一直坚持民间立场和地方性表达 Always adhere to the folk position and local expression

原乡、暴力、野性等元素是国际通用语汇 hometown/violence/The element such as wild is the international general vocabulary

　　莫言获得诺贝尔奖后，很多文学界人士表示祝贺。祝贺之余，人们不禁要问：为什么是诺贝尔奖会选择莫言？

Mo yan won the Nobel Prize,A lot of literati say congratulations.Congratulations on more than the,People can not help but ask:Why is the Nobel Prize will choose mo yan?

　　著名作家葛红兵昨晚告诉早报记者，莫言之所以获奖，主要是三个原因：一是他对中国启蒙传统做了反悖，找到了民间和地方性；二是他擅长民间话语、方言等表达；三是他一直坚持民间立场。

Famous writer GeGongBing last night told morning paper reporter,Mo yan is winning,Mainly three reasons:One is that he is on China's enlightenment traditional do against the contradiction,Find the folk and local;The second is he good at folk discourse/Dialect and expression;The third is he has always insisted on folk position.

民间立场和地方性 Folk position and local

　　东方早报：诺贝尔文学奖给莫言的颁奖词是“将魔幻现实主义与民间故事、历史与当代社会融合在一起”，而其实莫言在后期似乎已经摈弃了魔幻现实主义的写法，更多地用朴素的民间叙述。评委会是不是“看偏了”？

Oriental morning post:The Nobel Prize in literature to mo yan award word is"Will magic realism and folk story/Historical and contemporary society fuses in together",And in fact, mo yan in the later seem to have been devoid of magic realism written,More with simple folk narrative.Juries are"See the partial"?

　　葛红兵：魔幻现实主义不是严格的概念，对于莫言来说，魔幻是 一直存在的风格，不管是《丰乳肥臀》，还是《檀香刑》。而他的“魔幻”，和拉美的魔幻现实主义写法不一样，拉美的魔幻现实主义和长期的殖民统治有关，它是当地语言同殖民地语言之间的互动关系。莫言只是反映了山东高密语言，那里的仪式、民间想象、对大自然万物的崇拜，而这些是被现代化所消解的，莫言唤起了我们的记忆。他那种超自然的想象，恰恰被西方人读懂了。这种超自然的想象，和我们的现实主义理解是不一样的。

GeGongBing:Magic realism is not strict concept,Mo yan is for,Magic is always there style,No matter[Abundant breast fat buttock],or[Sandalwood punishment].And his"magic",And Latin America's magic realism writing is not the same,Latin America's magic realism and long-term colonial rule about,It is the local language with the interactive relationship between the colonial language.Mo yan is just reflects the shandong densified language,Where the ceremony/Folk imagination/All of nature worship,And these are modernization of digestion,Mo yan aroused our memory.He that supernatural imagination,The westerners understand the.This supernatural imagination,And our realistic understanding is not the same.

　　西方人读懂了这一点，实际上和他们的人类学体系一样，葛尔兹人类学思想在西方崛起之后，“民族志”的书写方式兴起，人们开始用民族志的方式讨论人与人的生存关系，而在这之前，西方人都试图通过统一的东西去理解世界，而在这之后，他们知道文化需要以自身逻辑去理解。

Westerners understand it,In fact and their anthropology system,This anthropology algor thought in the west after the rise,"ethnography"In the writing of rise,People began to use ethnography way to discuss the survival of human relations,And before that,Westerners are trying to through the unified things to understand the world,And after that,They know that culture need to own logic to understand.

　　莫言对胡适做了反悖，胡适那批人试图用西方解释中国，莫言恰恰相反，他找对了土壤，采用民间叙述的方式写作。这可以让他的作品达到价值和逻辑的平衡。

Hu shi mo yan to do against the contradiction,Hu shi that batch of people tried to explain China's west,Mo yan is just the opposite,He sought to the soil,Adopting folk narrative way of writing.This can let his works to achieve the balance of value and logic.

寻根潮哺育了莫言 Seeking the tide has nurtured mo yan

　　东方早报：莫言的民间叙述和当年的寻根文化有何差异？

Oriental morning post:Mo yan folk narrative and the roots of the culture difference?

　　葛红兵：当年的寻根，说到底还是政治上的理解，没有走向深层的民族志书写。但是那个年代的寻根潮，哺育了莫言，让他在1990年代末期写出《檀香刑》。

GeGongBing:The roots of the,In the final analysis or political understanding,Don't run to deep writing ethnography.But that s roots of the tide,Has nurtured mo yan,Let him in the late 1990 s to write[Sandalwood punishment].

　　东方早报： 曾看过你为苏童中篇小说集写的一篇后序，您对苏童的评价很高，在您看来，莫言和苏童，以及其他1980年代的那批作家有何不同？

Oriental morning post: Ever seen you for su tong medium-length stories written after a sequence,You very highly of su tong,In your opinion,Mo yan and su tong,, and other 1980 s that group of writers have any different?

　　葛红兵：苏童是个童话般的作家，非常优秀。但他是南方人，这意味着他和莫言相比缺少一个优势条件。因为当代汉语写作是以北方话为基础的，所以苏童在创作的时候需要先把吴语内译为普通话。在这个方面，苏童和贾平凹遇到了同样的问题，贾平凹写《秦腔》时怕上海人看不懂。而莫言没有这种障碍，他可以放纵地操控自己的地方语言。

GeGongBing:Su tong is a fairy tale writer,Very good.But he is from the south,This means that he and mo yan compared with the lack of a advantages.Because contemporary Chinese writing is the basis of northern dialect,So in the creation of su tong to the first data for mandarin in translation.In this respect,Su tong jia ping-wa and meet the same problem,Jia ping-wa write[tendencies]When fear from Shanghai look not to understand.Mo yan and no such obstacles,He can wantonly control his own language.

　　这种做法其实需要很大的勇气，20世纪30年代以来就有作家开始采用自己的语言写作，比如南方作家的粤语创作等，成功的人并不多。包括莫言也不被很多批评家看好，很多人觉得他的语言很聒噪，但是他却坚持用自己的耳朵去听声音。莫言之后，韩少功、贾平凹等人逐渐摸索到了莫言之前的路子。

This practice actually takes a lot of courage,Since the 1930 s have writer began to use their own language writing,Such as the southern writer's cantonese creation, etc,Successful people are not many.Including mo yan is not by many critics value,Many people think of his language is very noisy,But he insisted on my ears to listen to the voice.After mo yan,HanShaoGong/Jia pingwa, gradually grope to mo yan way before.

　　不过贾平凹的作品太难翻译，我曾经让我的一个英国留学生翻译贾平凹作品，他觉得难得不行。当代作家里，还有一个人分量很重，那就是阎连科，不过他的故事系统还没有被西方理解。

But jia pingwa's works too hard translation,I had let my a British students jia ping-wa translation works,He felt not rare.In the contemporary writers,There is also a person component are very heavy,That is naturally,But his story system has not been western understanding.