【正文】 縮在一起的想象世界，描繪出了現(xiàn)代的蕓蕓眾生相，給人們帶來了沖擊”，而獲得了諾貝爾文學(xué)獎。2000高行健1940[法國] 生平年表高行健（1940—），原籍江蘇泰州，出生于江西贛州。目前為法籍華人。２０００年１０月１２日獲得諾貝爾文學(xué)獎。事后報導(dǎo)中稱他為劇作家、畫家、小說家、翻譯家、導(dǎo)演和評論家。不過，高行健早期在國內(nèi)，是以創(chuàng)作先鋒戲劇著稱。他與鐵路話劇團(tuán)創(chuàng)作員劉會遠(yuǎn)（中共元老谷牧的兒子）合作創(chuàng)作了《車站》《絕對信號》等話劇，由北京人藝演出，引起轟動。后來他又寫了《野人》，采用更多探索手法，更展現(xiàn)出藝術(shù)魄力和深邃的歷史感?！督^對信號》一劇，被列入“共和國５０年１０部戲劇”。高行健在大陸發(fā)表的作品不多，他在1981年發(fā)表《現(xiàn)代小說技巧初探》的小說評論，1984年發(fā)表中篇小說集《有只鴿子叫紅唇兒》。他的劇作集《彼岸》（The Other Shore）在一九八六年在大陸“清除精神污染運(yùn)動”時遭北京當(dāng)局禁演，翌年他即離開中國大陸赴法國，隔年再以政治難民的身分定居巴黎市郊的巴紐里，加入法國國籍。因此高行健的主要作品例如長篇小說《靈山》（據(jù)說臺灣已經(jīng)有了中文版）、《一個人的圣經(jīng)》都只能在海外出版。他的畫作也已在歐洲和美國展出。在報章中，有人稱他為大陸異議作家。高行健年表：1962年從北京外國語大學(xué)畢業(yè)后任中國國際書店翻譯。1971——1974到干校勞動，后來在皖南山區(qū)農(nóng)村中學(xué)任教。1975年回北京，任《中國建設(shè)》雜志社法文組組長。1977年調(diào)中國作協(xié)對外聯(lián)絡(luò)委員會工作。1978年開始文學(xué)創(chuàng)作。1979年發(fā)表散文《巴金在巴黎》中篇小說《寒夜的星辰》。1981年調(diào)北京人民藝術(shù)劇院任編劇。創(chuàng)作《絕對信號》（于劉會遠(yuǎn)合作）《車站》《野人》等劇作，引起很大反響，并因其新的戲劇觀念和思想內(nèi)涵而發(fā)生爭議。他大量吸收了西方現(xiàn)代派的戲劇手法，突破了話劇傳統(tǒng)的時間結(jié)構(gòu)，拓寬了戲劇表現(xiàn)空間，探索新的戲劇觀念包括舞臺觀念。論著《現(xiàn)代小說技巧初探》（花城出版社）提出了新的文學(xué)觀，強(qiáng)調(diào)小說要揭示現(xiàn)代社會矛盾，探索人物的內(nèi)心世界，表現(xiàn)復(fù)雜的人性，嘗試新的表現(xiàn)手法等，引起廣泛的注意和爭論。論文《談小說觀和小說技巧》也在1983年遭到批判。另外還出版過小說集《有只鴿子叫紅唇兒》理論著作《現(xiàn)代戲劇手段初探》、《對一種現(xiàn)代戲劇的追求》和戲劇作品集《高行健戲劇集》等，90年代定居法國，繼續(xù)從事創(chuàng)作和繪畫，出版小說《靈山》等。諾貝爾文學(xué)獎獲得者高行健作品一覽戲?。骸督^對信號》、《野人》、《車站》、《模仿者》、《躲雨》、《行路難》、《喀巴拉山》、《獨(dú)白》、《冥城》、《彼岸》、《逃亡》、《生死界》、《對話與反詰》、《夜游神》、《山海經(jīng)傳》小說及評論集《靈山》、《一個人的圣經(jīng)》、《給我老爺買魚竿》、《有只鴿子叫紅唇兒》、《沒有主義》、《現(xiàn)代小說技巧初探》、《高行健戲劇集》、《對一種現(xiàn)代戲劇的追求》第四篇：莫言諾貝爾文學(xué)獎頒獎詞莫言諾貝爾文學(xué)獎頒獎詞北京時間昨晚11點30分，2012年諾貝爾獎頒獎典禮于斯德哥爾摩音樂廳舉行。0點16分許，中國作家莫言正式領(lǐng)取了今年的諾貝爾文學(xué)獎，莫言從瑞典國王卡爾十六世古斯塔夫手上接過2012年諾貝爾文學(xué)獎獲獎證書及金質(zhì)獎?wù)?。今年諾貝爾獎獎金為800萬瑞典克朗（約合114萬美元）。諾貝爾獎頒獎典禮上，諾貝爾文學(xué)獎評委會提名小組主席佩爾瓦斯特伯格介紹了莫言的作品，闡述了授予他諾貝爾文學(xué)獎的原因。他介紹說，莫言是個詩人，粉碎了陳腔濫調(diào)，讓茫茫人海中的個體得以升華，莫言的想像力翔越了人類存在的全部。瓦斯特伯格的頒獎辭全文如下：The Nobel Prize in Literature 2012Award Ceremony SpeechPresentation Speech by Per W228。stberg, Writer, Member of the Swedish Academy, Chairman of the Nobel Committee, 10 December 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 ridicule and sarcasm Mo Yan attacks history and its falsifications as well as deprivation and political and with illdisguised delight, he reveals the murkiest aspects of human existence, almost inadvertently finding images of strong symbolic Gaomi county embodies China’s folk tales and real journeys can surpass these to a realm where the clamour of donkeys and pigs drowns out the voices of the people’s missars and where both love and evil assume supernatural Yan’s imagination soars across the entire human 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 shows us a world