莫言 英语PPT
莫言英语演讲PPT
Mo Yan's winning of Nobel Prize inspires young authors
XXXXXX (or Simon)
BEIJING - Mo Yan's winning of Nobel Literature Prize, widely regarded as a great encouragement for China's literature, is bringing more confidence to the nation's young authors.
The younger generation of writers said they were highly inspired by the first Chinese national to win the Nobel Prize in Literature.
"Young writers are convinced it is not meaningless or ridiculous to insist on pursuing writing in China," said Jiang Fangzhou, 23-year-old writer who published her first book at nine. Zhang Yueran, 30-year-old writer and chief editor of magazine "Li" said "Young writers will feel more confident in themselves. Mo's win indicates that Chinese literature has been truly accepted by the foreign literature world."
《红高粱》英语PPT 共33页
； • 1989年法国第五届蒙彼利埃国际电影节银熊猫奖； • 1990年民主德国电影家协会年度奖提名奖； • 1990年古巴年度发行电影评奖十部最佳故事片之一
Film Director ————Zhang Yimou
Person Introduction
• Name------ Yimou Zhang
• Gender: Male • Age: 57 years old. • Birthday:1951-11-14 • Nationality: China (Mai
2019 年《檀香刑》
内容简介：
莫言的新长篇《蛙》，因为书信和剧本糅 合为一体的形式，令人耳目一新，被认为 极大丰富了小说的叙事空间。而在主题上 ，当代中国生育史更是之前作家们很少涉 及的话题。据说，小说里面五封信的接受 者“杉谷义人”是暗指当代日本著名作家大江 健三郎，那是日本文学界的一位勇者。
Synopsis
After 9 years,the Japanese came here.They round up the population. They want to destroy the cornfield to build a road. To intimidate the population, they execute resistance fighters. Among them is the former estate manager Luo Han. The distillers swear vengeance.
莫言个人介绍英语作文
莫言个人介绍英语作文Title: A Glimpse into the Life and Works of Mo YanMo Yan, an internationally acclaimed Chinese novelist, is a literary titan whose life and works have cast a profound impact on the global literary scene. Born Guan Moye on February 17, 1955, in Gaomi County, Shandong Province, China, he adopted "Mo Yan" as his pen name, which translates to "Don't Speak," reflecting his commitment to storytelling through silence amidst societal turmoil.Raised in a rural environment during the tumultuous era of the Cultural Revolution, Mo Yan's early life was steeped in hardship and adversity. His parents were farmers, and from a young age, he helped them with farm work while also indulging his passion for literature by voraciously reading whatever books he could lay his hands on. This rustic upbringing significantly shaped his literary vision and provided rich material for his future narratives.In 1976, Mo Yan joined the People's Liberation Army where he served as a soldier and later became a writer in the army's literary magazine. This period marked a turning point in his life, providing him the opportunity to hone his writing skills and delve deeper into the world of literature.His first novel, "Falling Rain on a Spring Night," published in 1981, was a testament to his burgeoning talent.Mo Yan's oeuvre is characterized by a unique blend of magical realism, historical narrative, and social commentary. He has a remarkable ability to weave together personal experiences, local folklore, and national history, creating stories that resonate universally. His most celebrated works include "Red Sorghum," "The Garlic Ballads," and "Life and Death Are Wearing Me Out," which won him international acclaim and eventually led to his being awarded the Nobel Prize in Literature in 2012."Red Sorghum," for instance, unfolds against the backdrop of the Japanese invasion of China and vividly portrays the resilience and courage of ordinary people. It reflects Mo Yan's deep-rooted affection for his homeland and its complex history. The novel was adapted into an award-winning film directed by Zhang Yimou, further amplifying Mo Yan's fame.Throughout his career, Mo Yan has been praised for his boldness in addressing controversial topics such as famine, corruption, and political oppression. Despite the often grim themes, his narratives are infused with humor, compassion, and a touch of surrealism, making his works both engagingand thought-provoking.Mo Yan's success story is not just one of triumph over adversity but also a testament to the power of literature transcending borders and cultures. Through his writings, he invites readers worldwide to explore the depths of the human condition within the context of Chinese society. His journey from a rural boy with a love for books to becoming one of the most influential writers of our time is a stirring example of how passion, perseverance, and the written word can create a lasting legacy.In conclusion, Mo Yan stands as a beacon of literary excellence, his life and works a bridge connecting the past and present, the East and West, and the real with the imagined. His profound influence on the global literary landscape continues to inspire countless readers and aspiring writers around the world.。
莫言 英语PPT
Headlines
Mo Yan
Mo Yan, born on 17 February 1955, is a Chinese novelist and short story writer. Before 2012, he was mostly know for the two of his novels that formed the basis of the film Red Sorghum, directed by awardwinning Chinese director Zhang Yimou. Mo is currently the only Chinese author who has won the Nobel Prize in Literature.
