Mo Yan and the Nobel Prize for Literature

合集下载

【最新文档】莫言在瑞典诺贝尔颁奖典礼晚宴上发表获奖感言英语演讲稿word版本 (3页)

本文部分内容来自网络整理，本司不为其真实性负责，如有异议或侵权请及时联系，本司将立即删除！== 本文为word格式，下载后可方便编辑和修改！ ==莫言在瑞典诺贝尔颁奖典礼晚宴上发表获奖感言英语演讲稿尊敬的国王陛下、王后陛下，女士们，先生们：Your Majesties, Your Royal Highnesses, Ladies and Gentlemen,我，一个来自遥远的中国山东高密东北乡的农民的儿子，站在这个举世瞩目的殿堂上，领取了诺贝尔文学奖，这很像一个童话，但却是不容置疑的现实。

For me, a farm boy from Gaomi's Northeast Township in far-away China, standing here in this world-famous hall after having received the Nobel Prize in Literature feels like a fairy tale, but of courseit is true.获奖后一个多月的经历，使我认识到了诺贝尔文学奖巨大的影响和不可撼动的尊严。

我一直在冷眼旁观着这段时间里发生的一切，这是千载难逢的认识人世的机会，更是一个认清自我的机会。

My experiences during the months since the announcement have made me aware of the enormous impact of the Nobel Prize and the unquestionable respect it enjoys. I have tried to view what has happened during this period in a cool, detached way. It has been a golden opportunity for me to learn about the world and, even more so, an opportunity for me to learn about myself.我深知世界上有许多作家有资格甚至比我更有资格获得这个奖项;我相信，只要他们坚持写下去，只要他们相信文学是人的光荣也是上帝赋予人的权利，那么，“他必将华冠加在你头上，把荣冕交给你。

莫言诺贝尔文学奖演讲(中英文对照)

北京时间2012年12月8日0时30分，诺贝尔文学奖获得者莫言在瑞典学院发表演讲，以下为演讲实录，英文由Howard Goldblatt翻译：尊敬的瑞典学院各位院士，女士们、先生们：Distinguished members of the Swedish Academy, Ladies and Gentlemen:通过电视或网络，我想在座的各位，对遥远的高密东北乡，已经有了或多或少的了解。

你们也许看到了我的九十岁的老父亲，看到了我的哥哥姐姐我的妻子女儿和我的一岁零四个月的外孙子，但是有一个此刻我最想念的人，我的母亲，你们永远无法看到了。

我获奖后，很多人分享了我的光荣，但我的母亲却无法分享了。

Through the mediums of television and the Internet, I imagine that everyone here has at least a nodding acquaintance with far-off Northeast Gaomi Township. You may have seen my ninety-year-old father, as well as my brothers, my sister, my wife and my daughter, even my granddaughter, now a year and four months old. But the person who is most on my mind at this moment, my mother, is someone you will never see. Many people have shared in the honor of winning this prize, everyone but her.我母亲生于1922年，卒于1994年。

