/co-herencia.12.22.2.

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A partir de la década de 1980, el autor de Cien años de soledad se convirtió en el gran ídolo y fuente de “angustia de las influencias” (en términos de Harold Bloom) para toda una generación de escritores chinos: Jia Pingwa, Yu Hua, Su Tong, Yan Lianke, Ma Yuan y Mo Yan, entre otros. En este artículo se propone una lectura paralela de Gabriel García Márquez y Mo Yan, el premio nobel chino, con el propósito de demostrar que el realismo mágico latinoamericano y su aventura en China ha formado parte de la historia de la literatura contemporánea del país asiático: a los escritores chinos no solo les avivó su memoria y les hizo adoptar otra actitud hacia su pasado; también les mostró el camino para escribir un nuevo tipo de novela (noveau roman).

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Wang, David Der-Wei, und Michael Berry. „The Literary World of Mo Yan“. World Literature Today 74, Nr. 3 (2000): 487. http://dx.doi.org/10.2307/40155814.

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15

Davis-Undiano, Robert Con. „A Westerner's Reflection on Mo Yan“. Chinese Literature Today 3, Nr. 1-2 (September 2013): 21–25. http://dx.doi.org/10.1080/21514399.2013.11833993.

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Mabayọjẹ, Moses O. „Adébáyọ̀ Fálétí“. Yoruba Studies Review 3, Nr. 2 (21.12.2021): 1–3. http://dx.doi.org/10.32473/ysr.v3i2.130002.

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Adébáyọ̀ baba Adébọ́lá! Baba Ọlámilékan!! Mo ń pè ọ́ lóhùn arò, o ò sì jẹ́ mi mọ.́ Òkú ń yan ọmọ rẹ̀ lódì, atoǹtorí ọmọ ọlọmọ. ́ Ìwọ náà kọ, ikú ló kúkú mẹ ́ ́ja kákò bẹẹ́ . ̀ Níjọ́ iṣu kú, mo dabọ n ò jiyán Níjọ́ àgbàdo kú, mo dabọ n ò jẹ̀kọ Níjọ́ ajá mi kú, mo dabọ n ò jẹran abíríkolo Ẹran abíríkolo, àbẹgbẹ ̀ ́ mọ̀ǹdẹ

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Li, Ming, Xin Zhang, Liang Han, En-Pu Gong und Guo-Guang Wang. „The Metallogenic Setting of the Jiangjiatun Mo Deposit, North China: Constraints from a Combined Zircon U–Pb and Molybdenite Re–Os Isotopic Study“. Minerals 9, Nr. 12 (21.11.2019): 723. http://dx.doi.org/10.3390/min9120723.

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The Jiangjiatun Mo deposit is a recently discovered molybdenum deposit in the easternmost area of the Yan-Liao metallogenic belt, North China Craton. Quartz vein-type Mo mineralization at Jiangjiatun is associated with the granitic porphyry stock. In this study, we performed a combined zircon U–Pb and molybdenite Re-Os dating study on the Jiangjiatun Mo deposit to constrain its mineralization age and metallogenic setting. Laser ablation inductively coupled mass spectrometry (LA-ICP-MS) zircon U–Pb analyses suggest that the granitic porphyry was formed during the Late Jurassic, with a weighted mean 206Pb/238U age of 154 ± 1 Ma (2σ). Seven molybdenite samples from the Jiangjiatun deposit yield a 187Re–187Os isochron age of 157.5 ± 0.5 Ma (2σ). The discrepancy between the U–Pb and Re–Os ages may be explained (1) by the “2 sigma” measurement uncertainty, or (2) by the different closure temperature of the Re–Os isotopic system of molybdenite and the U–Pb isotopic system of zircon. Even though there is a small difference between the zircon U–Pb and molybdenite Re–Os ages, we can clearly identify a Late Jurassic Mo mineralization event at Jiangjiatun in the easternmost area of the Yan-Liao metallogenic belt. The moderate Re concentrations (13 to 73 ppm) in molybdenite from the Jiangjiatun Mo deposit are indicative of the involvement of the mantle materials into the Mo mineralization. The Jiangjiatun Mo deposit is likely the result of the subduction of the paleo-Pacific plate beneath the North China Craton during the Late Jurassic. Combined with the available published regional robust geochronological data, we proposed that the Mo mineralization in the Yan-Liao belt is in good agreement with the tectonic transition from Late Triassic post-collision extensional setting due to the closure of the paleo-Asian ocean to the Yanshanian (J–K1) continental arc setting in response to the subduction of the paleo-Pacific Plate. The study highlights that regional mineralization may provide an excellent constraint on tectonic change.

