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Mo Yan Born: 1955, Gaomi , China Residence at the time of the award: China

華人諾貝爾文學獎 第二人. The Nobel Prize in Literature 2012 was awarded to Mo Yan "who with hallucinatory realism merges folk tales, history and the contemporary" . 魔幻現實莫言 中國大陸第一個諾貝爾文學 獎得主. 莫言, 2012 諾貝爾文學獎得獎人,為 中國大陸獲得諾貝爾文學獎的第一人, 華人第二人。. The Nobel Prize in Literature 2012 Mo Yan.

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Mo Yan Born: 1955, Gaomi , China Residence at the time of the award: China

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  1. 華人諾貝爾文學獎第二人 The Nobel Prize in Literature 2012 was awarded to Mo Yan "who with hallucinatory realism merges folk tales, history and the contemporary". 魔幻現實莫言 中國大陸第一個諾貝爾文學獎得主 莫言,2012諾貝爾文學獎得獎人,為中國大陸獲得諾貝爾文學獎的第一人, 華人第二人。 The Nobel Prize in Literature 2012 Mo Yan 2012諾貝爾文學獎得獎人,為中國大陸獲得諾貝爾文學獎的第一人,但莫言曾說過,他永遠不會為了一個獎去寫作,不管是茅盾文學獎,還是諾貝爾文學獎。他始終認為自己的文學成就是“世無英雄,豎子成名”。寫作風格大膽的莫言,作品深受魔幻現實主義影響,天馬行空般的敘述,帶有明顯的「先鋒」色彩。莫言1955年2月出生於山東高密,10歲時因文化大革命輟學,在農村勞動多年,1976年入伍,1981年開始文學創作,之後陸續就讀解放軍藝術學院文學系和北京師範大學,獲文學碩士學位,是香港公開大學榮譽文學博士,青島科技大學客座教授。 Mo Yan Born: 1955, Gaomi, China Residence at the time of the award: China Prize motivation: "who with hallucinatory realism merges folk tales, history and the contemporary"

  2. Biobibliographical notes Mo Yan (a pseudonym for Guan Moye) was born in 1955 and grew up in Gaomi in Shandong province in north-eastern China. His parents were farmers. As a twelve-year-old during the Cultural Revolution he left school to work, first in agriculture, later in a factory. In 1976 he joined the People's Liberation Army and during this time began to study literature and write. His first short story was published in a literary journal in 1981. His breakthrough came a few years later with the novella Touming de hongluobo(1986, published in French as Le radis de cristal 1993). In his writing Mo Yan draws on his youthful experiences and on settings in the province of his birth. This is apparent in his novel Hong gaoliangjiazu (1987, in English Red Sorghum 1993). The book consists of five stories that unfold and interweave in Gaomi in several turbulent decades in the 20th century, with depictions of bandit culture, the Japanese occupation and the harsh conditions endured by poor farm workers. Red Sorghum was successfully filmed in 1987, directed by Zhang Yimou. The novel Tiantangsuantaizhige(1988, in English The Garlic Ballads 1995) and his satirical Jiuguo(1992, in English The Republic of Wine 2000) have been judged subversive because of their sharp criticism of contemporary Chinese society. Fengrufeitun(1996, in English Big Breasts and Wide Hips 2004) is a broad historical fresco portraying 20th-century China through the microcosm of a single family. The novel Shengsipilao(2006, in English Life and Death are Wearing Me Out  2008) uses black humour to describe everyday life and the violent transmogrifications in the young People's Republic, while Tanxiangxing(2004, to be published in English as Sandalwood Death 2013) is a story of human cruelty in the crumbling Empire. Mo Yan's latest novel Wa (2009, in French Grenouilles 2011) illuminates the consequences of China's imposition of a single-child policy. Through a mixture of fantasy and reality, historical and social perspectives, Mo Yan has created a world reminiscent in its complexity of those in the writings of William Faulkner and Gabriel GarcíaMárquez, at the same time finding a departure point in old Chinese literature and in oral tradition. In addition to his novels, Mo Yan has published many short stories and essays on various topics, and despite his social criticism is seen in his homeland as one of the foremost contemporary authors.