她的骨灰，埋葬在村庄东边的桃园里。

莫言获奖演讲英文版

莫言获奖演讲英文版distinguished members of the swedish academy, ladies and gentlemen:through the mediums of television and the internet, i imagine that everyone here has at least a nodding acquaintance with far-off northeast gaomi township. you may have seen my ninety-year-old father, as well as my brothers, my sister, my wife and my daughter, even my granddaughter, now a year and four months old. but the person who is most on my mind at this moment, my mother, is someone you will never see. many people have shared in the honor of winning this prize, everyone but her.my mother was born in 1922 and died in 1994. we buried her in a peach orchard east of the village. last year we were forced to move her grave farther away from the village in order to make room for a proposed rail line. when we dug up the grave, we saw that the coffin had rotted away and that her body had merged with the damp earth around it. so we dug up some of that soil, a symbolic act, and took it to the new gravesite. thatwas when i grasped the knowledge that my mother had become part of the earth, and that when i spoke to mother earth, i was really speaking to my mother.i was my mother's youngest child. my earliest memory was of taking our only vacuum bottle to the public canteen for drinking water. weakened by hunger, i dropped the bottle and broke it. scared witless, i hid all that day in a haystack. toward evening, i heard my mother calling my childhood name, so i crawled out of my hiding place, prepared to receive a beating or a scolding. but mother didn't hit me, didn't even scold me. she just rubbed my head and heaved a sigh.my most painful memory involved going out in the collective's field with mother to glean ears of wheat. the gleaners scattered when they spotted the watchman. but mother, who had bound feet, could not run; she was caught and slapped so hard by the watchman, a hulk of a man, that she fell to the ground. the watchman confiscated the wheat we'd gleaned and walked off whistling. as she sat on the ground, her lip bleeding, mother wore a look of hopelessness i'll never forget.years later, when i encountered the watchman, now a gray-haired old man, in the marketplace, mother had to stop me from going up toavengeher. "son," she said evenly, "the man who hit me and this man are not the same person."my clearest memory is of a moon festival day, at noontime, one of those rare occasions when we ate jiaozi at home, one bowl apiece. an aging beggar came to our door while we were at the table, and when i tried to send him away with half a bowlful of dried sweet potatoes, he reacted angrily: "i'm an old man," he said. "you people are eating jiaozi, but want to feed me sweet potatoes. how heartless can you be?" i reacted just as angrily: "we're lucky if we eat jiaozi a couple of times a year, one small bowlful apiece, barely enough to get a taste! you should be thankful we're giving you sweet potatoes, and if you don't want them, you can get the hell out of here!" after (dressing me down) reprimanding me, mother dumped her half bowlful of jiaozi into the old man's mostremorsefulmemory involves helping mother sell cabbages at market, and me overcharging an old villager one jiao –intentionally or not, i can't recall – before heading off to school. when i came home that afternoon, i saw that mother was crying, something she rarely did. instead of scolding me, she merely said softly, "son, you embarrassed your mother today."mother contracted a serious lung disease when i was still in my teens. hunger, disease, and too much work made things extremely hard on our family. the road ahead looked especially bleak, and i had a bad feeling about the future, worried that mother might take her own life. every day, the first thing i did when i walked in the door after a day of hard labor was call out for mother. hearing her voice was like giving my heart a new lease on life. but not hearing her threw me into a panic. i'd go looking for her in the side building and in the mill. one day, after searching everywhere and not finding her, i sat down in the yard and cried like a baby. that is how she found me when she walked into the yard carrying a bundle of firewood on her back. she was very unhappy with me, but i could not tell her what i was afraid of.she knew anyway. "son," she said, "don't worry, there may be no joy in my life, but i won't leave you till the god of the underworld calls me."i was born ugly. villagers often laughed in my face, and school bullies sometimes beat me up because of it. i'd run home crying, where my mother would say, "you're not ugly, son. you've got a nose and two eyes, and there's nothing wrong with your arms and legs, so how could you be ugly? if you have a good heart and always do the right thing, what is considered ugly becomes beautiful." later on, when i moved to the city, there were educated people who laughed at me behind my back, some even to my face; but when i recalled what mother had said, i just calmly offered my apologies.my illiterate mother held people who could read in high regard. we were so poor we often did not know where our next meal was coming from, yet she never denied my request to buy a book or something to write with. by nature hard working, she had no use for lazy children, yet i could skip my chores as long as i had my nose in a book.a storyteller once came to the marketplace, and i sneaked off to listen to him. she was unhappy with me for forgetting my chores. but that night, while she was stitching padded clothes for us under the weak light of a kerosene lamp, i couldn't keep from retelling stories i'd heard that day. she listened impatiently at first, since in her eyes professional storytellers were smooth-talking men in a dubious profession. nothing good ever came out of their mouths. but slowly she was dragged into my retold stories, and from that day on, she never gave me chores on market day, unspoken permission to go to the marketplace and listen to new stories. as repayment for mother's kindness and a way to demonstrate my memory, i'd retell the stories for her in vivid detail. it did not take long to find retelling someone else's stories unsatisfying, so i began embellishing my narration. i'd say things i knew would please mother, even changed the ending once in a while. and she wasn't the only member of my audience, which later included my older sisters, my aunts, even my maternal grandmother. sometimes, after my mother had listened to one of my stories, she'd ask in a care-ladenvoice, almost as if to herself: "what will you be like when you grow up, son? might you wind up prattling for a living one day?"i knew why she was worried. talkative kids are not well thought of in our village, for they can bring trouble to themselves and to their families. there is a bit of a young me in the talkative boy who falls afoul of villagers in my story "bulls." mother habitually cautioned me not to talk so much, wanting me to be a taciturn, smooth and steady youngster. instead i was possessed of a dangerous combination –remarkable speaking skills and the powerful desire that went with them. my ability to tell stories brought her joy, but that created a dilemma for her.a popular saying goes "it is easier to change the course of a river than a person's nature." despite my parents' tireless guidance, my natural desire to talk never went away, and that is what makes my name – mo yan, or "don't speak" –an ironic expression of self-mockery. after dropping out of elementary school,i was too small for heavy labor, so i became a cattle- and sheep-herder on a nearby grassy riverbank. the sight of my former schoolmates playing in the schoolyard when i drove my animals past the gate always saddened me and made me aware of how tough it is for anyone – even a child – to leave the group.i turned the animals loose on the riverbank tograzebeneath a sky as blue as the ocean and grass-carpeted land as far as the eye could see – not another person in sight, no human sounds, nothing but bird calls above me. i was all by myself and terribly lonely; my heart felt empty. sometimes i lay in the grass and watched clouds float lazily by, which gave rise to all sorts of fanciful images. that part of the country is known for its tales of foxes in the form of beautiful young women, and i would fantasize a fox-turned-beautiful girl coming to tend animals with me. she never did come. once, however, a fiery red fox bounded out of the brush in front of me, scaring my legs right out from under me. i was still sitting there trembling long after the fox had vanished. sometimes i'd crouch down beside the cows and gaze into their deepblue eyes, eyes that captured my reflection. at times i'd have a dialogue with birds in the sky, mimicking their cries, while at other times i'd divulge my hopes and desires to a tree. but the birds ignored me, and so did the trees. years later, after i'd become a novelist, i wrote some of those fantasies into my novels and stories. people frequently bombard me with compliments on my vivid imagination, and lovers of literature often ask me to divulge my secret to developing a rich imagination. my only response is a wan smile.our taoist master laozi said it best: "fortune depends on misfortune. misfortune is hidden in fortune." i left school as a child, often went hungry, was constantly lonely, and had no books to read. but for those reasons, like the writer of a previous generation, shen congwen, i had an early start on reading the great book of life. my experience of going to the marketplace to listen to a storyteller was but one page of that book. after leaving school, i wasthrown uncomfortably into the world of adults, where i embarked on the long journey of learning through listening. two hundred years ago, one of the great storytellers of all time – pu songling – lived near where i grew up, and where many people, me included, carried on the tradition he had perfected. wherever i happened to be –working the fields with the collective, in production team cowsheds or stables, on my grandparents' heated kang, even on oxcarts bouncing and swaying down the road, my ears filled with tales of the supernatural, historical romances, and strange andcaptivatingstories, all tied to the natural environment and clan histories, and all of which created a powerful reality in my mind.even in my wildest dreams, i could not have envisioned a day when all this would be the stuff of my own fiction, for i was just a boy who loved stories, who was infatuated with the tales people around me were telling. back then i was, without a doubt, a theist, believing that all living creatures were endowed with souls. i'd stop and pay my respects to a towering old tree; if i saw a bird, i was sure it could become humanany time it wanted; and i suspected every stranger i met of being a transformed beast. at night, terrible fears accompanied me on my way home after my work points were tallied, so i'd sing at the top of my lungs as i ran to build up a bit of courage. my voice, which was changing at the time, produced scratchy, squeaky songs that grated on the ears of any villager who heard me.i spent my first twenty-one years in that village, never traveling farther from home than to qingdao, by train, where i nearly got lost amid the giant stacks of wood in a lumber mill. when my mother asked me what i'd seen in qingdao, i reported sadly that all i'd seen were stacks of lumber. but that trip to qingdao planted in me a powerful desire to leave my village and see the world.in february 1976 i was recruited into the army and walked out of the northeast gaomi township village i both loved and hated, entering a critical phase of my life, carrying in my backpack the four-volume brief history of china my mother had bought by selling her wedding jewelry. thus began the most important periodof my life. i must admit that were it not for the thirty-odd years of tremendous development and progress in chinese society, and the subsequent national reform and opening of her doors to the outside, i would not be a writer today.in the midst of mind-numbing military life, i welcomed the ideological emancipation and literary fervor of the nineteen-eighties, and evolved from a boy who listened to stories and passed them on by word of mouth into someone who experimented with writing them down. it was a rocky road at first, a time when i had not yet discovered how rich a source of literary material my two decades of village life could be. i thought that literature was all about good people doing good things, stories of heroic deeds and model citizens, so that the few pieces of mine that were published had little literary value.in the fall of 1984 i was accepted into the literature department of the pla art academy, where,under the guidance of my revered mentor, the renowned writer xu huaizhong, i wrote a series of stories and novellas, including: "autumn floods," "dry river," "the transparent carrot," and "red sorghum." northeast gaomi township made its first appearance in "autumn floods," and from that moment on, like a wandering peasant who finds his own piece of land, this literary vagabond found a place he could call his own. i must say that in the course of creating my literary domain, northeast gaomi township, i was greatly inspired by the american novelist william faulkner and the columbian gabriel garcía márquez. i had not read either of them extensively, but was encouraged by the bold, unrestrained way they created new territory in writing, and learned from them that a writer must have a place that belongs to him alone. humility and compromise are ideal in one's daily life, but in literary creation, supreme self-confidence and the need to follow one's own instincts are essential. for two years i followed in the footsteps of these two masters before realizing that i had to escape their influence; this is how i characterized that decision in an essay: they were apair of blazing furnaces, i was a block of ice. if i got too close to them, i