Chinese Education and “the Next Nobel Prize in Literature”
• Reading problems.(the number of books per year, the aim of reading, the types of books many people choose)(傻X的成功励志系
• Mo Yan deserved the Nobel Prize and we congratulate to him. However, to those who do not read, Mo Yan‟s winning of Nobel Prize in Literature has nothing to do with them.
Those Chinese Writers
• Lu xun
• “We do not deserve it.” • “Nobel Prize giving Chinese writer because of his race will indulge Chinese people’s vanity.”
Mo Yan - Storytellers (in English) 莫言的获奖演说 (英文版)
Nobel Lecture on Dec. 7th, 2012Mo Yan: StorytellersDistinguished 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. That was 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 to avenge her. “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 bowl.My most remorseful memory 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 lookedespecially 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 eyesprofessional 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-laden voice, 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 becamea 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 to graze beneath 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 deep blue 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 was thrown 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 and captivating stories, 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 human any 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 period of 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 placethat 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 a pair 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 a whipping 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 adifferent 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 characters.An 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 fictional aunt 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 novelfor 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.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’s offspring,’ 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 vividly describes 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 modernistfiction, 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 known as 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 human emotions, 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 storyto the world. But it wasn’t until the year 2005, when I viewed the Buddhist mural “The Six Stages of Samsara” on a temple wall that I knew exactly how to go about telling his 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 sawone 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 this incident, 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 person ought to volunteer to step outside to accept his punishment and spare the innocent from suffering. Naturally, there were no volunteers. So one of the others came up with a proposal: Since no one is willing to go outside, let’s all fling our straw hats toward the door. Whoever’s hat flies out through the temple door is the guilty party, and we’ll ask him to go out and accept his。
当代著名作家莫言生平介绍PPT
02
风格特色
STYLE FEATURES
感官彻底解放
读莫言的小说，你会觉得莫言不仅是在用心写作，他还用 耳朵写作，用眼睛写作，用鼻子写作，甚至用舌头写作。
他的小说中，可以读到很多的声音、色彩、味道，以及各 种幻化的感觉，充满生机，有趣、喧嚣、色彩斑斓;
“每天在山里，我与牛羊讲话、与鸟儿对歌、仔细观察植 物生长，可以说， 以后我小说中大量天、地、植物、动物， 如神的描写，都是我童年记忆的沉淀。’一莫言
内容介绍
小说展现出的一系列独特 意象:“颠轿”、“野合”、 “敬酒神”等撼人心魄的 情景，那方圆百亩随风摇 曳、舒展活泼且情感热烈 的棵棵高梁；那人迹罕至、 充满神奇色彩的十八里坡； 那血红的太阳、血红的天 空与血红的高梁，所有这 一切，都能给我们以强烈 的艺术感染力。
03
作品解读
INTERPRETATION OF WORKS
01
作家介绍
AUTHOR INTRODUCTION
获奖荣誉
• 1997年以长篇小说《丰乳肥臀》夺得中国有史以来最高额的“大家文学奖” • 2000年《红高粱家族》获亚洲周刊选为20世纪中文小说100强 • 2001年《檀香刑》获台湾联合报读书人年度文学类最佳书奖 • 2003年《檀香刑》获第1届鼎钧双年文学奖 • 2005年再次失手于茅盾文学奖 • 《四十一炮》获第2届华语文学传媒大奖年度杰出成就奖 • 2006年出版第一部章回小说《生死疲劳》获颂福冈亚洲文化大奖 • 2008年《生死疲劳》获第2届红楼梦奖首奖 • 长篇小说《四拾壹炮》入围第7届茅盾文学奖最终入围作品 • 2011年8月，莫言创作的长篇小说《蛙》获第八届茅盾文学奖
俚语，但也不是刻意的方言写作。
02
莫言最精辟的一段经典语录英文
