Heinrich Böll (1917-1985 )伯爾《小丑眼中的世界》 《一言不發》《爱尔兰日记》《伯爾文論》《亚当，你到过哪里？》
簡介西方繪畫與藝術中的小丑(The Clown) (and the old man who will not laugh is a fool).
此片談到此作家的作品：小丑眼中的世界
此片談到此作家的作品：小丑眼中的世界
《亚当，你到过哪里？》是1999年上海译文出版社出版的图书，作者是伯尔 (Boll)。
创世记是全本圣经的第一卷。犹太人沿用中东的习俗，以本书的第一个字「起初」为书名，反映出本书的重点乃是叙述万物和以色列国的起源。
有关创世记的作者问题，自十八世纪末以来，已是学者们争论的焦点（请参考「五经总论」）。综合来说，在以色列人的历史里，最适合撰写创世记的莫过於摩西；虽然所记载的史实，都不是摩西亲身经历过的，但他在圣灵的感动下，可以把当时已有的材料提炼整编，将真实的经过阐明。
海因里希・伯尔（Heinrich;Boll;1917―1985），德国作家。生于科伦一个雕刻匠家庭。1939年如科伦大学学习日耳曼语文学，同年，应征入伍，直至第二次世界大战结束。曾受过伤。当过俘虏。对法西斯战争深恶痛绝。1947年开始发表短篇小说，1951年成为职业作家。他的前期作品着要取材于第二次世界大战，旨在探索战争给德国及其民族带来的种种灾难。
五、六十年代，他的作品主要写西德战后“经济奇迹”中的小人物的种种遭遇。70年代，他的创作从内容到形式都达到高峰。他以杰出的成就成了著名的“废墟文学”的扛鼎者。伯尔的小说创作手法基本上遵循批判现实主义传统，但同时也采用了一些西方现代派手法。他的作品大多是回忆式的，叙述故事情节时，时空概念颠倒跳跃，塑造人物形象时大量采用内心独白。1972年，“为了表扬他的作品，这些作品兼有对时代广阔的...
德國作家海因里希·伯爾生於100年前的本月，他在1972年獲得了諾貝爾文學獎。 Karin Hill/Picture-Alliance/dpa, via Associated Press
“這位年輕的作家用尖銳的憂鬱情緒觸動了我們，這是一種黑暗的才華”。
這是時報1955年在首篇對他的作品評論中，對生於100年前本月的德國作家海因里希·伯爾(Heinrich Böll)的形容。
伯爾的寫作源於他作為“二戰”大兵的經歷，該經歷以他被美國部隊俘虜而告終。
“我永遠不會忘記那些非常年輕的男孩上山來的樣子，他們為了解放我而必須囚禁我，”他有一次曾在時報的一篇觀點文章中回憶道。
用一位駐外記者的話說，這次經歷將他變成了“各種暴政——無論大小——的敵人，一個反軍國主義者和一位懷疑論者”，作為德國讀者最多的一位作家，伯爾在1972年獲得了諾貝爾文學獎。
幾個月後，一位時報記者問他對美國有什麼看法。
他回答：“你們有水門事件，還有新聞自由。你們有沙漠，還有紐約，無比的守舊又無比與時俱進。身為美國人是一個機會，意味著你能成為你想成為的人。”
Patrick Boehler對本文有報導貢獻。
德国作家海因里希·伯尔生于100年前的本月，
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“这位年轻的作家用尖锐的忧郁情绪触动了我们，
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伯尔的写作源于他作为“二战”大兵的经历，
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“我永远不会忘记那些非常年轻的男孩上山来的样子，
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几个月后，一位时报记者问他对美国有什么看法。
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Patrick Boehler对本文有报道贡献。
翻译：安妮
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一言不發 / 磐爾著 ; 宣誠譯 台北市 : 水牛, 民68[1979]
小丑眼中的世界 / 磐爾(Heinrich Boll)著 ; 宣誠譯 台北市 : 志文, 民72[1983]
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
- 作 者：（德）伯尔（Boll，H.） 著，黄凤祝 等编
- 出 版 社：生活.读书.新知三联书店
- 出版时间：1997
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
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".
Photos: Copyright © The Nobel Foundation
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/
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
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.
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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