would dissolve into a cloud of steam. in my understanding, one writer influences another when they enjoy a profound spiritual kinship, what is often referred to as "hearts beating in unison." that explains why, though i had read little of their work, a few pages were sufficient for me to comprehend what they were doing and how they were doing it, which led to my understanding of what i should do and how i should do it.what i should do was simplicity itself: write my own stories in my own way. my way was that of the marketplace storyteller, with which i was so familiar, the way my grandfather and my grandmother and other village old-timers told stories. in all candor, i never gave a thought to audience when i was telling my stories; perhaps my audience was made up of people like my mother, and perhaps it was only me. the early stories were narrations of my personal experience: the boy who received a whipping in "dry river," for instance, or the boy who never spoke in "the transparent carrot."i had actually done something bad enough to receive awhipping from my father, and i had actually worked the bellows for a blacksmith on a bridge site. naturally, personal experience cannot be turned into fiction exactly as it happened, no matter how unique that might be. fiction has to be fictional, has to be imaginative. to many of my friends, "the transparent carrot" is my very best story; i have no opinion one way or the other. what i can say is, "the transparent carrot" is more symbolic and more profoundly meaningful than any other story i've written. that dark-skinned boy with the superhuman ability to suffer and a superhuman degree of sensitivity represents the soul of my entire fictional output. not one of all the fictional characters i've created since then is as close to my soul as he is. or put a different way, among all the characters a writer creates, there is always one that stands above all the others. for me, that laconic boy is the one. though he says nothing, he leads the way for all the others, in all their variety, performing freely on the northeast gaomi township stage.a person can experience only so much, and once you have exhausted your own stories, you must tell the stories of others. and so, out of the depths of my memories, like conscripted soldiers, rose stories of family members, of fellow villagers, and of long-dead ancestors i learned of from the mouths of old-timers. they waited expectantly for me to tell their stories. my grandfather and grandmother, my father and mother, my brothers and sisters, my aunts and uncles, my wife and my daughter have all appeared in my stories. even unrelated residents of northeast gaomi township have made cameo appearances. of course they have undergone literary modification to transform them into larger-than-life fictional aunt of mine is the central character of my latest novel, frogs. the announcement of the nobel prize sent journalists swarming to her home with interview requests. at first, she was patiently accommodating, but she soon had to escape their attentions by fleeing to her son's home in the provincial capital. i don't deny that she was my model in writing frogs, but the differences between her and the fictional aunt are extensive. the fictionalaunt is arrogant and domineering, in places virtually thuggish, while my real aunt is kind and gentle, the classic caring wife and loving mother. my real aunt's golden years have been happy and fulfilling; her fictional counterpart suffers insomnia in her late years as a result of spiritual torment, and walks the nights like a specter, wearing a dark robe. i am grateful to my real aunt for not being angry with me for how i changed her in the novel. i also greatly respect her wisdom in comprehending the complex relationship between fictional characters and real people.after my mother died, in the midst of almost crippling grief, i decided to write a novel for her. big breasts and wide hips is that novel. once my plan took shape, i was burning with such emotion that i completed a draft of half a million words in only eighty-three days. in big breasts and wide hips i shamelessly used material associated with my mother's actual experience, but the fictional mother's emotional state is either a total fabrication or a composite of many of northeast gaomi township's mothers.though i wrote "to the spirit of my mother" on the dedication page, the novel was really written for all mothers everywhere, evidence, perhaps, of my overweening ambition, in much the same way as i hope to make tiny northeast gaomi township a microcosm of china, even of the whole world.i am a storyteller. telling stories earned me the nobel prize for literature. many interesting things have happened to me in the wake of winning the prize, and they have convinced me that truth and justice are alive and well.so i will continue telling my stories in the days to come.thank you all.the process of creation is unique to every writer.each of my novels differs from the others in terms of plot and guiding inspiration. some, such as "the transparent carrot," were born in dreams, while others, like the garlic ballads have their origin in actual events. whether the source of a work is a dream or real life, only if it is integrated with individual experience can it be imbued with individuality, be populated with typical characters molded by lively detail, employ richly evocative language, and boast a well crafted structure. here i must point out that in the garlic ballads i introduced a real-life storyteller and singer in one of the novel's most important roles.i wish i hadn't used his real name, though his words and actions were made up. this is a recurring phenomenon with me. i'll start out using characters' real names in order to achieve a sense of intimacy, and after the work is finished, it will seem too late to change those names. this has led to people who see their names in my novels going to my father to vent their displeasure. he always apologizes in my place, but then urges them not to take such things so seriously. he'll say: "the first sentence in red sorghum, 'my father, a bandit'soffspring,' didn't upset me, so why should you be unhappy?" my greatest challenges come with writing novels that deal with social realities, such as the garlic ballads, not because i'm afraid of being openly critical of the darker aspects of society, but because heated emotions and anger allow politics to suppress literature and transform a novel into reportage of a social event. as a member of society, a novelist is entitled to his own stance and viewpoint; but when he is writing he must take a humanistic stance, and write accordingly. only then can literature not just originate in events, but transcend them, not just show concern for politics but be greater than politics.possibly because i've lived so much of my life in difficult circumstances, i think i have a more profound understanding of life. i know what real courage is, and i understand true compassion. i know that nebulous terrain exists in the hearts and minds of every person, terrain that cannot be adequately characterized in simple terms of right and wrong or good and bad, and this vast territory is where a writer gives free rein to his talent. so long as the work correctly and vividlydescribes this nebulous, massively contradictory terrain, it will inevitably transcend politics and be endowed with literary excellence. prattling on and on about my own work must be annoying, but my life and works are inextricably linked, so if i don't talk about my work, i don't know what else to say. i hope you are in a forgiving mood. i was a modern-day storyteller who hid in the background of his early work; but with the novel sandalwood death i jumped out of the shadows. my early work can be characterized as a series of soliloquies, with no reader in mind; starting with this novel, however, i visualized myself standing in a public square spiritedly telling my story to a crowd of listeners. this tradition is a worldwide phenomenon in fiction, but is especially so in china. at one time, i was a diligent student of western modernist fiction, and i experimented with all sorts of narrative styles. but in the end i came back to my traditions. to be sure, this return was not without its modifications. sandalwood death and the novels that followed are inheritors of the chinese classical novel tradition but enhanced by western literary techniques. what is knownas innovative fiction is, for the most part, a result of this mixture, which is not limited to domestic traditions with foreign techniques, but can include mixing fiction with art from other realms. sandalwood death, for instance, mixes fiction with local opera, while some of my early work was partly nurtured by fine art, music, even acrobatics.finally, i ask your indulgence to talk about my novel life and death are wearing me out. the chinese title comes from buddhist scripture, and i've been told that my translators have had fits trying to render it into their languages. i am not especially well versed in buddhist scripture and have but a superficial understanding of the religion. i chose this title because i believe that the basic tenets of the buddhist faith represent universal knowledge, and that mankind's many disputes are utterly without meaning in the buddhist realm. in that lofty view of the universe, the world of man is to be pitied. my novel is not a religious tract; in it i wrote of man's fate and humanemotions, of man's limitations and human generosity, and of people's search for happiness and the lengths to which they will go, the sacrifices they will make, to uphold their beliefs. lan lian, a character who takes a stand against contemporary trends, is, in my view, a true hero. a peasant in a neighboring village was the model for this character. as a youngster i often saw him pass by our door pushing a creaky, wooden-wheeled cart, with a lame donkey up front, led by his bound-foot wife. given the collective nature of society back then, this strange labor group presented a bizarre sight that kept them out of step with the times. in the eyes of us children, they were clowns marching against historical trends, provoking in us such indignation that we threw stones at them as they passed us on the street. years later, after i had begun writing, that peasant and the tableau he presented floated into my mind, and i knew that one day i would write a novel about him, that sooner or later i would tell his story to the world. but it wasn't until the year XX, when i viewed the buddhist mural "the six stages of samsara" on a temple wall that i knew exactly how to go about tellinghis story.the announcement of my nobel prize has led to controversy. at first i thought i was the target of the disputes, but over time i've come to realize that the real target was a person who had nothing to do with me. like someone watching a play in a theater, i observed the performances around me. i saw the winner of the prize both garlanded with flowers and besieged by stone-throwers and mudslingers. i was afraid he would succumb to the assault, but he emerged from the garlands of flowers and the stones, a smile on his face; he wiped away mud and grime, stood calmly off to the side, and said to the crowd: for a writer, the best way to speak is by writing. you will find everything i need to say in my works. speech is carried off by the wind; the written word can never be obliterated. i would like you to find the patience to read my books. i cannot force you to do that, and even if you do, i do not expect your opinion of me to change. no writer has yet appeared, anywhere in the world, who is liked by all his readers; that is especially true during times like these.even though i would prefer to say nothing, since it is something i must do on this occasion, let me just say this: i am a storyteller, so i am going to tell you some stories. when i was a third-grade student in the 1960s, my school organized a field trip to an exhibit of suffering, where, under the direction of our teacher, we cried bitter tears. i let my tears stay on my cheeks for the benefit of our teacher, and watched as some of my classmates spat in their hands and rubbed it on their faces as pretend tears. i saw one student among all those wailing children – some real, some phony –whose face was dry and who remained silent without covering his face with his hands. he just looked at us, eyes wide open in an expression of surprise or confusion. after the visit i reported him to the teacher, and he was given a disciplinary warning. years later, when i expressed my remorse over informing on the boy, the teacher said that at least ten students had done what i did. the boy himself had died a decade or more earlier, and my conscience was deeply troubled when i thought of him. but i learned something important from thisincident, and that is: when everyone around you is crying, you deserve to be allowed not to cry, and when the tears are all for show, your right not to cry is greater still.here is another story: more than thirty years ago, when i was in the army, i was in my office reading one evening when an elderly officer opened the door and came in. he glanced down at the seat in front of me and muttered, "hm, where is everyone?" i stood up and said in a loud voice, "are you saying i'm no one?" the old fellow's ears turned red from embarrassment, and he walked out. for a long time after that i was proud about what i consider a gutsy performance. years later, that pride turned to intense qualms of conscience. bear with me, please, for one last story, one my grandfather told me many years ago: a group of eight out-of-town bricklayers took refuge from a storm in a rundown temple. thunder rumbled outside, sending fireballs their way. they even heard what sounded like dragon shrieks. the men were terrified, their faces ashen. "among the eight of us," one of them said, "is someone who must have offended the heavens with a terrible deed. the guilty。