莫言最精辟的一段经典语录英文Mo Yan is one of the most famous Chinese writers who have left an indelible impact on the literary world. His works are full of wisdom and insights that reflect the complex social and cultural issues of China. In this article, we will explore some of his most profound and remarkable quotes, which have become popular as the most critical expressions of his literary genius.1. "Life is a dream, and sometimes dreams are more real than reality itself." (《蛙》)Mo Yan expresses a deep sense of uncertainty and confusion about the nature of reality in this quote. He suggests that reality may be subjective and that there is no clear distinction between dreams and reality.2. "A tree grows to its height only to be cut down; the grain ripens only to be harvested. The beauty of what lasts is always short-lived." (《天堂蒜薹之歌》)Mo Yan beautifully captures the fleeting nature of life's beauty and the inevitability of mortality in this quote. He urges us to cherish and appreciate the moments of beauty that we encounter in life.3. "The past is not like the weather; it doesn't just happen to us. We make our own history." (《红高粱家族》)This quote is a reminder of our individual agency and power to shape our destiny. Mo Yan suggests that we are not just passiveobservers of history but active participants who have the power to change its course.4. "Not knowing is not a crime; pretending to know is." (《蛙》) Mo Yan suggests that there is no shame in admitting our lack of knowledge or ignorance. However, pretending to know things that we don't is dishonest and can be detrimental to ourselves and others.5. "Life is a journey full of ups and downs, but it is the journey that counts, not the destination." (《丰乳肥臀》)In this quote, Mo Yan reminds us that life is a process and not a goal. He suggests that life is more about the experiences we have along the way, rather than just achieving specific milestones.6. "The things that matter most are the hardest to say. They are the things that you get ashamed of because words diminish them." (《生死疲劳》)Mo Yan captures the ineffability of our deepest emotions and experiences in this quote. He suggests that sometimes, words fail to do justice to our most significant and profound feelings.7. "A true writer is one who makes you feel as if you've never read anything quite like that before." (Interview with The Guardian) This quote reflects Mo Yan's literary philosophy and the unique perspective that he brings to his writing. He suggests that the bestwriters are those who can create something entirely new and different, which has never been seen before.In conclusion, Mo Yan's quotes reveal his brilliance as a writer and his deep understanding of the human condition. His insights intolife's complexities and mysteries have made him one of China's most celebrated and respected literary figures.His ability to capture the essence of the human experience in his writing has earned hima global readership and numerous literary awards, including the Nobel Prize in Literature in 2012.Mo Yan's quotes are not just profound, but also evocative and thought-provoking. They resonate with readers because they tapinto universal themes of love, loss, and the search for meaning in life. His unique style of storytelling blends magical realism, folklore, and history to create a world that is both fantastical and grounded in reality.Through his writing, Mo Yan has given voice to the struggles and triumphs of the Chinese people, illuminating the complexities and contradictions of their society. His novels and short stories depict a China that is both ancient and modern, rural and urban, rich and poor, struggling and thriving.Mo Yan's legacy in the literary world will be long-lasting. His works will continue to inspire future generations of writers and readers, and his quotes will remain timeless reminders of the beauty and complexity of the human experience.我非常抱歉，我之前误解了您的请求，造成了不便。
莫言最精辟的一段经典语录英文
莫言最精辟的一段经典语录英文Mo Yan, the lauded Chinese writer, is known for his profound insights into human nature, social issues, and political upheavals. His works have been translated into numerous languages and have garnered international critical acclaim. Here are seven examples of his most insightful quotes:1. "The beauty of literature lies in its ability to stir the depths of the human soul."This quote illustrates Mo Yan's profound appreciation for the power of literature to evoke emotions and inspire change in the reader's psyche. It acknowledges the transformative potential of words on a human being.2. "The art of storytelling is the art of manipulating the inner world to reveal the reality outside."This quote captures the essence of Mo Yan's storytelling technique. He understands that a writer's job is not to simply describe facts and events, but to use storytelling as a means of unveiling the truth.3. "When a language dies, a whole culture dies with it, memories, customs, and