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Goldblatt, Howard. „Forbidden Food: "The Saturnicon" of Mo Yan“. World Literature Today 74, Nr. 3 (2000): 477. http://dx.doi.org/10.2307/40155811.

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Jixian, He. „Wordless Mo Yan Sensation: Mobel in China“. International Critical Thought 3, Nr. 3 (September 2013): 332–44. http://dx.doi.org/10.1080/21598282.2013.818092.

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Lupke, Christopher. „Big Breasts and Wide Hipsby Mo Yan“. Translation Review 70, Nr. 1 (September 2005): 70–72. http://dx.doi.org/10.1080/07374836.2005.10524114.

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Wang, Xueying. „“The Ancient Rites of China”: Yan Mo on Ancestral Rites during the Chinese Rites Controversy“. Journal of World Christianity 12, Nr. 1 (Januar 2022): 90–112. http://dx.doi.org/10.5325/jworlchri.12.1.0090.

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Abstract One of the key issues during the Chinese Rites Controversy was Chinese ancestral rites. Deeming ancestral rites idolatrous, mendicant missionaries advocated banning them; the Jesuits accommodated ancestral rites under certain conditions. The defense provided by the Jesuits focused on the ancestral rites being civil and political, and therefore not idolatrous. This article examines the views of Yan Mo 嚴謨 a lower-level Confucian Catholic literatus. Yan’s defense of the ancestral rites differs from the Jesuits in that Yan focused on the intrinsic value of ancestral rites as cultural practices, which he called “ancient rites of China.” Yan consulted Confucian canons and pointed out that performing the ancestral rites is an act of filial piety that, in the context of Chinese culture, is so embedded in the Chinese culture that the rites cannot be substituted by Christian practices such as praying the rosary or giving alms.

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Nolasco, Jirah Emmanuel T., Camille Margaret S. Alvarillo, Joshua L. Chua, Ysabel Marie C. Gonzales und Jem Valerie D. Perez. „Fixed-Bed Adsorption Column Studies for the Removal of Methyl Orange from Water Using Polyethyleneimine-Graphene Oxide Polymer Nanocomposite Beads“. Key Engineering Materials 891 (06.07.2021): 31–36. http://dx.doi.org/10.4028/www.scientific.net/kem.891.31.

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Continuous fixed-bed column studies were performed using nanocomposite beads made up of chitosan, polyethyleneimine, and graphene oxide as adsorbents for the removal of methyl orange (MO) in water. The effects of different operating parameters such as initial MO concentration (5, 10, and 15 ppm), bed height (10, 17.5, and 25 cm), and flow rate (27, 43, and 58 mL/min) were investigated using an upward-flow fixed-bed column set-up. The breakthrough curves generated were fitted with Adams-Bohart, Thomas, Yoon-Nelson, and Yan et al. models. The results showed that Yan et al. model agreed best with the breakthrough curves having an R2 as high as 0.9917. Lastly, design parameters for a large-scale adsorption column were determined via scale-up approach using the parameters obtained from column runs.

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Ku, Menghsuan. „Estudio traductológico de los chengyu presentes en la novela ‘Shifu, harías cualquier cosa por divertirte’ de Mo Yan“. Estudios de Traducción 9 (23.09.2019): 85–95. http://dx.doi.org/10.5209/estr.65703.

