作家莫言二十世纪八十年代登上文坛，成为新时期以来中国先锋小说的代表人物，形成了广泛的世界声誉，并于二零一二年获得诺贝尔文学奖。他是具有强烈个人标识的作家，无论是在语言方式、故事结构，还是思想内涵等诸多层面，都有自己的独到和开拓，尤其是在语言方面，他的“标识性”更是明显。他独创了一种具有兼容性、有着明显浑浊感和不息流速的语言方式，从某种方面讲也可说是对母语的有效拓宽和重新注入。论文从语言角度，通过对文本和修辞的研究，挖掘莫言小说创作的特色，力求给当下的文学创作者以启示。

全文由四部分组成。绪论部分，总体概括莫言小说的语言特色，它的前后期演变和演变的可能缘由，莫言语言特色的历史研究和未尽之处，以及完成莫言小说语言研究的现实意义。第一章，重点谈论莫言小说语言风格的嬗变——初期的清新与饱满，中期的粗粝与狂欢，近期的多声部的咏叹。在这一嬗变过程中，莫言小说语言的具体特点是这一章的谈论重点。第二章，语言风格的资源与形成：分为民间话语的吸纳、地方戏曲语言的深刻影响、外来语言资源的汲取三方面。对于民间话语，莫言立足生活和生活的原质，将精湛而娴熟的文学创作技法融入其中，在语言的精妙和通俗之间协调转化；关于地方戏曲语言，以“茂腔”和“吕剧”的影响为例，勘察它们对莫言语言的巨大影响；在外来语言的吸纳中，既有穿越历史的同响，阐述莫言小说对世界文学风格的吸纳，又有撞击下的秩序，阐述莫言小说对世界绘画艺术的吸纳。第三章，则从简单的语言特点解析中跳脱出去，言说在语言形成的背后——主体精神与语言个性的融合统一，以此透视莫言极具“主观性”的世界观和由此映照出的精神趋向。论文从饱和性语体与先锋气质、杂语交汇与包容精神、天马行空的抒情性与自我彰显三个方面进行论述。

The writer—Mo Yan, came to the literary world in the 1980s, became a representative figure of Chinese avant-garde fictions since the new era, formed a wide world reputation, and won the Nobel Prize for literature in 2012. He is a writer with a strong personal identity. He has his own originality and development in language style, story structure, ideological connotation and many other aspects. Especially in the aspect of language, his "identity" is more obvious. He has created a language style with compatibility, obvious sense of turbidity and constant flow. In some way, it is an effective expansion and reinjection of native language. From the perspective of language, through the study of text and rhetoric, this paper explores the characteristics of Mo Yan's fictions and tries to give inspiration to the current literary creators.

This paper consists of four parts. The introduction part summarizes the language features of Mo Yan's fictions, the evolution of his language features in the early and later periods and the possible causes of this evolution, the existing research and the unfinished areas of Mo Yan's language features, and the practical significance of completing the language research of Mo Yan's fictions.The first chapter focuses on the evolution of the language style of Mo Yan's fictions, the freshness and fullness in the early stage, the coarseness and Carnival in the middle stage, and the polyphonic aria in the recent stage. In the process of this evolution, the characteristics of Mo Yan's language, are the focus of this chapter.

The second chapter, the resources and formation of Mo Yan’s language style, is divided into three aspects: the absorption of folk language, the profound influence of local opera language, and the absorption of foreign language resources. As for folk language, Mo Yan, based on the life and its essence, integrates the exquisite and skillful literary creation techniques to coordinate the transformation between the exquisite language and the popular language. As for the language of local opera, taking the influence of Mao Opera and Lü Opera (of Shandong Province) as an example, this aspect explores their great influence on Mo Yan’s language. In the absorption of foreign languages, there are not only through the same sound of history, which analyzes the absorption of Mo Yan's fictions to the world literary style, but also the order under the impact, which analyzes the absorption of Mo Yan's fictions to the world painting art.

In the third chapter, it jumps out from the simple analysis of language characteristics, and explores the formation of language - the integration of subject spirit and language personality. In this way, we can see Mo Yan's world outlook of "subjectivity" and the spiritual trend reflected by it. It discusses from three aspects: the saturated style and the pioneer temperament, the inclusion of miscellaneous languages and the spirit of intersection, the lyricism of "flying in the sky" and the self-manifestation.