Abstract

There exist various factors to explain Mo Yan's award of Nobel Prize in literature, but the decisive factor mainly lies in joining himself into the tide of globalization in the period of China's reform and opening up. With the three links of input, innovation and output, Mo Yan's novels are now widely transmitted and accepted by the readers and literary critics abroad. As same as globalization in the fields of politics, economics and culture, China's new literature is not faced with the choice of globalization but its inevitable context. Therefore, Mo Yan's achievement is a typical example to demonstrate the success of China's literature by taking the advantage of literary globalization.

On the basis of integrating the literary trends abroad, Mo Yan was dare enough to borrow the essence from foreign literature, telling China's story with Chinese classical and folk resources, forming China's imposing literary manner, thus having formed his unique model of literary creation in the path of adhering to development of personalization. In his novels, Mo Yan shows his responsibility and sense of mission in inquiring into the social, political and historical issues;in the aspect of human concern, he has established the unique principle of “good—bad—self”in literary figure creation and exposed the weak points in human nature in his literary geographical Gaomidongbeixiang and other urban novels, thus expressing Mo Yan's open-minded humanism; in the writing of war novels, Mo Yan abandoned the traditional way of writing and paid more attention to warped mentality and the variant human nature in wars, thus setting up a fine example for the writers who have never involved in war but successfully written such an excellent war novel as Red Sorghum. With his tremendous achievement in fictional creation, Mo Yan has replied the disputes of “literature dies”nowadays.

The example of Mo Yan's success also shows that China's new literature must have its works exported to the world book market by translation so that it can form more impact on world readers, even though the works are finely created with foreign influence. Only by doing so, can China's literature obtain more literary discourse power in the process of dissemination among the heterogenic cultures, and play more roles of cultural soft power in building a cultural powerful country. The negative evaluation or the intended attacks of Mo Yan can not hurt his fine image in the literary world, but further demonstrate Mo Yan's greatness as well as the significance of literary discourse power derived from his novels.