traditions are forgotten, and so are the histories, dreams, and wisdom of those who spoke it."This quote shows Mo Yan's commitment to protecting linguistic diversity and preserving cultural heritage. He understands that language is more than just a means of communication but is also intricately woven into a community's identity.4. "Great literature is born from a melancholic and pained heart." Mo Yan recognizes that pain and human suffering are essentialingredients in the creation of great literature. He acknowledges the importance of exploring life's darker corners in his works.5. "The cultural revolution was not only a political catastrophe but also a profound cultural tragedy that profoundly impacted every aspect of life in China."This quote is a testament to Mo Yan's bravery as a writer. He acknowledges the catastrophic effects of the Cultural Revolution, a taboo subject in China, and is willing to write about it.6. "Literature cannot be separated from politics; it is always a reflection of society."Mo Yan's quote acknowledges the inextricable link between literature and society, and the importance of writers to reflect on social issues and political events in their works.7. "Only by understanding our history can we hope to change our future."This quote highlights Mo Yan's wisdom and insight. He understands that the past informs the present and offers a blueprint for the future. He advocates for a deep understanding of our shared history as a means of creating a better tomorrow.Mo Yan's deep understanding of history is evident in his works, which often explore the complex and tumultuous history of China. He recognizes that acknowledging the past is an essential step towards progress and transformation. Through his writing, Mo Yan offers a critical reflection on the past and present, and points towards a better future.Furthermore, Mo Yan's works often address social issues, such aspoverty, inequality, and corruption. He uses his writing to shed light on the experiences of the marginalized and the oppressed, and to advocate for social justice. His works resonate deeply with readers around the world, inspiring them to take action towards creating a more just and equitable society.In conclusion, Mo Yan's insightful quotes reflect his deep understanding of the complexities of human nature, society, and politics. His works offer a unique perspective on the world and challenge us to think deeply about the issues that confront our society. He remains one of the most important writers of our time, whose legacy will continue to shape literature and inspire generations to come.非常抱歉，我之前的回答没有达到你期望的长度。
鲁教版八年级英语下册unit 1《when was he born》(共66张PPT)
and eleven
hours
May 22nd, 2002
May 3rd
A: how long did David Blaine stand in a box of ice?
B: He stood in a box of ice for __2____days, ____1_5__ hours and ___4__2___ minutes.
You were born in December .(month) You were born in December 2001(month and year) You were born on Deceber 1st ,2001.(month,year and date)
in（年，月，季） on(具体的某一天)
A: Who is that? B: He is …He’s from … He can… A: What is he doing? B: He is standing… A: When did he start standing…? B: He started on…He stopped on… A: How long did he stand …? B: He started standing on …and he stopped on… A: How old was he when he did this? B: He was 29 years old.
Born: 1963
Born: 1980
David football player Born: 1975
A: Who’s that? B: That’s Deng Yaping.She is a great Chinese ping-pong player. A: When was she born? B: She was born in 1973.
作家莫言中国当代著名作家介绍动态PPT
他还受了拉美魔幻现实主义影响，作品里魔幻气息很浓重，说文学是一种悲愤的抵抗，可是他的抵抗未免有些过火，抹煞了一切关怀和温情，中国传统文学里的含蓄美被他全盘破坏，一切情绪 全用魔鬼般的疯狂来展现。
作家莫言
演示完毕感谢观看
introduction to famous contemporary chinese writers introduction to famous contemporary chinese writers
创作的三个阶段
风格特色
第二部分
INTRODUCTION TO FAMOUS
莫言的长处是他的激情和磅礴。那种粗野、原始的生命力，以及来自民间的驳杂的语言资源，最为莫言所熟悉。
写作风格、语言风格的不同，和作家的气质、个性相关，甚至和作家的身体状况都有关系。
莫言用的语言是普通话，但中间夹杂着大量民间的口语、俚语，但也不是刻意的方言写作。
莫言的长篇小说《檀香刑》既是一部汪洋恣肆、激情迸射的新历史主义典范之作，又是一部借刑场为舞台、以施刑为高潮的现代寓言体戏剧。
《丰乳肥臀》是一部波澜壮阔的“史诗性”大书，是莫言进行民间史诗性书写的成功试验。作家倾情把母亲描绘成一位承载苦难的民间女神，或者就是圣母玛利亚的化身。但命运多舛，她生养的众多女儿构成的庞大家族与20世纪中国的各种社会政治势力和民间组织以及癫狂岁月下的官方权力话语发生了枝枝蔓蔓、藕断丝连的联系，并不可抗拒的被裹挟卷入20世纪中国的政治历史台，而这些形态各异的力量之间的角逐、争夺和厮杀是在自己的家庭展开的，造成了母亲独自承受和消解苦难的现实:兵匪、战乱、流离颠簸、亲人死亡以及对单个的废人式儿子的担心、焦虑，而她在癫狂年代用胃袋磨坊食物的行为更是鸟儿吐哺的深情.....亲是一种象符号，是对他作品中“我奶奶”式女人的集合，同时也涵盖了“作为老百姓的写作”的莫言对民间苦难及其承受者的爱戴、同情和关怀。
《红高粱》英语PPT
2012年诺贝尔文学奖
Background Music
<go forward bravely,my <dionysus younger sister> song>
Thank you!!
