【正文】 rize 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、強盜，尤其是堅強不屈的母親們，令20世紀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、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，女孩連被吃的資格都沒有。莫言還就此話題寫了一部完整的小說《蛙》。莫言的故事用神話和寓言做掩飾，將價值觀置于故事的主題。在莫言筆下沒有毛時代中國的〝標準人民〞，而是充滿活力、不惜用不道德的手段來滿足他們的生活，打破被命運和政治劃下的牢籠。莫言所描述的過去，不是共產(chǎn)主義宣傳畫報里的快樂歷史。他用夸張、滑稽模仿加上變異的神話和民間故事，對50年來的宣傳進行修正，并令人信服。在他最著名的小說《豐乳肥臀》中，從女性視角描述了大躍進和1960年的大饑荒，用嘲笑的筆法寫革命偽科學(xué)試圖用兔子精液讓母羊受孕，并把所有對此表示懷疑的人斥為右派分子。小說結(jié)尾描述的90年代新資本主義，騙子們賣化妝品致富，仍在試圖用異體受精孵出鳳凰。莫言作品將一個被遺忘的農(nóng)民世界生動展現(xiàn)人前，甚至不惜用刺鼻的氣息刺激感官，既冷酷無情得教人目瞪口呆，又摻合令人愉快的無私，他筆下沒有一刻枯燥乏味。這個作家彷佛通曉并善于描述形形式式人類生活，各種手工藝、冶煉、建筑、挖渠開溝、畜牧和土匪的花招詭計通過他的筆尖躍然紙上。他比拉伯雷和斯威夫特以及當(dāng)代的加西亞．馬爾克斯以來多數(shù)作家更滑稽和震撼人心。他語言辛辣，在他描述的中國近100年的畫卷中，既沒有跳舞的獨角獸和仙女，但他描述的豬圈式的生活，令人親歷其境。意識形態(tài)和改革運動來來去去，但人的自我和貪婪恒在。而莫言為所有小人物抱打不平，無論是日本侵華期間、毛式恐怖之下、還是今天的生產(chǎn)狂潮中面對不公的個體。莫言創(chuàng)作出的家鄉(xiāng)是一個美德與卑鄙殘酷交戰(zhàn)之地，是一次踉蹌的文學(xué)冒險。中國以及世界何曾被如此史詩般的春潮席卷？在莫言的作品中，世界文學(xué)的聲音掩蓋同儕。瑞典文學(xué)院祝賀你。請你從國王手中接過2012年諾貝爾文學(xué)獎