How to win a Nobel Prize - 9 simple steps/Dr. Michael Brown/TEDxUTA

​获得诺贝尔奖的九个步骤

距离诺贝尔奖,我已经完成了四步,还有五步!~Weihong Yan/约翰 · 摩根

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Mo Yan/莫言

How does the Nobel Peace Prize work_ - Adeline Cuvelier and Toril Rokseth

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JOHN MORGAN(约翰 · 摩根)

约翰 · 摩根简历

BIO, JOHN MORGAN (Weihong Yan)

  • 美中教育、中国文化海外本土化及高级商业咨询顾问。

  • 现任美国世界中国学研究学会首席执行官;休 • 麦考(银行家,美国银行行长)当代艺术中心国际委员会主席,美国高等教育禅学会会员和北京外国语大学中国文化研究院研究员。

  • 2006~2017年,美国北卡州费佛尔大学文学院教授、中国学研究中心主任、第46所(现112所)孔子学院美方院长。

  • ​多语种翻译

  • 艺术评论人、策展人。

研究方向:

  • 中国文化国际传播学、中西美学与跨文化比较研究与推广。

  • 汉字书法文化与美国STEM/STEAM教育研究。(Science科学、Technology技术、Engineering工程、Art艺术和Mathematic数学)

  • 汉字书法文化与脑可塑性研究。

譯著:

  • 《說文解字》540部首,德文和英文翻譯;

  • 英文翻譯《漢字講述的文明脈絡》2014年中國最美的書。

John Morgan (Weihong Yan),

American curator, author, US-China strategist in education, culture and Business Senior Consultant and strategic specialist and research professor of Chinese studies in Beijing Foreign Studies University, China. He is also the CEO of the World Association Chinese Studies.

Academic:

1. International relations focus on Chinese studies.

2. Chinese and Western aesthetics and cross-cultural research.

​3. Interdisciplinary studies of Chinese calligraphy and neuroplasticity. 

-----------------------------------------------------

Contact Info:

y.weihong@gmail.com

 

86-13903511910 (China)

001-980-428-0550 (USA) 

Add: 16747 Crosshaven Dr. Charlotte, NC 28278, USA.

在中国,VPN看到培尔瓦斯特伯格《在莫言诺贝尔文学奖颁奖仪式上的演讲》的汉译稿,我把译文修改了一下。我更喜欢英文发言稿!Per Wästberg的语言十分美丽!

 

阅读指南。

II.下面是我的改文,不带有修改符号。

III. 下面是我的改文,带有修改符号。

Presentation Speech at the Award Ceremony

在诺贝尔文学奖颁奖仪式上的演讲

 

for the Nobel Prize in Literature 2012

By Per Wästberg, Writer, Member of the Swedish Academy,

Chairman of the Nobel Committee

作家、瑞典文学院院士、诺贝尔文学奖委员会主席培尔 · Y · 瓦斯特伯格

 

10 December 2012

2012年12月10日

 

Your Majesties,

Your Royal Highnesses,

Esteemed Nobel Laureates,

Ladies and Gentlemen,

尊敬的国王和皇后陛下,

尊敬的各位王室殿下,

尊敬的各位诺贝尔奖得主,

女士们,先生们:

 

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.

莫言是一位诗人,他撕下了程式化的海报宣传,将个人从芸芸众生中升华。他用嘲笑和讽刺的笔触,批判历史及其谬误、贫穷、以及政治虚伪。他以嬉戏的方式和蓄意掩盖的欢欣,揭露了人类生存最阴暗的一面,在不经意间赋予其具有强烈象征意义的形象。

 

North-eastern Gaomi County embodies China’s folk tales and history. Few real journeys can surpass these to a realm where the clamor of donkeys and pigs drowns out the voices of the people’s commissars and where both love and evil assume supernatural proportions.

高密东北乡是中国民间故事和历史的体现。在真实世界中,没有一次旅行能够把我们带入这样一个世界,在那里,驴与猪的吵闹淹没了共产党书记的声音,爱与恶获得了超自然的形态。

 

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.

莫言的想象力超越了全部人类生存体验。他精彩地描绘了大自然;他完全知道什么是饥饿;20世纪中国的残酷历史也从未被如此直白地描写过:那些英雄们,恋人们,施暴者,匪帮,特别还有那些坚强、不屈不挠的母亲们。莫言向我们展示了一个没有真理、没有常识、没有同情的世界,这个世界里的人鲁莽、无助、并且荒诞可笑。

 

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 fetuses are aborted on an astronomic scale: girls aren’t even good enough to eat. Mo Yan has written an entire novel, Frog, about this.