1987 年《红高粱家族》
内容简介： 以抗战时期为背景，描写战乵题材癿长 篇小说。主人公余占鳌是个热血男儿，
Major Experiences
• November 14, 1951:born in xi 'an； • 1968：as educated youth to the countryside 3 years and be the textile worker 7 years; • 1978：entered the Beijing film academy study photography ; • 1982：graduated and assigned to the guangxi film studio; • 1984: as a cinematographer blockbuster; • 1986, the first film "old" seize the three best actor ; • 1987: directed his first film “red sorghum” • Lots of good films are created later
•
heroine--------Gong Li
中文名 English name 巩俐 Gong Li
Birthday nationality birthplace
1965-12-31 Singapore Shenyang City, Liaoning Province
莫言.ppt2
Mo Yan is a Chinese author, described as “one of the most famous, oft-banned and widely pirated of all Chinese writers”. He is known in the West for two of his novels which were the basis of the film Red Sorghum. He has been referred to as the Chinese answer to Franz Kafka or Joseph Heller.
Writing style
Mo Yan's works are predominantly social commentary, and he is strongly influenced by the political critique of Lu Xun and the magical realism of Gabriel Garcia Marquez. Using dazzling, complex, and often graphically violent images, Mo Yan draws readers into the disturbing yet beautiful, kaleidoscopic universes of his stories. He sets many of his stories near his hometown, Northeast Gaomi Township in Shandong province. Extremely prolific, Mo Yan wrote his latest novel, Life and Death Are Wearing Me Out in only 43 days. He composed the more than 500,000 characters contained in the original manuscript on traditional Chinese paper using only ink and a writing brush.
诺贝尔文学奖得主莫言英文版
Red Sorghum (first published in 1987 in Chinese; in 1993 in English)
The Republic of Wine: A Novel (first published in 1992 in Chinese; 2000 in English)
Extremely prolific, Mo Yan wrote his latest novel, Life and Death Are Wearing Me Out in only 43 days. He composed more than 500,000 characters contained in the original manuscript on traditional Chinese paper using only ink and a writing brush.
Life and Death Are Wearing Me Out (published in English in 2008) ......
2005: Kiriyama Prize, Notable Books, Big Breasts and Wide Hip
2006: Fukuoka Asian Culture Prize XVII
Mo Yan left school during the Cultural Revolution to work in a factory that produced oil. He joined the Liberation Army at 20, and began writing while he was still a soldier, in 1981. He received international fame in 1987 with Red Sorghum, a novel of China, which was made into film. He is described as “one of the most famous and widely pirated of all Chinese writers.”
牛津译林版九年级上册英语课件Unit2写作能力提升练
实战演练
要求：1. 词数：80-100; 2. 语言流畅,内容连贯,书写规范; 3. 文中不能使用你的真实姓名和校名。
实战演练
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This is why I admire him the most. And I’ll try my best to work hard like him.