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Shifu, harías cualquier cosa por divertirte es una novela breve de sesenta páginas escrita por Mo Yan, el primer Premio Nobel de literatura chino reconocido por el gobierno de China. Aunque la mayoría de sus obras son novelas largas, en esta novela corta consigue reflejar de manera resumida el devenir de la China del siglo pasado haciendo gala de tramas conflictivas rebosantes de sátira y humor negro. Nuestro objetivo principal es el estudio de los chengyu más utilizados en dicha novela. Los chengyu constituyen expresiones idiomáticas chinas con un formato reducido, aproximadamente de cuatro caracteres. Asimismo, entre los principales objetivos de este trabajo se encuentra el estudio de las principales técnicas de traducción aplicadas, la situación de los textos literarios chinos traducidos dentro del sistema literario y, por último, el análisis de la traducción al inglés y al español de la obra de Mo Yan.

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Link, Perry, und Alice Béja. „Mo Yan : se moquer sans faire de vagues“. Esprit Mai, Nr. 5 (2013): 59. http://dx.doi.org/10.3917/espri.1305.0059.

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N., Abdurakyn, und Madiev D.A. „Mo Yan is the writer of free thought“. Journal of Oriental Studies 74, Nr. 4 (2015): 90–94. http://dx.doi.org/10.26577/jos-2015-4-706.

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Ouyang Yu. „Mo Yan, My China, Self-Colonization and Hallucination“. Antipodes 27, Nr. 1 (2013): 99. http://dx.doi.org/10.13110/antipodes.27.1.0099.

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Goldblatt, Howard. „Mo Yan in Translation: One Voice among Many“. Chinese Literature Today 3, Nr. 1-2 (September 2013): 6–9. http://dx.doi.org/10.1080/21514399.2013.11833989.

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Nishant Kumar. „Understanding the Nobel Laureate ‘Mo Yan’ Through His Fiction“. Creative Launcher 6, Nr. 1 (30.04.2021): 54–62. http://dx.doi.org/10.53032/tcl.2021.6.1.07.

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One of the main characteristics of Contemporary Chinese Literature is that it has remained true to the time it represented. Although it has been used extensively to serve the political agenda of the Communist party on occasions, but it has managed to carry forward the idea of realism, which started to flourish during the May Fourth period. After the announcement of the policy of “Reform and Opening up” by Deng Xiaoping in the Post Mao period China, a brilliant story teller emerged from the rural area of Gaomi in Shandong province of China. This paper aims to understand the phenomena created by Mo Yan’s writings in contemporary period of Chinese literature. The paper initially has discussed the major trends in post-Mao period Chinese literature to provide the background for understanding the emergence of Mo Yan. The paper has tried to discuss the major trends in Mo Yan’s writings focusing on the fiction-world created by him in his novels. Then it has further analysed the characteristics of Mo Yan’s writings. Finally, through the analysis of available contents a conclusion has been drawn.

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Deng, Wensheng. „Case Study of Howard Goldblatt’s Translation of Red Sorghum—From Media-translatology Perspective“. Theory and Practice in Language Studies 9, Nr. 8 (01.08.2019): 1015. http://dx.doi.org/10.17507/tpls.0908.19.

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Since Mo Yan was given the Nobel Prize for Literature，literary translation has been heatedly debated. Howard Goldblatt, as one of Mo Yan’s major translators of English world, is gaining global eyes. And his translations are so popular that some scholars claim that Howard flatters MoYan himself, and he has rewritten Mo Yan. To make the debate known to the public, the thesis explores Howard’s translation of Red Sorghum, based on the perspective of Media-translatology. In the translation, Howard Goldblatt has made addition, subtraction, rearrangement, etc., in the translation. His changes and adjustments are quite different from the ST, but it retains the image, structure of the ST, and it adopts aesthetic fidelity, which is a universal principle in literary translation. Howard’s choice of MoYan is another reason to help him achieve success in translation for western readers are particularly interested in Mo Yan’s invention of genre, style, techniques and language. And what Howard’s action has coincided with the significant opening-up policy of China is also a great power to popularize his translation. Actually, Howard’s performance and practice are necessary steps to communicate culture in cross-cultural interactions, he is not only a communicator of Chinese literature, modern and contemporary, but also a constant contributor of world civilization and culture, for his new attribute in translation—a thirdness.

