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3. The Trends in Chinese Literature of XX and XXI Centuries Issues of Far Eastern Literatures: Materials of the 11th International Scientific Cconference. June 27–29, 2024 50 Rodionova Oxana (SPbSU), o.rodionova@spbu.ru Image of Sun Wukong in Contemporary Chinese Prose The hero of Wu Cheng'en's classic novel «Journey to the West», SunWukong, is one of the most popular precedent names in the space of modern Chinese literature. This article traces the embodiment of the image of Sun Wukong in the works of Mo Yan, Liu Zhenyun, Zhang Xuedong, Liang Xiaosheng, Yu Hua, Zhou Meisen and other authors. Analysis of modern texts allows us to trace the traditions and innovations in the creation of the image of Sun Wukong, identify its main features, and also identify the main functions in the text. The proposed study not only demonstrates the range and nature of the use of the image of SunWukong by modern writers, but also reveals the vitality of this character in modern Chinese literature. Keywords: Sun Wukong, Contemporary Prose, Chinese Literature. Sidorenko Andrei (SPbSU), andrei.sidorenko@spbu.ru Political Satire in “The Four Books” by Yan Lianke For the first time in Russian Chinese studies, the report introduces Yan Lianke’s novel “The Four Books” ( 四书 , 2011) into scientific circulation. The ideological and artistic features of the novel, its structure and narrative specificity are considered. The novel is characterized in the context of the literary process of the People’s Republic of China. The main focus of the report is aimed at highlighting the satirical component of the novel as the main factor in the semiosis of power through the prism of the author’s understanding of the Chinese political system in the first decades after the formation of the PRC. Keywords: Yan Lianke, Great Leap forward, Political satire, dystopia. Starodubtseva Natalia (Amur State University), nstarodubceva@yandex.ru On the Issue of the Theme of Comparisons in Mo Yan’s Novel “Frogs” One of the means of expressive speech of the Chinese writer Mo Yan, which defines his signature style, is comparison. This study aims to analyze the comparisons used by the author in the novel “Frogs”. The result of the analysis of comparisons selected by the continuous sampling method was their systematization and distribution into thematic groups and subgroups: 1) comparisons with nature: objects and natural phenomena (wind, clouds, smoke, ice, crow’s nest, etc.); with representatives of the animal world (amphibians: frog; wild animals: bear, monkey; domestic animals: bull, dog, pig, cat; reptiles: snakes; birds: hawk; insects: flies, etc.); comparisons with plants and their fruits: pine, pear, beans, etc.; with the change of day and night; 2) with objects of the mate- rial world: with clothes and food; with materials (“the world is like glass,” “like a figure made of paper,” etc.); 3) comparisons with saints, cult servants, objects and objects of cult (“like a guardian of a deity”, “like a set of statues”, “like a copper bell”); 4) comparisons with persons carrying out activities (amateur geologists, artisan, commander-in-chief, lone hero, party worker, actor, student, etc.); with people in a certain state: “we listened as if spellbound”; “I saw the biggest fish that looked like a pregnant woman”, etc.); 5) comparisons based on Chinese specifics (“thin as a bamboo pole”, “dragon saliva and phoenix blood”, “chicken fighting with phoe- nix”, etc.). Comparisons help not only to “revive” the images, but also to “complete” the action (“pulled (the