这些苦难的证明便是中国历史上重复出现的同类相食。在莫言那里,同类相食代表着毫无节制的消耗、无度、废弃、肉欲享乐、以及莫名的欲望,只有莫言才能超越所有禁忌的束缚试图将这一切加以阐明。在小说《酒国》中,最精美的佳肴是一个烤熟了的三岁孩子。男童沦为专用食材,而女童,因为被忽视,却反而得以幸存。这是对中国计划生育政策的嘲讽:这个政策导致大量女性胎儿被堕掉,女孩不被看好,甚至连被吃掉的资格都没有。莫言的另一部小说——《蛙》,整本书都对此进行了描述。

 

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 fulfill their lives and burst the cages they have been confined in by fate and politics.

莫言的故事具有神秘和讽喻的含意,它们完全颠覆了所有的价值观。我们从未见过那位毛泽东中国的标准式理想公民。莫言笔下的人物活力四射,用最无道德意识的手段和方式实现他们的生活目标,打破束缚他们的命运和政治牢笼。

 

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.

莫言没有描写出一个海报宣传上的共产主义幸福史,而是运用夸张、戏仿、以及神话和民间传说的改写等手法讲故事,改写了五十年的宣传,这种改写既令人信服,又具毁灭性。

 

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-fertilization.

《丰乳肥臀》是莫言最著名的以女性视角为主的一部小说,莫言在书中细腻地讥讽了大跃进和1960年的大饥荒。他嘲弄了用兔子给羊受精的革命伪科学,以及把怀疑者打成右派分子的做法。小说以九十年代的新资本主义结尾,而此时,化妆品制假者却一夜暴富,并想通过杂交培育出凤凰。

 

In Mo Yan, a forgotten peasant world arises, alive and well, before our eyes, sensually scented even in its most pungent vapors, 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 hu*****andry, the tricks of guerrilla bands. He seems to carry all human life on the tip of his pen.

莫言在我们眼前塑造了一个已被人遗忘的农民世界,这个世界生动而实际,充满辛辣而肉欲的气息,既惊人的残忍无情,又具快乐的无私。这个世界每一瞬间都那么精彩有趣。作者通晓一切,并描写了一切:手工艺术,锻工手艺,建筑,沟渠开挖,放牧,以及游击战术。全部的人类生活似乎从他的笔尖流淌出来。

 

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.

莫言比拉伯雷和斯威夫特——以及我们这个时代的加西亚·马尔克斯——之后的大多数作家更滑稽,更惊世骇俗。他的风格五味杂陈,而且辛辣。在莫言织就的宽阔的百年中国历史挂毯上,没有轻歌曼舞的独角兽和少女,只有猪圈中的人生;而我们感觉到,在这个猪圈中我们大家都呆得太久了。意识形态和改革运动转瞬即逝,但人的自我与贪婪却永在。因而,莫言为所有敢于反抗不公的小人物打抱不平——从日本人的侵略,到毛泽东的暴虐,直至今天的发展狂热。

 

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.

在莫言塑造的家乡,慷慨的道德与邪恶的残忍交战;对于愿到这里一游的人而言,等待他们的将是一次大开眼界的文学探险。这样一股史诗般的春潮难道从未吞没过中国和世界吗?在莫言的作品中,世界文学以令今人振聋发聩的雄音发出自己的心声。

 

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.

瑞典科学院向你祝贺。现在,我请你从瑞典国王陛下的手中接受2012年诺贝尔文学奖。

 

 

II. 下面是我的改文,不带有修改符号。

 

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.

莫言是一位具有诗人般想象力和创作力的作家,他撕下了僵化的、宣传式的海报,将个人从无名大众中升华;他用嘲笑和讽刺的笔触,抨击了历史及其谬误、谴责了被剥夺与政治虚伪的现象;他以嬉戏的方式和蓄意掩盖的欢愉,揭露了人类历史上最最阴暗的一面;他几乎是在不经意间塑造出那些具有强烈象征意义的形象。

 

North-eastern Gaomi County embodies China’s folk tales and history. Few real journeys can surpass these to a realm where the clamor of donkeys and pigs drowns out the voices of the people’s commissars and where both love and evil assume supernatural proportions.

东北高密县是中国民间故事和历史荟萃的地方。在现实世界里,寥寥数次旅行很难把我们带入这样一个世界,在那里,驴与猪的喧嚣淹没了共产党书记的声音,爱与恶带有超自然的色彩。

 

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.