会考说明(五)

云南省学业水平考试说明(五)第一节单项填空（共15小题；每小题1分，满分15分）21. --- I forget my mother’s birthday.--- ________ Better keep it in mind next year.A. I’m afraid so.B. So what?C. You did?D. No wonder.22. The construction of the gym caused much noise, _____it difficult for people nearby to sleep.A. madeB. to makeC. makingD. having made23. Mo Yan won the Nobel Prize for Literature in 2012. _______excellent he is.A. HowB. WhatC. What aD. What an24. In a green school, everyone agrees to be _______about the environment.A. nervousB. carefulC. honestD. rude25. My mother, free from her noisy day, now has been sleeping like a happy child, ____soft sounds in the pillow.A. makeB. madeC. to makeD. making26. A 3G mobile phone, ______to be most useful and fashionable, is popular with some teenagers.A. considerB. consideringC. consideredD. to be considered27. You’d better take down all the key points _____the memory is still fresh in your mind.A. unlessB. whileC. beforeD. until28. Could you tell us ___________ in the future?A. what our life will like C. what our life will be likeB. what will our life be like D. what will our life like29. I admire those people, ______ having little money, they feel happy and satisfied.A.withB.because ofC. instead ofD. in spite of30. It is thought that______ custom of coloring eggs was brought to Europe during ______MiddleAges.A. the; theB. a; /C. a; theD. the; /31. ---______have you been in the sports club?--- Since the first month I came to the school.A. How oldB. How longC. How muchD. How soon32. ---Will you go to Tom's 18th birthday party?--- If you go, ___________.A. nor do IB. nor I doC. so will ID. so I will33. You ______return the novel to the library by tomorrow, or you will be fined.A. shallB. canC. willD. may34. My old neighbor Charles felt ______after his children moved out. .A. lonelyB. safelyC. angrilyD. happily35. A great person is always putting other’s interests ______his own.A. belowB. aboveC. inD. on第二节完型填空（共10小题；每小题1分，满分10分）阅读短文，根据短文内容从A、B、C、D四个选项中选出最佳答案。

莫言诺贝尔文学奖演讲(中英文对照)

莫言诺贝尔文学奖演讲北京时间2012年12月8日0时30分，诺贝尔文学奖获得者莫言在瑞典学院发表演讲，以下为演讲实录，英文由Howard Goldblatt翻译：尊敬的瑞典学院各位院士，女士们、先生们：Distinguished members of the Swedish Academy, Ladies and Gentlemen:通过电视或网络，我想在座的各位，对遥远的高密东北乡，已经有了或多或少的了解。

我获奖后，很多人分享了我的光荣，但我的母亲却无法分享了。

莫言获得诺贝尔文学奖 Mo Yan Won the Nobel Prize for Literature

莫言获得诺贝尔文学奖Mo Yan Won the Nobel Prize for LiteratureMo Yan, whose primitive name is Guan Moye, has been the crispy fried chicken among China after he was awarded the 2012 Nobel Prize for literature. The 57-year-old is the first Chinese resident to win the prize, who is a novelist and a short story writer, born on 17thFebruary 1955, in Gaomi County, Shandong Province which becomes a tourist attraction because of his popularity. For his award, Chinese media overwhelming report this exciting news. As a result, tens of thousands of people jump out and say that Mo Yan is their most favorite writer, alth ough some of them did not know who Mo Yan is. Moreover, Mo Yan’s novels are put in the best seller bookshelf in the bookstores and some are even out of stock.莫言，原名管谟业，获得2012年诺贝尔文学奖后他的名字在中国广为人知。

这个57岁的人是获得该奖项的中国第一人。

2021年广东中考一轮复习英语新题型回答问题专练10篇附答案(七年级)

2021广东中考英语新题型回答问题专练（七年级）10篇AWhat do you want to be when you grow up? What is your dream job? Everyone has his or her ideas. Let me tell you something about my dream job.My name is Diego. I am 15 years old. When I grow up, I don't want to do an ordinary(普通的）job. I want to have an exciting job. My dream is to travel around the world. I'd like to meet differert people every day. I can speak three languages. They are English, German andSpanish. I want to work on an airplane. I don't want to be a pilot. Do you know my dream job? Yes! I want to be a flight attendant(空乘人员）。