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Bakhtiyorovna, Muhamedjanova Shakhnoza. „Coloristic Style in the Works of Mo Yan in Chinese Romanticism“. International Journal of Psychosocial Rehabilitation 24, Nr. 5 (20.04.2020): 3839–45. http://dx.doi.org/10.37200/ijpr/v24i5/pr202092.

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Tran, Phung. „Zhang Yinde: Mo Yan, le lieu de la fiction“. Asiatische Studien - Études Asiatiques 69, Nr. 4 (01.12.2015): 1111–14. http://dx.doi.org/10.1515/asia-2015-0044.

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Huang, Xiuguo. „A review of the comparative study of Mo Yan and Faulkner in China“. Semiotica 2019, Nr. 227 (05.03.2019): 19–29. http://dx.doi.org/10.1515/sem-2016-0027.

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AbstractMo Yan’s multi-layered and allegorical tales were highly inspired by William Faulkner. Mo Yan’s semi-fictional Gaomi Northeast Township was often linked to William Faulkner’s fictional Yoknapatawpha, and he himself was extolled by the Chinese scholars to be “China’s Faulkner.” Inside China, there have emerged a great number of comparative studies on Faulkner and Mo Yan, which are usually conducted from the perspectives of literary forms, native-soil complex, attitudes towards tradition, the influence of local culture, and so on. However, despite the strong record of research on these two writers in China, there is still room for improvement in the study, for after the initial stage of the superficial and sporadic comparison between individual works, the comparative study of Faulkner and Mo Yanis in pressing need of comprehensive and systematic research of these criticisms.

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장금봉(Zhang Qinfeng) und 풍영하(Feng Yongxia). „Research the Aesthetics of Violence of Mo Yan “Sandalwood Punishment”“. Journal of Study on Language and Culture of Korea and China ll, Nr. 40 (Februar 2016): 289–314. http://dx.doi.org/10.16874/jslckc.2016..40.012.

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Qinghua, Zhang, und Andrea Lingenfelter. „The Nobel Prize, Mo Yan, and Contemporary Literature in China“. Chinese Literature Today 3, Nr. 1-2 (September 2013): 17–20. http://dx.doi.org/10.1080/21514399.2013.11833992.

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Yan, Mo, und Noël Dutrait. „Le pays de l'alcool de Mo Yan [Entretien avec l'auteur]“. Perspectives chinoises 58, Nr. 1 (2000): 58–64. http://dx.doi.org/10.3406/perch.2000.2489.

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Zhang, Yinde. „La fiction du vivant. L’homme et l’animal chez Mo Yan“. Perspectives chinoises 112, Nr. 3 (2010): 134–41. http://dx.doi.org/10.3406/perch.2010.4013.

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Schmaltz, Márcia. „Apresentação e panorama da tradução entre as línguas chinesa e portuguesa“. Cadernos de Literatura em Tradução, Nr. 14 (24.04.2015): 13–22. http://dx.doi.org/10.11606/issn.2359-5388.i14p13-22.

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Este Especial, dedicado aos 500 anos de relações luso-chinesas, acolheu artigos sobre os Estudos da Tradução desse par de línguas. A capa foi encomendada à xilogravurista Wang Yi, que gravou quatro retratos de escritores premiados da China, Brasil e Portugal: Mo Yan, Ai Qing, João Cabral de Melo Neto e José Saramago. Esta edição não se esgota e esperamos que o volume possa inspirar mais investigações que impulsionem a pesquisa.

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Chen, Chaohui. „El El destino y el camino: un análisis comparativo de la naturaleza/el mundo rural en las novelas de Miguel Delibes y Mo Yan“. Castilla. Estudios de Literatura, Nr. 12 (01.03.2021): 101–20. http://dx.doi.org/10.24197/cel.12.2021.101-120.

