Chapter 13 of Joy 2012/kloc-0 Saturday 13 Early stylistic analysis of the Beijing News Joy is a mature work by Mo Yan, a novella written by 1987. But the reaction caused by these two novels is exactly the opposite of transparent carrots, not appreciation, but severe criticism. At the same time, evil, airship, food, first love, road construction and so on. There is no aesthetic illusion that people are used to, and there is a rough and powerful experience that is non-literary and anti-aesthetic. Nicknames Most of the characters in Mo Yan's works have nicknames (Huang Mao, Lao Liu, Dajinya, Wang Lame, Gao Scar, Wild Mule, Little Wheel, Nie Fish Head, Sepsis IV, Pig Tail Stick). These nicknames are basically about personal physical defects or personality weaknesses in public. They seldom call each other by their first names. They only use their first names when they are angry or serious: "The village director said Qi Liangwen ... stop toasting!" (joy). No one has ever called "dog" by its real name. Once someone calls him Zhang's real name, he will be miserable. He is probably from the Public Security Bureau. As soon as the educated youth came down, they put on a folk mark: nickname (Song Devil, teapot lid). In civil society, on the contrary, nicknames are not necessarily blasphemy, but they are definitely acceptance and closeness to you, and they are called in public; Calling you by your first name is a signal to alienate you, expel you, or even leave or punish you. Mo Yan, a civil society, has endowed the physically disabled in these civil societies with many beautiful qualities. But instead of singing hymns simply and directly, he combined humor, comity and seriousness. Teacher Zhu (a long-distance running thirty years ago), Zhang Dali (the leper's son and my aunt's) and Zhangkou, a blind folk singer (the song of young garlic in heaven), are all funny and serious characters. In Mo Yan's works, the carrier of folk lyric is the image of mother. No matter how many absurd things appear in his works: funny, forgetting, disintegrating, criticizing and decaying … all these seem to be "costumes" of the image of "mother". The four mothers in Red Locust, Grandma in Red Sorghum, Sun menstruation in menstruation's, Mei Shengniang in Grains, Mother in Wild Mule, menstruation in Commander's Woman and Mother in Big Breasts and Fat Buttocks are all images with strong vitality and fertility. In civil society, especially in times of famine and war, this is even a moral issue. Chapter 13 of Joy: Mo Yan's style is a "happy style" that grows on the real "folk" soil. His expression and narration of people's miserable life is neither crying nor bookkeeping intimidation, but full of a kind of "joyful" power. Mo Yan once named one of his novels "Thirteen Chapters of Joy". In fact, it is full of stories of suffering. Farmers in their hometown, everyone dragging their hungry stomachs, "enjoy" under various pressures, bullying and fears: eating and drinking, competing for production, fighting, insulting, competing with village cadres, laughing and laughing, having dinner, trading, chasing women, adultery, childbirth, funeral, mutual torture and fighting ... all these are daily and abnormal life events. Joy Mo Yan mentioned the feeling of "joy" for the first time in his novel Joy. "Joy" came into being at a special moment: Qi Wendong's brother and sister-in-law were forcibly taken away by village cadres. After his mother was beaten, he used a duster to spray medicine powder on crops and felt "happy" at the same time. In fact, it is a crazy feeling dominated by the passion of destruction; It is a fierce emotional reaction, which shows the frenzied state of life instinct under the excessive burden and reveals a weak mentality. In Mo Yan's later works, "Joy" gradually formalized and became a more touching, powerful and fearless style, which I called "Joy Style". The novels The Commander's Woman, The Wild Mule and My Seventh Uncle are all concentrated expressions of this "happy style". Mo Yan's unique style transcends the narrow view of rural hometown, the simple naturalism of daily life in his hometown, the fleeting, empty and meaningless trivial images, the material form of "grotesque reality", the blind optimism (evolution) and pessimism (eschatology) of historical time, and endows these transcended things with real folk temperament, belief and significance. According to Zhang Ning's Literature and Folklore —— China Experience in Mo Yan's Novels.