小说的分类-英语ppt精选全文完整版
按作品内容分类
武侠小说（也有叫武打小说，金庸为代表，可看做男性言情和励志小说）
言情小说（包括很多，如后宫文，穿越文，都市文，青春校园文等）
爱情传奇小说（言情小说独立分支；也有说是言情的最前身，即唐传奇；当代代表作《塔里木河》）
推理小说（很大程度上，推理即悬疑）
悬疑小说（很大程度上，悬疑即推理）
中国
外国
《阿Q正传》——鲁迅 《老人与海》——海明 《透明的红罗卜》、 威（美）
《野种》、《你的行 《鸳之死》——维尔 为使我们恐惧》—— 加（意大利） 莫言
中国
外国
世界三大短篇小说巨匠
(there great masters of short
《摩罗诗力说》、《文化偏 stories in the world)
• Novella (中篇小说)
• Short story (短篇小说）
• Mini-story (微型小说）
• 长篇小说 长篇小说字数最为不定，字数差距最大。有十几万
字的（这算是长篇小说字数的底线了），更有上百万字甚至几百 万字的长篇小说。如此长篇小说还可分为小长篇（一般的在十几 万到三十万字间），中长篇（一般的是五六十万字），大长篇 （一般要在八十万字以上），超长篇（一般的要达到一百五十万 字）巨长篇（往往是几百万字数的，像二百多万字，三百多万字 甚至过五百万字的）。
• A Tale of Two Cities---Charles John Huffam Dickens
• Gone with the Wind---Margaret Mitchell
• The Adventures of Robinson Crusoe--Daniel·Defoe
• David Copperfield---Charles John Huffam Dickens
莫言 英文ppt
Introduction Major Works
Writing Style
调研方法
Old name:Guan Moye(管谟业)
Birthplace: Gaomi township in Shandong province Major achievemets:
Chinese contemporary writer, the Open University of Hongkong literature in honor of introduction Dr.Mao Dun Literature Award（茅盾文学奖 ）
第二部分
Electrical and Mechanical
My class one, our home
Major works
1997 novel " Big Breasts & Wide Hips " won the Chinese history the most high " prize ", get as high as one hundred thousand yuan bonus.
5.【irony】 （反讽） 7.【Violence】
8.【folk】（民间）
9.【bold and uninhibited】（豪放）
Writing Style
10.【Classical】
16
Writing style
Mo Yan‘s works are mainly(主要的) social commentary, and he is strongly influenced by the political critique（政治批 判） of Lu Xun and the magical realism of Marquez（马奎斯）. Using dazzling(耀眼的 ), complex, and often vivid violent images, Mo Yan draws readers into the beautiful, protean(千变万化的) universes of his stories. He sets many of his stories near his hometown, Northeast Gaomi Township in Shandong province.
小说的分类 英语ppt
中国
《阿Q正传》——鲁迅
外国
《
老人与海》——海明 《透明的红罗卜》、 威（美） 《野种》、《你的行 《鸳之死》——维尔 为使我们恐惧》—— 加（意大利） 莫言
中国
《摩罗诗力说》、《文化偏 至论》、《域外小说集》、 《狂人日记》——鲁迅 《班主任》——刘心武 《月蚀》——李国文 《棋王》——阿城
外国
• classical novel 文言小说，古典小说 • vernacular novel 白话小说 • ...
• 1.《搜神记》、《世说新语》、《唐代传 奇》、《剪灯新话》、《聊斋志异》等 • 2. “三言二拍” • 冯梦龙《喻世名言》《警世通言》《醒世 恒言》 • 凌濛初《初刻拍案惊奇》《二刻拍案惊奇》 等
微型小说
• • • • 《麦琪的礼物》——欧· 亨利 《丈夫支出帐本中的一页》——马克· 吐温 《永远的门》——邵宝健 《喂——出来》——星新一
2. In terms of the content 按 内容分
• • • • • • • history novel 历史小说 modern novel 现代小说 science novel 科幻小说 detective novel 侦探小说，公案小说 errant novel 武侠小说 romance novel 言情小说 romantic novel 传奇小说
却未 在与 枝群 头芳 独同 欢温 笑暖
The development of the novel
却未 在与 枝群 头芳 独同 欢温 笑暖
classification of novel
• 1. In terms of coverage and capacity 按篇幅和内容分 • 2. In terms of the content 按内容分 • 3. In terms of writing style 按写作体 例分 • 4. In terms of language form 按语 言形式分
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• In 1986, Mo published Red Sorghum as a novella（中篇小说）; the following year the film version swept the world off its feet as it went on to collect the Golden Bear award at the 38th Berlin International Film Festival.
ቤተ መጻሕፍቲ ባይዱ
Those Chinese Writers
• Lu xun
• “We do not deserve it.” • “Nobel Prize giving Chinese writer because of his race will indulge Chinese people’s vanity.”
• Mo Yan deserved the Nobel Prize and we congratulate to him. However, to those who do not read, Mo Yan‟s winning of Nobel Prize in Literature has nothing to do with them.