My parents don't want me to be a flight attendant. They want me to become a scientist. I'm good at physics and math. They think I will be a good scientist.Which job do you think is better?1. How old is Diego?2. What is Diego's dream?3. How many languages can Diego speak?4. What does Diego want to be when he grows up?5. Who wants Diego to be a scientist?BJan has a new bike. Her new bike is red. It has an orange flag on the back. Jan loves her new bike and she often rides her bike after school. She often rides to Alison’s house and then she goes back home. She loves the bike and it brings her much fun.Now Jan is not happy. She can’t find her bike when she arrives home. She looks for it here and there, but she can’t find it.If you find her bike, pleas call Jan right away. Her telephone number is 458-7745. She really misses her bike. She is waiting for your call.6. What color is Jan’s new bike?7. When does Jan often ride her bike?8. Does Jan often ride to Alison’s house?9. Why is Jan unhappy now?10. What’s Jan’s telephone number?CThe Greens are English. Now they are in Beijing. This is their first visit to China. They will stay in China for three weeks. They will visit some big cities.Mr. Green is a photographer(摄影师). He likes taking photos very much, so they will go sightseeing and take photos of some famous places in China. Mrs. Green is a teacher. She will visit a middle school in Beijing with Mr. Green. And they will learn Chinese from the students. They will also do some shopping in China. When they are back to England, they are going to show the photos to their friends. They want Englishmen to know more about China.11. Where are the Greens from?12. How long will the Greens stay in China?13. What is Mr. Green?14. What will the Greens do in China?15. Why are the Greens going to show the photos to their friends?DHello, everyone. My name is Toby. Now let me tell you something about myself.There are twelve months in a year. My favorite month is October.October 1st is National Day. We have a seven-day holiday. During the holiday, my parents often take me to see my grandparents.There are also some interesting school activities in October. On the 12th, we have a soccer game. I don’t love basketball because it’s difficult for me. But I love soccer. I love playing soccer and watching soccer games. We have a book sale on October 20th. I have three old books and I want to sell them. The art festival is fun. We have it on October 29th. My birthday is also on this day. October is a really great month for me.16. What is Toby’s favourite month?17. What does Toby often do during the holiday?18. Why doesn’t Toby like basketball?19. What will Toby do on the book sale?20. When is Toby’s birthday?EThis is Jenny’s room. It’s small but nice. A computer and some CDs are on the desk. Her schoolbag is on the chair. The ID card is on the bed. The shoes are under the bed. This is Jack’s room. It’s nice. The pictures are on the wall. His desk is near the window. Some flowers are on the desk. Where is his schoolbag? Oh, it’s on the chair. We can’t see a hat on the bed, but we can see Mimi, his cat.This is Lily and Lucy’s room. It’s big and nice. Two pencil boxes are on the desk. Many books are in the bookcase. The bed is near the bookcase.One schoolbag is on the floor, and the other is on the chair. The red jackets are behind the door. A picture of their father and mother is on the wall.21. What are on Jenny’s desk?22. Is there a hat on Jack’s bed?23. What is the name of Jack’s cat?24. How many pencil boxes are there on Lily and Lucy’s desk?25. Where are Lily’s and Lucy’s schoolbags?FSally feels tired these days because of too much homework. Luckily, the winter vacation is coming soon. She plans to do something interesting to relax herself.First, she is going to Hong Kong with her friends on January 12, 2018. They are staying there for 3 days and doing lots of shopping and sightseeing. Then, she plans to visit her grandparents after she comes back from Hong Kong. She will tell them about her trip to Hong Kong. What’s more, she is planning to do some exercise every morning.She believes that she will feel much better after the winter vacation. She thinks the only way to live a happy life is to have a relaxing lifestyle.26. Why does Sally feel tired these days?27. When will Sally arrive in Hong Kong?28. What will Sally do in Hong Kong?29. What will Sally tell her grandparents about?30. What is the way for Sally to live a happy life?GJohn and his parents are now in China. He is studying in a middle school in Beijing. In his new school, he has to obey some school rules that are different from those in the USA.He has to be at school at 7:30 in the morning. Classes begin at 8:00.They have a break (课间休息) between two classes. It’s about ten minutes. During the break, they can eat and play games. He has to have lunch at school. He has to wear a school uniform on school days. He also has to wear sports shoes for P.E. classes. School is over at 5:30 in the afternoon. He has to go home for dinner. After dinner, he has to do his homework. He can watch TV if he finishes his homework.31. Where does John come from?32. When is the first class in the morning?33. Where does John have lunch?34. What does John wear on school days?35. What does John do after dinner?HWorld Music Day is a music festival. It’s on June 21st every year.In 1976, an American musician, Joel Cohen, suggested the idea of an all-night music celebration. He wanted the festival to happen on the longest day of the year. The idea was adopted(采纳)by French Music and Dance director Maurice Fleuret in 1981 and first took place in 1982 in France. Then the idea quickly spread to over one hundred cities around the world. The idea behind World Music Day is to promote(推广)music. This happens in two different ways. People play their music and perform in the streets. The second way is to hold free concerts.Many of us can not live without music. World Music Day is more than just a festival. It’s also a meeting place and a good time to put the music from each country together. The festival is popular with people in the world, and more and more people join in it.36. What is the date of World Music Day every year?37. What does Joel Cohen do?38. Where is Maurice Fleuret from?39. What is the idea behind World Music Day?40. Is World Music Day just a festival?IIn October, 2012, Chinese writer Mo Yan won the Nobel Prize for Literature(诺贝尔文学奖). He became the first Chinese writer to get the prize.Mo Yan was born on February 17th, 1955. His parents were farmers. When he was twelve, he left school to work, first on a farm, later in a factory. In 1976, he became a soldier and began to write.His real name is Guan Moye. He chose his pen name “Mo Yan” when he wrote his first novel Falling Rain on a Spring Night. His works are mostly about the country life. He often writes about the area where he grew up—Gaomi, Shandong Province. He talks about what happened in his hometown even before he was born.Mo Yan’s 1986 novel Red Sorghum is an example. It is also Mo’s most famous book in the English-speaking world. It tells a story that happened in his hometown in the 1930s. Many people got to know Mo Yan when the book was made into a successful film by director Zhang Yimou in 1987.In 2006, Mo Yan’s novel Life and Death Are Wearing me out came out and it quickly got popular. Mo Yan’s latest novel, Frog, is about a rural(乡村的) doctor’s experience（经历）.41. How old was Mo Yan when he got the Nobel Prize?42. What was the job of Mo Yan when he began to write?43. What are Mo Yan’s works mostly about?44. Which book was made into a successful film in 1987?45. How many novels are mentioned in the passage?Welcome to TF Boys’ Concert Time: 13th, January7:30 pm – 10:30 pmPlace: GuangzhouMain Songs: Magic Castle;Youth Training Manual Introduction of TF Boys: This group was set up on the 6th of August, 2013 in Beijing. It was made up of three young boys. Their first song Magic Castle was very successful on the 13th of March, 2014. They became very famous. On the 16th of August in 2014, their song Youth Training Manual kept five records in China. It was a successful music group in China. Tickets:￥250/￥200/￥180/￥150Kung Fu Panda: The Kaboom of Doom Time: 20th– 22nd, January10:00am – 10:30pmPlace: ShantouDirector: Jennifer Yuh NelsonWriter: Jonathan Aibel, Glenn GergerIntroduction of the film: The story is about a fat and lazy panda named Po. He was the biggest fan of Kung Fu around the world. At first he worked with his dad in his family’s noodle shop. One day somebody chose him to be an ancient prophecy(预言). Then he learned Kung Fu from Master Shifu. At last he became one of the top Kung Fuers around the world and led Furious Five to beat leopard Tai Lung. His dream came true finally. Tickets: ￥25/￥35/￥45/￥5046. How long will TF Boys’ concert last(持续)？47. What was the first successful song of TF Boys?48. Who is the director of Kung Fu Panda?49. Where did Po work at first?50. What is the price of the cheapest ticket of Kung Fu Panda?答案A1.He is 15/fifteen (years old).2.His dream is to travel around the world.3.He can speak three languages.4.He wants to be a flight attendant (when he grows up).5.Diego’s/His parents want him to be a scientist.B6.Her new bike is red.7.She often rides her bike after school.8.Yes, she does.9.Because she can’t find her bike.10.Her telephone number is 458-7745.C11. The Greens/They are from England.12. The Greens/They will stay in China for three weeks.13. Mr. Green/He is a photographer.14. The Greens/They will go sightseeing and take photos of some famous places in China.15. Because the Greens/they want Englishmen to know more about China.D16. His favourite month is October.17. He often sees his grandparents.18. Because it’s difficult for him.19. He will sell three old books on the book sale.20. It is on October 29th.E21. A compute and some CDs are on Jenny’s desk.22. No, there isn’t.23. Its name is Mimi.24. There are two pencil boxes on Lily and Lucy’s desk.25. They are on the floor and on the chair.F26. Sally/She feels tired these days because of too much homework.27. Sally/She will arrive in Hong Kong on January 12, 2018.28. Sally/She will do lots of shopping and sightseeing.29. Sally/She will tell them about her trip to Hong Kong.30. It/The way for Sally to live a happy life is to have a relaxing lifestyle.G31. John/He comes from the USA/America.32. It is at 8 o’clock in the morning.33. John/He has lunch at school.34. John/He wears a school uniform on school days.35. John/He does his homework after dinner.H36. It is on June 21st every year.37. He is an American musician.38. He is from France.39. The idea behind World Music Day is to promote music.40. No, it isn’t.I41. He/Mo Yan was 57(years old).42. He was a soldier when he began to write.43. His works are mostly about the country life.44. Red Sorghum was made into a successful film in 1987.45. Four novels are mentioned in the passage.J46. It will last for 3/three hours.47. It/The first successful song of TF Boys is Magic Castle.48. The director of Kung Fu Panda is Jennifer Yuh Nelson.49. Po worked in his family’s noodle shop at first.50. It is￥25.。

莫言诺贝尔文学奖演讲(中英文对照)

我获奖后，很多人分享了我的光荣，但我的母亲却无法分享了。

广东新中考英语“回答问题”专项综合训练(文末附答案)