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El presente trabajo tiene como objetivo realizar un estudio comparativo del símbolo de la naturaleza/el mundo rural en las obras de Miguel Delibes y Mo Yan, siendo ambos importantes figuras de la literatura de España y de China. Mediante un análisis a la nature writing de sus obras, que engloba la construcción del espacio literario, el lenguaje y la función del paisaje de la naturaleza/el mundo rural, trataremos de sacar las similitudes entre sus creaciones literarias y las diferencias en el significado de la naturaleza/el mundo rural para ambos autores: siendo para Delibes es el destino del ser humano, mientras que para Mo es el camino de búsqueda de la esencia de sí mismo.

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Yuan, Hui. „Illuminate the Hidden Pain in Our Hearts——Analysis of the Image of “Aunt” in Mo Yan’s Novel Frog“. Lifelong Education 9, Nr. 6 (28.09.2020): 148. http://dx.doi.org/10.18282/le.v9i6.1327.

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Frog is a long-form masterpiece created by Mo Yan with the great concentration that touches the most painful part of the Chinese soul. The novel consists of four long letters and a drama written by the playwright Tadpole to the Japanese writer Sugitani. It is about the life experience of an “aunt”, a Chinese rural obstetrician and gynecologist, with vivid and touching details showing the sixty years of undulating birth history in rural China.

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Tanriwa, Arkan, und Nurni W. Wuryandari. „Character Ambivalence In Facing Social Changes In Shifu Becomes Dumb And Dumber By Mo Yan“. KnE Social Sciences 1, Nr. 3 (13.04.2017): 415. http://dx.doi.org/10.18502/kss.v1i3.764.

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Social and societal changes, and the essential ambivalence of the everyman in face of those changes is the theme and major narrative thread in the short story Shifu Becomes Dumb and Dumber (师傅越来越幽默: Shifu Yuelaiyue Youmo) by contemporary Chinese author Mo Yan. In Shifu, Mo Yan relays the theme by tracing the life of the main character. The theme’s logical conclusion is achieved through humor and detailed narratives of the idiosyncrasies of that main character. To provide granularity and dimension for the behaviors, thoughts and lifestyle of that character, the author introduces a minor character for contrasting effect, that brings the 'dumb and dumber' to the fore. The way the author describes Ding’s idiosyncratic ways and juxtaposes them with those of the minor character, with the specific scenes as the narrative backdrop, competently and critically portrays the life and living of the essential everyman in China in the face of society undergoing rapid and fundamental sociocultural flux Keywords: Shifu Becomes Dumb and Dumber short story, character analysis, social change in China

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Chaohui, Chen. „Crítica (como sabotaje) a La república del vino de Mo Yan“. Quaderns de Filologia - Estudis Literaris 25 (17.12.2020): 57. http://dx.doi.org/10.7203/qdfed.25.18982.

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El presente trabajo intenta utilizar la teoría de crítica como sabotaje para realizar un análisis a La república del vino. Mediante una “lectura atenta (close reading)” y una revisión detenida del contexto, la intertextualidad, el estilo irónico y paródico y la complejidad del espacio literario de dicha novela, tratamos de analizar la “reducción alegórica” de este “afepto”, con el objetivo de ver cómo se encuentran los tres modelos de mundo y cómo Mo cumple la función literaria y social –de “reflejar, explicar y modificar la realidad social” (Rodríguez Puértolas, 2008: 41)– de un escritor.

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Lee, Haiyan. „Mo Yan: Laureate of the 2009 Newman Prize for Chinese Literature“. World Literature Today 83, Nr. 4 (2009): 25. http://dx.doi.org/10.1353/wlt.2009.0128.

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Xu, Lihong, und Tamara A. Kazakova. „Signs of Cultural Significance in the Works of Mo Yan Translated into Russian“. Vestnik of Saint Petersburg University. Asian and African Studies 13, Nr. 4 (2021): 464–83. http://dx.doi.org/10.21638/spbu13.2021.401.

