1、,Chinese writer Mo Yan won the Nobel Prize in literature on Oct. 11 The Swedish Academy, which selects the winners of the prestigious award, praised Mos “hallucinatory realism“hlusn,t()r saying it “mergesmd folk tales, history and the contemporary.“,10月11日，瑞典文学院宣布，中国作家莫言获2012年诺贝尔文学奖，授奖辞为“莫言将魔幻现实主义融合
2、了民间故事、历史与当代社会”。莫言原名管谟业，1955年出生于山东高密县农一个农民家庭，在写第一部小说时为自己取了笔名“莫言”。,Mo Yan Born: 1955, Gaomi, China Residence at the time of the award: China Prize motivation: “who with hallucinatory realism merges folk tales, history and the contemporary“,Mo Yan is fifty-seven. His real name is Guan Moye. Mo Yan mean
3、s “Dont Speak.” The writer said he chose the name to remember to stop his tongue from getting him in trouble. Born into a farmers family in Gaomi in Shandong province, eastern China in 1955, Mo Yan had the experiences of working in the field in countryside and in a factory.,In 1976, he joined Chinas
4、 Peoples Liberation Army and began to study literature and write. Garrulous by nature, Mo has said the name, meaning “dont speak,“ was intended to remind him to hold his tongue lest he get himself into trouble and to mask his identity since he began writing while serving in the army. His first short
5、 story was published in a literary journal in 1981. His breakthrough came in 1986 with the novella Touming de Hong Luobo, published in French as Le Radis de Cristal in 1993.,Mo is one of Chinas top contemporary authors. His writings draw on his youthful experiences and on settings in the region wher
6、e he was born - Shandong province in northeastern China.,Hes written 11 novels and lets say a hundred short stories,Among the works highlighted by the Nobel judges were “Red Sorghum“(1993), “The Garlic Ballads“(1995), “Big Breasts & Wide Hips“ (2004).,“Through a mixture of fantasy and reality, histo
7、rical and social perspectives, Mo Yan has created a world reminiscent in its complexity of those in the writings of William Faulkner and Gabriel Garca Mrquez, at the same time finding a departure point in old Chinese literature and in oral tradition,“ the academy said in a statement. “,Works by Mo Y
8、an Wa (蛙), December, 2009 “Frog“, currently untranslated Shengsi Pilao (生死疲劳), January, 2006 Translated as Life and Death are Wearing Me Out Jiu Guo (酒国), January, 2005 Translated as Republic of Wine Fengru Feitun (丰乳肥臀), January, 1996 Translated as Big Breasts and Wide Hips Hong Gaoliang Jiazu (红高粱
9、家族) Translated as Red Sorghum: A Novel of China Hong Shulin (红树林) “Red Woods“, currently untranslated,Red Sorghum (红高粱) first published in 1987 in Chinese; in 1993 in English (Photo/ Peoples Daily Online) Big Breasts 2005 in English (Photo/ Peoples Daily Online),The Garlic Ballads（天堂蒜姜之歌）first publi
10、shed in English in 1995 The Republic of Wine (酒国) first published in 1992 in Chinese; 2000 in English (Photo/ Peoples Daily Online) Life and Death Are Wearing Me Out (生死疲劳) published in English in 2008,“Fengru feitun“ (1996, in English “Big Breasts and Wide Hips“ 2004) is a broad historical fresco p
11、ortraying 20th-century China through the microcosm of a single family. The novel “Shengsi pilao“ (2006, in English “Life and Death are Wearing Me Out“ 2008) uses black humor to describe everyday life in China. His work “Wa“ (in English “Frog“ 2009) has also been translated into French.,Through a mix
12、ture of fantasy and reality, historical and social perspectives, Mo Yan has created a world reminiscent in its complexity 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, the academy c
13、ommented in the biographical statement.,His breakthrough came with novel “Red Sorghum“ published in 1987. Set in a small village, like much of his fiction, “Red Sorghum“ is an earthy tale of love and peasant struggles set against the backdrop of the anti-Japanese war. It was turned into a film that
14、won the top prize at the Berlin International Film Festival in 1988, marked the directing debut of Zhang Yimou and boosted Mos popularity.,Mo writes of visceral pleasures and existential quandaries and tends to create vivid, mouthy characters. While his early work stuck to a straight-forward narrati
15、ve structure enlivened by vivid descriptions and raunchy humor, Mo has become more experimental, toying with different narrators and embracing a free-wheeling style often described as “Chinese magical realism.“,In addition to his novels, Mo Yan has published many short stories and essays on various topics. Dozens of his works have been translated into English, French and Japanese and many other languages.,