广东新中考英语“回答问题”专项综合训练该专题主要是对任务型阅读之回答问题的知识点及其考点所进行的专项讲解，属于中考英语专题复习的知识体系，意在让学生掌握阅读理解中包括故事类、介绍类、观点建议类、饮食与健康类、科普知识类、文化风俗类及校园生活类等题型的解题思路，并能在实践中加以区分与运用，从而更好的备战中考。

考查方向：准确获取信息能力综合运用英语能力问题数量：5个问题◇考查文章事实细节为主--答案都能在原文中找到出处◇归纳性、开放性题目--概括文章主旨要义或是陈述观点命题趋势：分析近3年各地市中考英语真题可知，回答问题型阅读的话题涉及故事类、介绍类、观点建议类、饮食与健康类、科普知识类、文化风俗类及校园生活类。

词数为200－260词，一般情况下，每篇文章设5个问题，其中以4个特殊疑问句、1个一般疑问句居多，少量涉及5个特殊疑问句和3个特殊疑问句、2个一般疑问句。

解题技巧：1. 认真审题，明确题目要求。

首先阅读题目，明确题目中的关键词，在阅读文章前对所要回答的问题有所了解。

2. 快速浏览文章，规范答题。

回答问题型任务型阅读需要利用题干中关键词，寻找文章中对应的关键词，在对应词周围寻找答案或者直接在文章中搜索答案。

带着审题时对文章大意的了解以及问题快速浏览文章，以最快的速度在文章相对应的位置寻找相关信息。

3. 答题形式符合提问形式。

不同的提问方式需要不同形式的回答，在答案简洁的基础上还要注意结构的完整。

一般疑问句要用yes或no作答；特殊疑问句要根据特殊疑问词具体回答。

4. 仔细检查，确保答案。

完成所有答题后，需要再次速读一遍文章，核对答案，确保答案的正确性。

需要注意，有些题目答案可以在原文中直接找出；有些需要在原文的基础上，结合题目要求进行时态、语态、人称的转换；有些需要进行归纳总结，把正确答案重新组织语言表达出来。

疑问句规纳：1. when 什么时候，2. the city 城市，3. the place/where 地点4. Who/the person/man 人5. Why /the reason 原因，回答用because，6. the purpose 目的7. the thing 事情，东西，8. the country 国家9. How(方式)，the way 方式、方法，10. What(事件)11. which（哪个）12. whose（谁的）13. whom（who的宾格形式）14. how long 多长时间；回答：about/for+时间段,since +时间点15. how soon 多久; 回答：in+时间段（用于一般将来时）16. how often 多久一次; 回答：once a week, every day.17. How much 多少钱18. how old 多少岁19. how far 多远20. how many+可数名词复数（多少）21. how much+不可数（多少）问题类型：1.一般疑问句Yes或No回答；例：Yes, he is./No, he isn't.Yes（No），主语+助动词/情态动词/be动词（not）.2.特殊疑问句(1)提问细节由特殊疑问词Who、Where、When、What、Why、How、Which、Whose、How many/much、How long、How soon、How often、How far等引导的特殊疑问句来提问文章的细节。

莫言获诺贝尔演讲英文翻译

尊敬的瑞典学院各位院士，女士们、先生们：通过电视或网络，我想在座的各位，对遥远的高密东北乡，已经有了或多或少的了解。

我获奖后，很多人分享了我的光荣，但我的母亲却无法分享了。

我母亲生于1922年，卒于1994年。

她的骨灰，埋葬在村庄东边的桃园里。

去年，一条铁路要从那儿穿过，我们不得不将她的坟墓迁移到距离村子更远的地方。

掘开坟墓后，我们看到，棺木已经腐朽，母亲的骨殖，已经与泥土混为一体。

我们只好象征性地挖起一些泥土，移到新的墓穴里。

也就是从那一时刻起，我感到，我的母亲是大地的一部分，我站在大地上的诉说，就是对母亲的诉说。

我是我母亲最小的孩子。

我记忆中最早的一件事，是提着家里唯一的一把热水壶去公共食堂打开水。

因为饥饿无力，失手将热水瓶打碎，我吓得要命，钻进草垛，一天没敢出来。

傍晚的时候我听到母亲呼唤我的乳名，我从草垛里钻出来，以为会受到打骂，但母亲没有打我也没有骂我，只是抚摸着我的头，口中发出长长的叹息。

我记忆中最痛苦的一件事，就是跟着母亲去集体的地理拣麦穗，看守麦田的人来了，拣麦穗的人纷纷逃跑，我母亲是小脚，跑不快，被捉住，那个身材高大的看守人煽了她一个耳光，她摇晃着身体跌倒在地，看守人没收了我们拣到的麦穗，吹着口哨扬长而去。

我母亲嘴角流血，坐在地上，脸上那种绝望的神情深我终生难忘。

多年之后，当那个看守麦田的人成为一个白发苍苍的老人，在集市上与我相逢，我冲上去想找他报仇，母亲拉住了我，平静的对我说：“儿子，那个打我的人，与这个老人，并不是一个人。

