2013年1月25日 星期五

Heinrich Böll 1917-1985 伯爾

 Heinrich Böll  (1917-1985)  的作品 台灣70年代起就翻譯一些. 不過那些書現在手頭上沒有


伯爾文論
海因里希·伯尔的小说在大陆和台湾都有译本。据我所知,大陆出版的伯尔作品译本有短篇小说:《野蛮时代的 故事》(1947年)、《飞刀艺人》(1948年)、《我的昂贵的腿》(1948年)、《流浪人》,《你若到斯巴》(1950年)等。中长篇小说:《列车 正点到达》(1949年)、《一声不吭》(1953年)、《无主之家》(1954年)、《小、丑之见》(1963年)、《一次出差的终结》(1966 年)、《莱尼和他们》(1971年)、《丧失了名誉的卡塔琳娜·勃罗姆》(1974年)、《保护网下》(1979年)和《莱茵女流录》(1985年)等。 自传式报告文学如:《爱尔兰日记》(台灣有譯本)。



目录 前言
导读:是诗人,也是斗士
关于我自己
关于废墟文学的自白
当代人与真相
有关戈特弗里德贝恩的询问
趣闻的囚徒
文学无国界
博歇尔特的声音
自我评论
你的兄弟在哪里?
写作的风险
语言作为自由的庇护所
艺术和宗教
关于保卫洗衣间
卡尔·马克思
命令与责任
法兰克福讲座(节录)
它们没有飞走
艺术的自由
乌尔莉克·迈因霍夫要赦免
还是要人身安全保障?
伯尔在诺贝尔奖授奖大会上的讲话
试论诗的理性
激进与希望
德国忆往
我心中的独裁者
对几个常在耳边作响的词语说三道四
给我儿子们的信或四辆自行车
工作和影响
关于翻译肖伯纳的《人与超人》
德国在国外的形象


Heinrich Böll

Heinrich Böll

The Nobel Prize in Literature 1972 was awarded to Heinrich Böll "for his writing which through its combination of a broad perspective on his time and a sensitive skill in characterization has contributed to a renewal of German literature".
TO CITE THIS PAGE:
MLA style: "The Nobel Prize in Literature 1972". Nobelprize.org. 25 Jan 2013 http://www.nobelprize.org/nobel_prizes/literature/laureates/1972/

Award Ceremony Speech

Presentation Speech by Karl Ragnar Gierow, Permanent Secretary of the Swedish Academy

Translation from the Swedish text
Your Royal Highnesses, Ladies and Gentlemen,
He who attempts to seize in a single grasp the bountiful and very varied authorship of Heinrich Böll finds himself holding an abstraction. Through these writings - begun twenty years ago and culminating in last year’s novel Gruppenbild mit Dame - there runs, however, a twin theme that might serve as such a synoptic abstraction. This could be phrased: The homeless and the aesthetics of the humane. But Böll’s homeless are not ill-fated individuals or human wreckage cast up outside the bulwarks of society. He tells of a society without a roof over its head, a derailed, displaced epoch, standing on every street corner with hand outstretched, begging for the charity of a kindred spirit and human fellowship. This is the situation underlying Böll’sÄsthetik des Humanen.
He writes about what every human being seeks in order to lead a human life, in little things as in great, about “das Wohnen, die Nachbarschaft und die Heimat, das Geld und die Liebe, Religion und Mahlzeiten”, to quote his own enumeration. With its whole register from satire and high-spirited parody to deep suffering, this is a form of passionately engaged aesthetics and it also contains his literary program. He who sets out to portray the bare necessities of life keeps both feet on the ground.
Yet Böll has declared “Ich brauche wenig Wirklichkeit”, a word to note, coming from one who is regarded and who perhaps regards himself as a realistic narrator. The reality he needs so little is that of the classic 19th century novel, the reality that after a meticulous study of detail is faithfully reproduced. Böll is highly proficient at the method but employs it ironically; there is no limit to the superfluity of detail.
But the jesting with this conscientious form of registration is itself a demonstration of how little Böll needs such a reality. His mastery includes the ability to bring his setting and its figures to life with scanty, sometimes barely suggested lines.
There is however another reality which Böll’s writing continually requires: the background to his existence, the air his generation breathed, the heritage into which it came. That reality is the recurrent, intrusively observed subject of Heinrich Böll’s writing, from the start up to the magnum opus already mentioned, Gruppenbild mit Dame, which so far crowns his work. Böll’s real breakthrough came in the years 1953, 1954 and 1955 with three novels published one after the other - Und sagte kein einziges Wort; Haus ohne Hüter, and Das Brot der frühen Jahre. Although it was presumably not the author’s intention, these three titles serve to indicate the reality which he so persistently and forcefully depicts. His background was Germany’s years of famine, it was Das Brot der frühen Jahre, the bread that never sufficed and often was not there, the bread that had to be begged for or stolen if one was to survive, and that diet is an indelible memory. The heritage which he and his contemporaries had to administer was Haus ohne Hüter, house without caretaker, an existence in ruins, with time a widow and the future fatherless. The air he and his contemporaries breathed was inhaled with the heavy hand of dictatorship on their throats, Und sagte kein einziges Wort, because the hand smothered every sound.
It is not the smallest German miracle that after such years of destitution a new generation of writers, thinkers and researchers was ready so soon to shoulder their country’s and their own essential task in the spiritual life of our time. The renewal of German literature, to which Heinrich Boll’s achievements witness and of which they are a significant part, is not an experiment with form - a drowning man scorns the butterfly stroke. Instead it is a rebirth out of annihilation, a resurrection, a culture which, ravaged by icy nights and condemned to extinction, sends up new shoots, blossoms and matures to the joy and benefit of us all. Such was the kind of work Alfred Nobel wished his Prize to reward.

Dear Mr. Böll,

As a given consequence of the homelessness that is one of the main themes of your writing, comes the striving that you yourself have indicated with the words: “Die Suche nach einer bewohnbaren Sprache in einem bewohnbaren Land”. This implies an antithesis of homelessness, a writing in which everyone can feel at home. You reject a literature for an initiated circle, you have declared, adding significantly: “Eine Kirche wird eingeweiht, aber durch diesen Akt der Einweihung nicht geschlossen, sondern geoffnet”. It is this openness for the human aspect which gives space and raises the arches higher in your works. And it is works in that spirit which give us a certain right to set our hopes as well on a habitable world. With these words I express the congratulations of the Swedish Academy and ask you now to receive this year’s Nobel Prize for Literature from the hands of His Royal Highness the Crown Prince.
From Nobel Lectures, Literature 1968-1980, Editor-in-Charge Tore Frängsmyr, Editor Sture Allén, World Scientific Publishing Co., Singapore, 1993

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