• 诺贝尔文学奖评委马悦然：这一奖项不是选“世界冠军”， 莫言获奖显示出西方文学界已注意到中国当代文学繁荣的 现象，令人振奋。 • 香港作家葛亮指出：“如果一个诺贝尔文学奖，提升了普 世读者对中国文学的兴趣，才是最大意义所在，尤其在香 港这样文学式微的环境里。” • 在著名文学评论家白烨看来，人们关心诺贝尔文学奖，更 多是非文学的，是一种社会性和媒体性的关心。这些关心， 可以单纯地看作一种热情，一种基于民族主义热情的想象。 这种情结既反映出渴望，又反映出一种不自信。
China‘s Mo Yan wins Nobel for “hallucinatory realism merges folk tales, history and the contemporary”.
（“用魔幻现实主义的写作手法，将民间故事、历史事件与当代背景融为一体”）
• “Chinese writer Mo Yan has won the 2012 Nobel Prize in Literature.”, announced Peter Englund, Permanent Secretary of the Swedish Academy in Stockholm(斯德 哥尔摩） on 11st Oct.
• Shen congwen:
• He was chosen to be the 1988 Nobel Prize candidate and there were lots of people in Swedish Academy supported him. • Missed Nobel because of his death.
What do you think of the attention Chinese put on the Nobel Prize in literature? What do you think of the ‘Mo Yan mania’?
• Howard Goldblatt: a world-famous translator of Chinese Literature: I don„t have a problem with the prize; it‟s the popular obsession over it that I find objectionable(令人不 愉快的）. For populations in countries like China and South Korea, it has become a matter of national validation if successful, and national scorn if not. Come on, folks, it's an individual prize for a writer's (or poet's) body of work. I know, that's not how a lot of people see it, but ... really!
Headlines
Mo Yan
Mo Yan, born on 17 February 1955, is a Chinese novelist and short story writer. Before 2012, he was mostly know for the two of his novels that formed the basis of the film Red Sorghum, directed by awardwinning Chinese director Zhang Yimou. Mo is currently the only Chinese author who has won the Nobel Prize in Literature.
Some English Versions of Mo Yan‟s works
• The Garlic Ballads（歌谣）（《天堂蒜薹之 歌》） • Big Breasts and Wide Hips（《丰乳肥臀》） • Life and Death are Wearing Me Out（《生 死疲劳》) • Shifu, You’ll Do Anything for a Laugh(《师 傅越来越幽默》） • The Republic of Wine（《酒国》） • Red Sorghum（《红高粱》）
Chinese Education and “the Next Nobel Prize in Literature”
• Reading problems.(the number of books per year, the aim of reading, the types of books many people choose)(傻X的成功励志系
• Lin Yutang: • He was nominated twice 50 years ago.
Panic buying of Mo Yan’s books. Culture and media stock is rising.
Mo Yan’s former home will be restored as cultural tourist spot.
In Mo’s Words
• “I grew up in an environment immersed with (Chinese) folk culture（民间文化）, which inevitably come into my novels when I pick up a pen to write. This has definitely affected -- even decided -my works’ artistic style," Mo told a group of reporters at a hotel in his hometown Gaomi, in Shandong province, two hours after he won the award.
• "Winning the award means that I have to spare personal time for you (reporters)," said the writer half jokingly.
• "I thank for those who have supported and criticized me online over the past half month – it has been quite a buzz period. But it has also been the best opportunity for me to get to know myself, seeing my flaws and shortcomings and also something valuable for me to carry on."
列、每个屌丝都有一个白富美高富帅系列、骗死人不偿命 的养生系列、经不起现实考验的职场系列、哗众取宠的决 定一生系列……)
• The worrying primary education. • The altitude of translation.
• 马悦然接受中国媒体采访时就表示，中国作家应该更自信， 挖掘更多自己的内在力量，而不应太看重国外的标准。此 外，好的作品遇到好的翻译也很重要。近年来，包括阿来、 余华、杨红樱等中国作家的作品不断在欧美推出多语种版 本，此次莫言获奖，显示出中国文化对外的影响逐渐增大 的趋势。 • 白烨特别强调了文学翻译的重要性。他说，目前中国在文 学作品翻译方面下的功夫不够大。一般的情况是，作家的 作品推出后，完全是自然而然，有人看中喜欢就翻译。在 组织性、推介性上做的很不够。中国作家的作品翻译成其 他文字，主要靠的还是国外的汉学家。