”我记得最深刻的一件事是一个中秋节的中午，我们家难得的包了一顿饺子，每人只有一碗。

正当我们吃饺子时，一个乞讨的老人来到了我们家门口，我端起半碗红薯干打发他，他却愤愤不平地说：“我是一个老人，你们吃饺子，却让我吃红薯干。

莫言是获得诺贝尔文学奖的英语作文

莫言是获得诺贝尔文学奖的英语作文Mo Yan's Unique Voice in World LiteratureMo Yan's Nobel Prize in Literature in 2012 was a landmark achievement not only for the author himself but also for Chinese literature on the global stage. As the first Chinese writer living in mainland China to be awarded the prestigious prize, Mo Yan's recognition by the Nobel Committee shone a spotlight on the rich literary tradition of China and the immense talent of its contemporary authors. Through his imaginative storytelling, bold experimentation with literary form, and unflinching social commentary, Mo Yan has established himself as one of the most influential and celebrated writers of our time.Born in 1955 in Shandong province, Mo Yan grew up in a rural farming community during the turbulent years of the Chinese Civil War and the establishment of the People's Republic of China. His pen name, which translates to "Don't Speak," was chosen as a means of coping with the political constraints and censorship that writers faced under Mao's regime. Despite the challenges, Mo Yan's literarycareer blossomed, and he has since authored dozens of novels, short stories, and novellas that have captivated readers around the world.One of the hallmarks of Mo Yan's writing is his masterful use of magical realism, a literary style that blends elements of the real and the fantastical. In novels like "Red Sorghum" and "Life and Death are Wearing Me Out," Mo Yan creates vividly imagined worlds that seamlessly incorporate supernatural occurrences and mythical figures alongside realistic depictions of rural Chinese life. This stylistic approach allows him to explore complex themes of history, identity, and the human condition through the lens of the extraordinary.In "Red Sorghum," for example, Mo Yan chronicles the lives of several generations of a family living in Shandong province, weaving together personal narratives with the tumultuous events of the Second Sino-Japanese War. The novel's protagonist, a young woman named Yu Zhan'ao, navigates a landscape filled with violence, hardship, and the supernatural, including a mysterious ancestor who appears to her in the form of a sorghum plant. Through Yu's eyes, Mo Yan offers a powerful and unflinching portrayal of the resilience and determination of the Chinese people in the face of adversity.Similarly, in "Life and Death are Wearing Me Out," Mo Yan employs the device of reincarnation to explore the sweeping changes thatChina underwent during the 20th century. The novel's central character, Ximen Nao, is a wealthy landowner who is executed during the Land Reform movement and then reborn as a series of animals, including a donkey, an ox, a pig, and a dog. As Ximen Nao experiences these successive reincarnations, he bears witness to the tumultuous political and social upheavals that transformed China, from the establishment of the People's Republic to the Cultural Revolution and beyond.What makes Mo Yan's use of magical realism so compelling is his ability to ground these fantastical elements in the gritty realities of rural Chinese life. His characters, whether human or animal, are richly drawn and emotionally resonant, their struggles and triumphs mirroring the broader experiences of the Chinese people. By blending the mythical and the mundane, Mo Yan creates a literary universe that is both deeply personal and profoundly universal.In addition to his mastery of magical realism, Mo Yan is also known for his bold experimentation with literary form and structure. In novels like "Big Breasts and Wide Hips" and "Sandalwood Death," he challenges traditional narrative conventions, weaving together multiple perspectives, time periods, and genres to create works that are both intellectually and emotionally demanding.In "Sandalwood Death," for instance, Mo Yan constructs a layerednarrative that incorporates elements of historical fiction, operatic performance, and political commentary. The novel's central event is the execution of a Boxer Rebellion leader, but Mo Yan uses this as a springboard to explore the complex interplay between individual and collective identity, the role of art and performance in society, and the enduring legacy of China's turbulent history.Similarly, in "Big Breasts and Wide Hips," Mo Yan employs a non-linear structure that jumps between different time periods and characters, creating a sprawling, multigenerational saga that defies easy categorization. By challenging the boundaries of traditional storytelling, Mo Yan invites readers to engage with his work in new and innovative ways, ultimately leading them to a deeper understanding of the complexities of the human experience.Underlying the formal and stylistic innovation of Mo Yan's writing is a deep commitment to social and political commentary. Throughout his oeuvre, he grapples with the profound changes and upheavals that have shaped modern China, from the ravages of war and political upheaval to the rapid industrialization and urbanization that have transformed the country's social fabric.In novels like "The Republic of Wine" and "Frog," Mo Yan offers unflinching critiques of government corruption, the abuse of power, and the human toll of China's one-child policy. Yet he does so with anuance and complexity that resists simplistic moralizing or didacticism. Instead, Mo Yan presents his readers with a multifaceted portrait of the challenges and contradictions inherent in China's transformation, inviting them to draw their own conclusions about the nature of power, justice, and human rights.Ultimately, what sets Mo Yan apart as a literary giant is his ability to transcend the boundaries of national and cultural identity, crafting works that resonate with readers around the world. By drawing on the rich literary traditions of China while also incorporating universal themes and archetypes, Mo Yan has established himself as a truly global writer, one whose influence and impact will continue to be felt for generations to come.The recognition of his talents with the Nobel Prize in Literature was a watershed moment not only for Mo Yan himself but for the entire landscape of world literature. As the first Chinese writer living in mainland China to receive this prestigious honor, Mo Yan's achievement has helped to shatter long-held perceptions of Chinese literature as insular or inaccessible to Western audiences. Instead, his work has demonstrated the profound universality and relevance of the Chinese literary tradition, offering readers a window into the diverse experiences and perspectives that define the human condition.In the years since his Nobel Prize win, Mo Yan's influence has only continued to grow, with his novels and short stories being translated into dozens of languages and finding devoted readerships around the globe. His legacy as a literary trailblazer and a champion of the power of storytelling will undoubtedly endure, inspiring new generations of writers and readers to engage with the rich tapestry of Chinese culture and history.。

关于莫言获得诺贝尔奖的英语作文

莫言获诺贝尔奖：中国文学的璀璨星辰In the annals of Chinese literature, the year 2012 will forever be remembered as a landmark occasion. It was the year when Mo Yan, a pen name synonymous with Chinese literature, was awarded the Nobel Prize in Literature. This accolade not only brought global recognition to Mo Yan but also marked a significant milestone in the journey of Chinese literature towards the world stage.Mo Yan, born in 1955 in Shandong province, China, is a writer renowned for his unique storytelling abilities and profound insights into the complexities of human nature. His works, often set in rural China, are a poignant blend of magic realism and social commentary. His narratives are filled with vivid characters and vivid descriptions of the rural landscape, offering a profound understanding of the Chinese countryside and its people.The Nobel Committee praised Mo Yan for his ability to merge folk tales, history, and the contemporary with hallucinatory realism. His writing style is often described as hallucinatory realism, a term that encapsulates his unique blend of fantastical elements with harsh realitiesof life. This style allows him to explore themes such as the struggles of the rural populace, the impact ofhistorical events on individuals, and the complexities of human relationships with remarkable depth and empathy.One of Mo Yan's most famous works is "Red Sorghum," a novel that tells the story of a family in rural China during the Japanese occupation. The novel, which was later adapted into a film, showcases Mo Yan's skill in combining historical events with fictional narratives, creating a vivid tapestry of life in the countryside during that tumultuous time.His other notable works include "Big Breasts and Wide Hips," a satire on the social pressures women face in rural China, and "Frog," which delves into the complexities of China's one-child policy and the ethical dilemmas it created for individuals and families.Mo Yan's win at the Nobel Prize was not just an honor for him personally but also a validation of the richliterary traditions and stories that have been told and retold by generations of Chinese writers. His works have been translated into numerous languages and have found aglobal readership, making him a household name in the literary world.The impact of Mo Yan's win on Chinese literature cannot be overstated. It has spurred a renewed interest in Chinese literature among both domestic and international readers, opening up new avenues for Chinese writers to share their stories with a wider audience. It has also encouraged a new generation of writers to experiment with different genres and writing styles, thus enriching the literary landscape of China.Moreover, Mo Yan's win has served as a beacon of hope for aspiring writers in China, showing them that with hard work and dedication, they can achieve global recognitionfor their craft. His journey from a humble rural background to becoming a Nobel laureate is an inspiration for many, who see in him a symbol of the limitless possibilities that lie ahead for Chinese literature.In conclusion, Mo Yan's Nobel Prize win was a momentous occasion for Chinese literature. It marked the recognition of the rich tapestry of stories and traditions that have been passed down through generations of Chinese writers.His works, filled with insights into human nature and profound understanding of the Chinese countryside, have resonated with readers across the globe. His legacy will undoubtedly continue to inspire generations of writers,both in China and abroad, to tell their stories withcourage and honesty.**莫言获诺奖：中国文学的璀璨星辰**2012年，对于中国文学而言，注定是载入史册的一年。

英语话题模板

话题：莫言获诺贝尔文学奖1.我国作家莫言获诺贝尔文学奖。

2. 此次获奖的重大意义。

范文：Several months ago, a good news swept on China that Mo Yan won the 2012 Nobel Prize for literature. After this bigevent, Mo Yan, the first Chinese resident to win the prize, has been the crispyfried chicken among China. Gaomi County in Shandong Province becomes atourist attraction because of his popularity. For his award, Chinese mediaoverwhelming report this exciting news. People are rushing to the bookstores tobuy his famous book and some are even out of stock.Generally speaking, his award means a lotto China, especially Chinese literature. The Nobel Prize for literature is adream of Chinese literary field and all Chinese people. However, as a largecultural country that owns countless classic works, China had no winner of theNobel Prize for literature which had become a great pity. Therefore, this prizefinishes a pile wish of Chinese people. In addition, although we have agreat number of great works, very few people can read a book carefully andtranquilly in the impetuous society. I think this exciting news will inspirepeople’s enthusiasm towards literature, which is a great motivation to thedevelopment of literature. This is what we are happy to see.Directions: For this part, you are allowed 30 minutes to write a short essay entitled My View on the “Campus Star” Contest. You should write 120 words following the outline given below.1. 校园里也涌现出了各种选“星”比赛2. 这种现象带来的问题3. 你的看法My View on the “Campus Star” ContestAt an age of character and individuality being encouraged and demonstrated, we see various “stars” pop up—singing stars, dancing stars, movie stars and sport stars, etc. Many schools even hold contests to choose their “Campus Stars”. Although these activities make our cultural life in campus more colorful and varied, a lot of problems spring up at the same time.First of all, these activities can result in the swelling of vanity in some students, making them become arrogant, or even feel superior to other students. Moreover, these activities can greatly distract the students from their study. In order to become a star, they will, without any doubt, spend a lot of time and energy on the preparation and competition. The focus of their academic life will be shifted, and even worse, they can become too enthusiastic about extracurricular activities and hate the academic knowledge and skills they need to grasp for their future development.On the whole,I think these various “Campus Star” contests should be controlled in the campus. After all, schools are different from any other social institutions. Extracurricular activities should be encouraged, but they should be helpful to the student’s academic study and all-round development.。

