2012年诺贝尔文学奖颁奖词 瑞典国王为莫言颁奖(中、英双语)

The Nobel Prize in Literature 2012 Award Ceremony Speech Presentation Speech by Per W?stberg, Writer, Member of the Swedish Academy, Chairman of the Nobel Committee, 10 December 2012. Your Majesties, Your Royal Highnesses, Esteemed Nobel Laureates, Ladies and Gentlemen, Mo Yan is a poet who tears down stereotypical propaganda posters, elevating the individual from an anonymous human mass. Using ridicule and sarcasm Mo Yan attacks history and its falsifications as well as deprivation and political hypocrisy. Playfully and with ill-disguised delight, he reveals the murkiest aspects of human existence, almost inadvertently finding images of strong symbolic weight.   North-eastern Gaomi county embodies China’s folk tales and history. Few real journeys can surpass these to a realm where the clamour of donkeys and pigs drowns out the voices of the people’s commissars and where both love and evil assume supernatural proportions. Mo Yan’s imagination soars across the entire human existence. He is a wonderful portrayer of nature; he knows virtually all there is to know about hunger, and the brutality of China’s 20th century has probably never been described so nakedly, with heroes, lovers, torturers, bandits – and especially, strong, indomitable mothers. He shows us a world without truth, common sense or compassion, a world where people are reckless, helpless and absurd. Proof of this misery is the cannibalism that recurs in China’s history. In Mo Yan, it stands for unrestrained consumption, excess, rubbish, carnal pleasures and the indescribable desires that only he can attempt to elucidate beyond all tabooed limitations. In his novel Republic of Wine, the most exquisite of delicacies is a roasted three-year-old. Boys have become exclusive foodstuff. The girls, neglected, survive. The irony is directed at China’s family policy, because of which female foetuses are aborted on an astronomic scale: girls aren’t even good enough to eat. Mo Yan has written an entire novel, Frog, about this. Mo Yan’s stories have mythical and allegorical pretensions and turn all values on their heads. We never meet that ideal citizen who was a standard feature in Mao’s China. Mo Yan’s characters bubble with vitality and take even the most amoral steps and measures to fulfil their lives and burst the cages they have been confined in by fate and politics. Instead of communism’s poster-happy history, Mo Yan describes a past that, with his exaggerations, parodies and derivations from myths and folk tales, is a convincing and scathing revision of fifty years of propaganda. In his most remarkable novel, Big Breasts and Wide Hips, where a female perspective dominates, Mo Yan describes the Great Leap Forward and the Great Famine of 1960 in stinging detail. He mocks the revolutionary pseudo-science that tried to inseminate sheep with rabbit sperm, all the while dismissing doubters as right-wing elements. The novel ends with the new capitalism of the ‘90s with fraudsters becoming rich on beauty products and trying to produce a Phoenix through cross-fertilisation. In Mo Yan, a forgotten peasant world arises, alive and well, before our eyes, sensually scented even in its most pungent vapours, startlingly merciless but tinged by joyful selflessness. Never a dull moment. The author knows everything and can describe everything – all kinds of handicraft, smithery, construction, ditch-digging, animal husbandry, the tricks of guerrilla bands. He seems to carry all human life on the tip of his pen. He is more hilarious and more appalling than most in the wake of Rabelais and Swift — in our time, in the wake of García Marquez. His spice blend is a peppery one. On his broad tapestry of China’s last hundred years, there are neither dancing unicorns nor skipping maidens. But he paints life in a pigsty in such a way that we feel we have been there far too long. Ideologies and reform movements may come and go but human egoism and greed remain. So Mo Yan defends small individuals against all injustices – from Japanese occupation to Maoist terror and today’s production frenzy. For those who venture to Mo Yan’s home district, where bountiful virtue battles the vilest cruelty, a staggering literary adventure awaits. Has ever such an epic spring flood engulfed China and the rest of the world? In Mo Yan’s work, world literature speaks with a voice that drowns out most contemporaries. The Swedish Academy congratulates you. I call on you to accept the 2012 Nobel Prize for Literature from the hand of His Majesty the King. 2012年诺贝尔文学奖颁奖词 瑞典国王为莫言颁奖（中、英双语） 北京时间12月11日0时16分许，2012年诺贝尔奖颁奖仪式在瑞典斯德哥尔摩隆重举行。瑞典文学院成员作家瓦斯特伯格为莫言领奖致辞。 颁奖词全文如下： 瑞典文学院诺奖委员会主席瓦斯特伯格： 尊敬的国王和皇后陛下，尊敬的诺贝尔奖得主们，女士们先生们， 莫言是个诗人，他扯下程式化的宣传画，使个人从茫茫无名大众中突出出来。 他用嘲笑和讽刺的笔触，攻击历史和谬误以及贫乏和政治虚伪。他有技巧的揭露了人类最阴暗的一面，在不经意间给象征赋予了形象。 高密东北乡体现了中国的民间故事和历史。在这些民间故事中，驴与猪的吵闹淹没了人的声音，爱与邪恶被赋予了超自然的能量。 莫言有着无与伦比的想象力。他很好地描绘了自然；他基本知晓所有与饥饿相关的事情；中国20世纪的疾苦从来都没有被如此直白的描写：英雄、情侣、虐待者、匪徒--特别是坚强的 、不屈不挠的母亲们 。他向我们展示了一个没有真理、常识或者同情的世界，这个世界中的人鲁莽、无助且可笑。 继续阅读