without truth, mon sense or passion, a world where people are reckless, helpless and of this misery is the cannibalism that recurs in China’s 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 his novel Republic of Wine, the most exquisite of delicacies is a roasted have bee exclusive girls, neglected, 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 Yan has written an entire novel, Frog, about Yan’s stories have mythical and allegorical pretensions and turn all values on their never meet that ideal citizen who was a standard feature in Mao’s 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 of munism’s posterhappy 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 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 mocks the revolutionary pseudoscience that tried to inseminate sheep with rabbit sperm, all the while dismissing doubters as rightwing novel ends with the new capitalism of the ‘90s with fraudsters being rich on beauty products and trying to produce a Phoenix through 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 a dull author knows everything and can describe everything – all kinds of handicraft, smithery, construction, ditchdigging, animal husbandry, the tricks of guerrilla seems to carry all human life on the tip of his is more hilarious and more appalling than most in the wake of Rabelais and Swift — in our time, in the wake of Garc237。a spice blend is a peppery his broad tapestry of China’s last hundred years, there are neither dancing unicorns nor skipping he paints life in a pigsty in such a way that we feel we have been there far too and reform movements may e and go but human egoism and greed Mo Yan defends small individuals against all injustices – from Japanese occupation to Maoist terror and today’s production those who venture to Mo Yan’s home district, where bountiful virtue battles the vilest cruelty, a staggering literary adventure 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 Swedish Academy congratulates call on you to accept the 2012 Nobel Prize for Literature from the hand of His Majesty the King.第五篇：莫言諾貝爾文學(xué)獎頒獎詞莫言諾貝爾文學(xué)獎頒獎詞香港《蘋果日報》記者譯文學(xué)獎授獎詞全文尊敬的國王和皇后陛下，尊敬的諾貝爾獎得主們，女士們先生們：莫言是個詩人，他撕下了程式化的宣傳海報，讓個人從無名人海中突出。莫言用荒誕和譏諷攻擊歷史的謬誤、貧乏及政治的虛偽。他用戲弄和不加掩飾的快感，揭露了人類最黑暗的一面，不經(jīng)意間找到具強(qiáng)烈象征意義的形象。高密東北鄉(xiāng)體現(xiàn)了中國的民間故事和歷史，卻又超越這些進(jìn)入一個國度，驢和豬的聲音淹沒人聲，愛與邪惡都呈現(xiàn)超乎自然的比例。莫言的幻想跳出人類生存現(xiàn)實。他善于描述自然；也徹底了解饑餓的含意，他筆下的英雄、情人、施暴者、強(qiáng)盜，尤其是堅強(qiáng)不屈的母親們，令20世紀(jì)中國的殘酷前所未有如此赤裸地呈現(xiàn)，向我們展示一個沒有真理、常識、憐憫的國度，以及那里魯莽、無助和荒唐的人們。中國歷史上反覆出現(xiàn)的〝人吃人〞證實了這種苦難。莫言筆下〝吃人〞象征無節(jié)制的消費(fèi)、鋪張、垃圾、肉欲和無法描述的欲望，只有他能那樣跨越禁忌嘗試去闡釋。莫言的小說《酒國》中，極品佳肴是烤三歲童子肉。只有男童能入膳；被忽視的女童反得以生存。這一諷刺指向中國的獨(dú)生子女政策，令天文數(shù)字的女嬰被流產(chǎn)：重男輕女，女孩連被