走近中国作家莫言

⾛近中国作家莫⾔2019-08-22The　2012　Nobel　Prize　in　Literature　was　awarded　to　Mo　Yan“who　with　hallucinatory　realism　merges　folk　tales，　history　and　the　contemporary”.Through　a　mixture　of　fantasy　and　reality，　historical　and　social　perspectives，　Mo　Yan　has　created　a　world　which　is　reminiscent　of　those　in　the　writings　of　William　Faulkner　and　Gabriel　Garcia　Marquez，　at　the　same　time　finding　a　departure　point　in　old　Chinese　literature　and　in　oral　tradition.Chinese　writer　Mo　Yan　was　named　the　winner　of　the　Nobel　Prize　for　literature　on　Oct.11.　If　past recent　winners　are　any　indication，　Mo　Yan’s　previously　published　books　will　now　find　plenty　of　new　readers.In　the　year　since　Swedish　poet　Tomas　Transtromer　won　the　2011　Nobel　Prize　for　literature，　his　2006　book，　The　Great　Enigma：　New　Collected　Poems，　sold　about　17，000　copies　in　the　U.S.　in　all　formats.　Until　the　prize　was　announced，　the　book　had　sold　about　3，000　copies.“It’s　a　really　great　performance　for　a　book　of　poetry，”　said　Jeffrey　Yang，　an　editor　at　New　Directions　Publishing　Co.　who　acquired　the　book.“The　works　of　Peruvian-born　novelist　Mario　Vargas　Llosa　also　showed　‘a　marked　bump’　after　Mr　Vargas　Llosa　won　the　2010　Nobel　Prize　in　literature，”　said　James　Meader，　a　spokesman　for　Picador，　a　paperback　house　owned　by　Verlagsgruppe　Georg　von　Holtzbrinck　GmbH’s　Macmillan　publishing　arm.In　the　month　directly　following　the　prize　announcement，　Picador　shipped　more　than　100，000　copies of　the　10　books　written　by　Mr.　Vargas　Llosa　that　it　had　in　print，　including　one　of　his　most　popular　titles，　The　Feast　of　the　Goat.　This　was　several　times　more　than　Picador　had　shipped　during　the　entire　previous　year.Farrar，　Straus　and　Giroux，　a　sister　imprint　that　originally　published　the　hardcover　editions，　subsequently　acquired　the　digital　rights　and　issued　the　works　as　e-books　in　March　2011.“What　happens　after　you　have　a　winner　is　that　a　lot　of　scrambling　takes　places，”　said　Mr　Meader.　“We　made　sure　we　had　enough　books　out　there.　And　we　put　a　seal　on　every　copy　of every　book，　stating　that　the　author　had　won　the　Nobel　Prize.　A　few　months　later　the　books　were　redesigned　so　that　they’d　have　a　uniform　look.”Among　Mo　Yan’s　titles　published　in　the　U.S.　is　Big　Breasts　&　Wide　Hips，　a　novel　reissued　by Arcade　Publishing，　an　imprint　of　Skyhorse　Publishing.2012年诺贝尔⽂学奖被授予中国作家莫⾔，他的“魔幻现实主义作品将民间故事、历史和当代社会融合在⼀起”。

the nobel prize for literature造句

the nobel prize for literature造句摘要：1.诺贝尔文学奖简介2.诺贝尔文学奖得主及其作品介绍3.诺贝尔文学奖对世界文学的影响4.我国作家获得诺贝尔文学奖的情况5.诺贝尔文学奖在我国的传播与影响正文：诺贝尔文学奖，作为全球文学领域的最高荣誉，每年都会引起全球文学爱好者的关注。

该奖项设立于1901年，是根据瑞典发明家、工程师、化学家阿尔弗雷德·诺贝尔的遗嘱设立的。

诺贝尔在遗嘱中规定，将一部分遗产用于设立五个奖项，其中包括文学奖。

诺贝尔文学奖每年评选一次，授予那些在各种文学领域取得卓越成就的人士。

自从设立以来，诺贝尔文学奖已经走过了一个多世纪的历程，得主遍布全球各地。

这些得主的作品丰富多样，涵盖了小说、诗歌、戏剧、散文等多种文学形式。

他们的作品不仅具有很高的艺术价值，而且在思想、文化、社会等方面产生了深远的影响。

在众多诺贝尔文学奖得主中，不乏一些我们熟悉的名字，如英国作家乔治·奥威尔、美国作家海明威、法国作家加缪等。

他们的作品如《动物庄园》、《老人与海》、《局外人》等，已经成为世界文学的瑰宝，被广泛传阅和研究。

诺贝尔文学奖对世界文学的发展具有重要意义。

一方面，它表彰了众多杰出的文学家，激发了他们继续创作的热情。

另一方面，它也推动了不同国家、民族、文化的交流与融合，促进了世界文学的多元发展。

在我国，诺贝尔文学奖同样具有很高的关注度。

从1980年代开始，我国作家逐渐崛起，开始在国际文学舞台上崭露头角。

2012年，莫言获得诺贝尔文学奖，成为中国第一位获得这一殊荣的作家。

他的作品如《红高粱》、《檀香刑》等，以独特的叙事风格和深厚的文化底蕴，赢得了国内外读者的喜爱。

此后，我国作家刘慈欣、残雪等也逐渐成为诺贝尔文学奖的热门候选人。

诺贝尔文学奖在我国的传播与影响不容忽视。

它不仅提高了我国文学在世界舞台上的地位，而且激发了国内文学创作的热情。

许多出版社、书店、文学团体等都把诺贝尔文学奖得主的作品作为重点推荐，引导读者了解世界文学的最新动态和前沿趋势。

1、下载文档前请自行甄别文档内容的完整性，平台不提供额外的编辑、内容补充、找答案等附加服务。
2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
3、如文档侵犯您的权益，请联系客服反馈,我们会尽快为您处理(人工客服工作时间：9:00-18:30)。

Mo Yan and the Nobel Prize for Literature
As we all know, the Chinese writer Mo Yan won the Nobel Prize for Literature last November, which was also thought of as a national big event. In consequence, Mo Y an grew extremely popular all over the country. On the evening of April 18th, Professor Fan Xing went into our school, talking freely about Mo Yan and the Nobel Prize for Literature. During his speech, he made a deep analysis about this social hot spot.
Professor Fan Xing, is the doctoral supervisor of College of Chinese Language and Literature, Wuhan University, the vice president of the New Chinese Literature Society, the director of the Chinese Association of Contemporary Literature and the deputy chairman of the Wuhan Writer Association. He is enjoying a great fame for having issuing hundreds of thesis on many professional literature magazines.
Professor Fan explained his own deep thinking to us in terms of the influence of Mo Y an’s winning the Nobel Prize, Mo Y an’s works and Mo Yan’s limitations. Firstly, he remarked that Mo Yan’s winning the
Prize was a significant opportunity of Chinese literature. In introducing Mo Yan and his work, he laid constant emphasis on how strange and eccentric they were. Also, he thought that there of course existed some limitations that couldn’t be avoided. For example, some contents of his novels were a little coarse. And his latest works exposed the big problems of trivial language. Aware of those, Professor Fan sincerely hoped that Mo Yan could overcome his drawbacks, becoming the world first-class writer and transmitting Chinese culture.
After a hour’s speech, the lecture ended up with thunderous applause and everyone greatly inspired.。