而莫言的想象力却跨越了整个人类。他精彩地描绘了大自然;他真正地懂得什么是饥饿;20世纪中国的残酷历史或许从未被如此直白地描写过--在他的笔下,这个残酷的历史是通过那些英雄,恋人,施暴者,匪帮,尤其是那些坚强不屈的母亲们体现出来的。莫言向我们展示了一个没有真理、没有常识、没有同情的世界,这个世界里的人们鲁莽、无助、并且荒诞可笑。

 

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 fetuses are aborted on an astronomic scale: girls aren’t even good enough to eat. Mo Yan has written an entire novel, Frog, about this.

中国历史上发生过的同类相食现象的再次发生就证明了这种苦难的存在。在莫言笔下,这种苦难体现在他能冲破一切禁忌束缚而描绘的那种毫无节制的消费、挥霍、浪费、肉欲享乐、以及难以言状的欲望。在他的小说《酒国》里,最精美的佳肴是一个烤熟了的三岁男孩。一方面,男童沦为风味独特的佳肴,而另一方面,女童则因为被歧视却反而幸存。这是针对中国计划生育政策的嘲讽--这个政策导致天量女性胎儿被堕掉。女孩不被看好,甚至到了连被吃掉的资格都没有。关于这个主题,莫言曾用一个名叫《蛙》的整本小说来描述。

 

 

III. 下面是我的改文,带有修改符号。

(  ) 表示删除

[  ] 表示添加

 

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.

莫言是一位[具有]诗人[般想象力和创作力的作家],他撕下了(程式化的)[僵化的、](海报宣传)[宣传式的海报],将个人从(芸芸众生)[无名大众]中升华(。)[;]他用嘲笑和讽刺的笔触,(批判)[抨击了]历史及其谬误、[谴责了](贫穷)[被剥夺](、以及)[与]政治虚伪[的现象](。)[;]他以嬉戏的方式和蓄意掩盖的(欢欣)[欢愉],揭露了人类(生存)[历史上]最[最]阴暗的一面(,)[;](在不经意间赋予其具有强烈象征意义的形象。)[他几乎是在不经意间塑造出那些具有强烈象征意义的形象。]

 

North-eastern Gaomi County embodies China’s folk tales and history. Few real journeys can surpass these to a realm where the clamor of donkeys and pigs drowns out the voices of the people’s commissars and where both love and evil assume supernatural proportions.

(高密东北乡)[东北高密县]是中国民间故事和历史(的体现)[荟萃的地方]。在(真实)[现实]世界(中)[里],(没有一次)[寥寥数次]旅行(能够)[很难]把我们带入这样一个世界,在那里,驴与猪的(吵闹)[喧嚣]淹没了共产党书记的声音,爱与恶(获得了)[带有]超自然的(形态)[色彩。]

 

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.

[而]莫言的想象力[却](超越)[跨越]了(全部)[整个]人类(生存体验)。他精彩地描绘了大自然;他(完全知道)[真正地懂得]什么是饥饿;20世纪中国的残酷历史(也)[或许]从未被如此直白地描写过(:)[--在他的笔下,这个残酷的历史是通过]那些英雄(们),恋人(们),施暴者,匪帮,(特别还有)[尤其是]那些坚强(、)不屈(不挠)的母亲们[体现出来的]。莫言向我们展示了一个没有真理、没有常识、没有同情的世界,这个世界里的人[们]鲁莽、无助、并且荒诞可笑。

 

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 fetuses are aborted on an astronomic scale: girls aren’t even good enough to eat. Mo Yan has written an entire novel, Frog, about this.

(这些苦难的证明便是)中国历史上(重复出现的)[发生过的]同类相食[现象的再次发生就证明了这种苦难的存在]。在莫言(那里)[笔下],(同类相食代表着)[这种苦难体现在他能冲破一切禁忌束缚而描绘的那种]毫无节制的(消耗)[消费]、(无度)[挥霍]、(废弃)[浪费]、肉欲享乐、以及(莫名的)[难以言状的]欲望(,只有莫言才能超越所有禁忌的束缚试图将这一切加以阐明)。在[他的]小说《酒国》(中)[里],最精美的佳肴是一个烤熟了的三岁(孩子)[男孩]。[一方面,]男童沦为(专用食材)[风味独特的佳肴],[而另一方面],女童(,)[则]因为被(忽视)[歧视](,)却反而(得以)幸存。这是[针]对中国计划生育政策的嘲讽(:)--这个政策导致(大量)[天量]女性胎儿被堕掉(,)[。]女孩不被看好,甚至[到了]连被吃掉的资格都没有。(莫言的另一部小说——《蛙》,整本书都对此进行了描述)。[关于这个主题,莫言曾用一个名叫《蛙》的整本小说来描述。]