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The authors of this article analyze Russian translations of non-translatable linguistic signs in the works of Chinese writer Mo Yan, prize laureate of the Nobel Prize in 2012. In his works, the writer amply uses culturally-bound words and phrases as well as folklore and tales meaningful for Chinese material, social and spiritual culture. Some of them are cultural constants traditionally associated with emotional, axiological and aesthetic values. Mo Yan’s style includes common language, idioms, even swear words alongside vernacular parables and ditties. As a whole, his style itself is the embodiment of Chinese common culture, which presents a seemingly insoluble task for translators — how to translate the non-translatable, to recreate in Russian not just the style but the culture itself. The authors explore both the translators’ solutions and inevitable shifts and losses determined in the process of interaction between the two very different languages and cultures. Particular attention is paid to translators’ solutions for the symbolic functions of Chinese personal names. In addition, complications connected with the transfer of Chinese everyday realia, customs and traditions that appear as important components in the structure of images and contents of Mo Yan’s works are considered. An attempt is made to reconstruct some important components of the intercultural area that emerges in the course of translation from Chinese into Russian.

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Xie, Jerry. „Taking Mo Yan in Context by strategy: yes, grist for the mill!“ Textual Practice 32, Nr. 5 (09.01.2017): 759–83. http://dx.doi.org/10.1080/0950236x.2016.1268199.

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Azpirotz Larzabal, Olatz. „Zipriztinen distira. Reseña de Mo Yan, Hori da umorea, maisu! Elkar, 2013“. Revista Gerónimo de Uztariz Aldizkaria, Nr. 36 (21.12.2022): 183–84. http://dx.doi.org/10.58504/rgu.36.10.

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Guan Moye (Gaomi, Shandong, 1995) idazleak idatzitako Shifu yuelaiyue youmo ipuin bilduma 1999. urtean argitaratu zen jatorrizko hizkuntzan eta ordutik, hainbat hizkuntzatara itzulia izan da, tartean, euskara. Gurera Maialen Marin eta Aiora Jaka itzultzaileek ekarri zuten 2013. urtean, zehazki Mo Yanek Literatura Nobela irabazi eta urtebetera. Itzulpena, 2012. urteko Jokin Zatiegi Sariari esker egin zen, sari horren helburua Literatura Nobela irabazitako obrak euskarara ekartzea baita.

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Xie, Jerry. „Cages and Class Struggle: A Leninist Inquiry into the Caricature of Marxism in Fenggang Yang’s ‘Soul Searching’“. Critical Sociology 44, Nr. 1 (04.08.2016): 173–87. http://dx.doi.org/10.1177/0896920516654556.

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The sociologist of religion Fenggang Yang has recently extended his ‘markets of religion’ framework to the spiritual ‘soul searching’ in contemporary literature. In his epilogue to Angelica Duran and Yuhan Huang’s Mo Yan in Context (2014), an anthology of interdisciplinary interpretations of Mo Yan’s ‘hallucinatory realist’ fiction, Yang claims that ‘Chinese souls’ have been ‘caged’ by, among other things, ‘Marxist-Leninist-Maoist atheism’. He refers to the Marxist theory of religion as merely ‘the Marxist adage’ that religion is ‘the opiate of the people’. This essay analyzes Yang’s ‘cage’ concept, to ‘work against it both from without and within’, as Lenin says. In doing so, I argue that Yang’s ‘soul searching’ epilogue is a highly concentrated text of bourgeois ideological mystification and is, therefore, a productive site for Marxist oppositional pedagogy which contests the imagism of ‘cages’ with the materialist dialectics of class struggle.

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Wang, Cheng, und Elizabeth J. Podlaha. „(Digital Presentation) Tracking Local pH Changes of Electrodeposited Co-Mo-Based Titania Composites for HER“. ECS Meeting Abstracts MA2022-02, Nr. 22 (09.10.2022): 927. http://dx.doi.org/10.1149/ma2022-0222927mtgabs.