  3. 1980年代開始,莫言以一系列鄉土作品崛起,內容充滿著「懷鄉」以及「怨鄉」的複雜情感,被歸類為「尋根文學」作家。其作品深受魔幻現實主義影響,寫的是發生在山東高密東北鄉的「傳奇」。莫言在他的小說中構造獨特的主觀感覺世界,天馬行空般的敘述,陌生化的處理,塑造神秘超驗的對象世界,帶有明顯的「先鋒」色彩。莫言的語言風格十分獨特,經常利用反義詞的連續使用,構建具有強大張力的敘述,比如說在《紅高粱》中對「我奶奶」的大串定語。莫言的小說也採用多種敘事角度,比如說在《檀香刑》中,每一章的敘事角度都不一樣,而每一章的語言風格隨著敘事者的身分地位的變更產生的變化,看得出莫言極力在模擬中國傳統戲劇與小說的敘述風格。莫言著有長篇小說《紅高粱家族》、《酒國》、《豐乳肥臀》、《紅耳朵》、《食草家族》、《檀香刑》、《十三步》;短篇小說《蒼蠅.門牙》、《初戀.神嫖》、《老槍.寶刀》、《美女.倒立》,及散文集《會唱歌的牆》、《小說在寫我》。在作品《十三步》中出現了神秘的南美洲魔幻寫實,《紅樹林》則實現了小說題材的時空轉換和創作方法的探索更新,而《紅高粱》家族系列小說,對於新時期軍旅文學的發展產生過深刻而積極的影響。很多人說,這是一部“強悍的民風與凜然的民族正氣的混聲合唱”,《蛙》則折射出中華民族在生存鬥爭中經歷的困難和考驗。迄今為止,莫言有三部作品被改編為電影。其中,由中篇小說《紅高粱家族》改編的電影《紅高粱》,曾獲1988年柏林國際電影節金熊獎,由短篇小說《白狗秋千架》改編的《暖》,曾獲第十六屆東京國際電影節最佳影片金麒麟獎。而莫言自己卻認為,只有《豐乳肥臀》可以拍成氣勢磅礡的巨片。莫言的文學作品作品曾獲華語文學傳媒大獎、2006亞洲周刊中文十大好書、鼎鈞雙年文學獎、中國時報十大好書、聯合報十大好書獎等。不僅在國內影響力大,在國際上也已享有名望,有多篇作品已被翻譯成多國語言。1980年代開始,莫言以一系列鄉土作品崛起,內容充滿著「懷鄉」以及「怨鄉」的複雜情感,被歸類為「尋根文學」作家。其作品深受魔幻現實主義影響,寫的是發生在山東高密東北鄉的「傳奇」。莫言在他的小說中構造獨特的主觀感覺世界,天馬行空般的敘述,陌生化的處理,塑造神秘超驗的對象世界,帶有明顯的「先鋒」色彩。莫言的語言風格十分獨特,經常利用反義詞的連續使用,構建具有強大張力的敘述,比如說在《紅高粱》中對「我奶奶」的大串定語。莫言的小說也採用多種敘事角度,比如說在《檀香刑》中,每一章的敘事角度都不一樣,而每一章的語言風格隨著敘事者的身分地位的變更產生的變化,看得出莫言極力在模擬中國傳統戲劇與小說的敘述風格。莫言著有長篇小說《紅高粱家族》、《酒國》、《豐乳肥臀》、《紅耳朵》、《食草家族》、《檀香刑》、《十三步》;短篇小說《蒼蠅.門牙》、《初戀.神嫖》、《老槍.寶刀》、《美女.倒立》,及散文集《會唱歌的牆》、《小說在寫我》。在作品《十三步》中出現了神秘的南美洲魔幻寫實,《紅樹林》則實現了小說題材的時空轉換和創作方法的探索更新,而《紅高粱》家族系列小說,對於新時期軍旅文學的發展產生過深刻而積極的影響。很多人說,這是一部“強悍的民風與凜然的民族正氣的混聲合唱”,《蛙》則折射出中華民族在生存鬥爭中經歷的困難和考驗。迄今為止,莫言有三部作品被改編為電影。其中,由中篇小說《紅高粱家族》改編的電影《紅高粱》,曾獲1988年柏林國際電影節金熊獎,由短篇小說《白狗秋千架》改編的《暖》,曾獲第十六屆東京國際電影節最佳影片金麒麟獎。而莫言自己卻認為,只有《豐乳肥臀》可以拍成氣勢磅礡的巨片。莫言的文學作品作品曾獲華語文學傳媒大獎、2006亞洲周刊中文十大好書、鼎鈞雙年文學獎、中國時報十大好書、聯合報十大好書獎等。不僅在國內影響力大,在國際上也已享有名望,有多篇作品已被翻譯成多國語言。

  4. 華人諾貝爾文學獎第一人

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