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Cobalt-molybdenum and cobalt-molybdenum-based phosphides are known hydrogen evolution electrocatalysts in alkaline electrolytes.1 Recently it has been shown that the addition of titania particles to create composite Co-Mo-TiO2 and Co-Mo-P-TiO2 enhances the hydrogen evolution reaction (HER).2 In order to better understand the role of TiO2 in the these composites, the local pH change was characterized during both electrodeposition and HER. The composites were electrodeposited onto a copper mesh working electrode in close vicinity to a flat-bottom pH probe. During electrodeposition from a citrate-boric acid electrolyte, there in an initial drop of pH followed by a pH rise with time that was not influenced by the presence of TiO2. However, there was a significant change in the local pH when TiO2 was present in Co-Mo-based electrocatalyst during the HER process. Without TiO2 particles present in the solid state, the local pH change during electrolysis follows an expected increase with time, while with embedded TiO2 particles in the metal matrix, the local pH initially decreases slightly and remains constant with time. The results suggest that the enhanced HER performance with TiO2 in the alloy composite electrocatalyst is a consequence of the buffering of the local pH. References Fan, D. Piron, A. Sleb, P. Paradis, J. Electrochem. Soc. 141, 382-387 (1994); P.R. Zabinski, H. Nemoto, S. Meguro, K. Asami K., Hashimoto K., J. Electrochem. Soc., 150, C717 (2003); Y.-Y. Ma, C.-X. Wu, X.-J. Feng, H.-Q. Tan, L.-K. Yan, Y. Liu, Z.-H. Kang, E.-B. Wang, Y.-G. Li, Energy Environ. Sci. 10, 788-798 (2017); A. C. Thenuwara, L. Dheer, N. H. Attanayake, Q. Yan, U. V. Waghmare, D. R. Strongin, ChemCatChem. 10, 4832-4837 (2018); X. Chen, Q. Li, Q. Che, Y. Chen, X. Xu, ACS Sustain. Chem. Eng. 7, 2437-2445 (2018). Wang, H.K. Bilan, E.J. Podlaha, J. Electrochem. Soc. 166, F661-F669 (2109); C. Wang, E. J. Podlaha, J. Electrochem. Soc, 167, 132502 (1~4) (2020).

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Wang, Jinghui. „Virtue or Vice? Trauma Reflected in Mo Yan’s Frog“. Interlitteraria 24, Nr. 1 (13.08.2019): 173–89. http://dx.doi.org/10.12697/il.2019.24.1.13.

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The preoccupation with human nature is deeply rooted in literature. This paper starts from the ancient Chinese rudimentary understanding of human nature, then passes through Mo Yan’s Frog, an epistolary novel which covers the 30-year history of the Chinese population control policy through the description of an obstetrician in quest of her own human nature, and ends with her mediation and effort to retrieve goodness in the face of state will. Mo Yan, as well as many other Chinese people, does not deny that the onechild family policy had been laid down with a good intention to promote the general welfare of all citizens in China. But through a detailed reading of the novel Frog, it is argued that this policy might be a legalized illegality, which results in the schizophrenia of the main character out of the dilemma of justifying her deeds as virtue or vice. It is suggested that the experience of the female character in the novel, as well as in the contemporary Chinese society, should be investigated allegorically, and it reveals a universal issue about the complexity of human nature, for in a certain sense, one may start aiming to be Mother Theresa, but end in finding himself or herself merely a devoted clownlike servant of the state will.

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ZHANG, YUCHEN. „A Study on the Translation of Animal Images by Mo Yan"s FROG“. Chunwon Research journal 21 (31.08.2021): 125–49. http://dx.doi.org/10.31809/crj.2021.8.21.125.

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Lü, Yixu. „The Boxers in Contemporary Chinese and German Fiction: Mo Yan and Gerhard Seyfried“. Comparative Critical Studies 11, Nr. 1 (Februar 2014): 69–88. http://dx.doi.org/10.3366/ccs.2014.0114.

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