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Posted: 02-06-08 Mon 7:17 pm
by kuanghong
kuanghong wrote:6月1日
0730-0815 早操
0815-0900 早餐
0900-1030 讲座(四)
..................方路、龚万辉
..................“微型小说,小小声说”
第四场讲座由两位著名马华作家方路与龚万辉主讲。

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早上9点,两位主讲人先是在场外协调讲座的进行方式。15分钟后,讲座正式开始,由龚万辉先生简介何谓微型小说。(还真的是“简介”)

接着,两位主讲人便以交替的方式,轮流发表演说。方路先生印了一篇马奎斯的作品《这些日子中的一天》,让大家现场阅读。马奎斯这篇作品写得很好,遗憾的是两位主讲人没有对文本进行深入的分析与探讨。

最后,方路先生向大家透露说,他正在试验着一种新的文体 - 蚊型小说。这种蚊型小说只有差不多10字之长,却要表现出小说的特点。龚万辉说,这对文学创作者来说,是一个极大的挑战。


个人感想

说真的,除了上面记录的那些,我还真不记得两位主讲人说了些什么。是我不认真吗?可能是我不用心吧,总觉得龚万辉先生对讲座的准备非常不足,好像只是即席泛泛而谈,有时甚至词穷,不知该说些什么。

接着说说方路先生言中的“蚊型小说”。对我个人而言,与其说是挑战,不如说是一种不健康的风气。从长篇小说到中篇小说,从中篇小说到短篇小说,再从短篇小说到微型小说。如今,又要从微型小说到蚊型小说?呵呵,也许是我们处在这样的一个速食文化的时代吧,我们的文章越写越短,大部分人只求在极短时间内看懂一篇文章。那些拥有丰富内涵,需要一读再度才能体会其深意的文章渐渐无人问津。身为文学创作者的,应该助长这样的风气吗?

Posted: 02-06-08 Mon 7:27 pm
by kuanghong
马奎斯《这些日子中的一天》
搜索不到中文版的,只好放上英文版,请大家将就将就。 :oops:

http://www.classicshorts.com/stories/ootdays.html


One of These Days


by Gabriel Garcia Marquez


Monday dawned warm and rainless. Aurelio Escovar, a dentist without a degree, and a very early riser, opened his office at six. He took some false teeth, still mounted in their plaster mold, out of the glass case and put on the table a fistful of instruments which he arranged in size order, as if they were on display. He wore a collarless striped shirt, closed at the neck with a golden stud, and pants held up by suspenders He was erect and skinny, with a look that rarely corresponded to the situation, the way deaf people have of looking.

When he had things arranged on the table, he pulled the drill toward the dental chair and sat down to polish the false teeth. He seemed not to be thinking about what he was doing, but worked steadily, pumping the drill with his feet, even when he didn't need it.

After eight he stopped for a while to look at the sky through the window, and he saw two pensive buzzards who were drying themselves in the sun on the ridgepole of the house next door. He went on working with the idea that before lunch it would rain again. The shrill voice of his elevenyear-old son interrupted his concentration.

"Papa."

"What?"

"The Mayor wants to know if you'll pull his tooth."

"Tell him I'm not here."

He was polishing a gold tooth. He held it at arm's length, and examined it with his eyes half closed. His son shouted again from the little waiting room.

"He says you are, too, because he can hear you."

The dentist kept examining the tooth. Only when he had put it on the table with the finished work did he say:

"So much the better."

He operated the drill again. He took several pieces of a bridge out of a cardboard box where he kept the things he still had to do and began to polish the gold.

"Papa."

"What?"

He still hadn't changed his expression.

"He says if you don't take out his tooth, he'll shoot you."

Without hurrying, with an extremely tranquil movement, he stopped pedaling the drill, pushed it away from the chair, and pulled the lower drawer of the table all the way out. There was a revolver. "O.K.," he said. "Tell him to come and shoot me."

He rolled the chair over opposite the door, his hand resting on the edge of the drawer. The Mayor appeared at the door. He had shaved the left side of his face, but the other side, swollen and in pain, had a five-day-old beard. The dentist saw many nights of desperation in his dull eyes. He closed the drawer with his fingertips and said softly:

"Sit down."

"Good morning," said the Mayor.

"Morning," said the dentist.

While the instruments were boiling, the Mayor leaned his skull on the headrest of the chair and felt better. His breath was icy. It was a poor office: an old wooden chair, the pedal drill, a glass case with ceramic bottles. Opposite the chair was a window with a shoulder-high cloth curtain. When he felt the dentist approach, the Mayor braced his heels and opened his mouth.

Aurelio Escovar turned his head toward the light. After inspecting the infected tooth, he closed the Mayor's jaw with a cautious pressure of his fingers.

"It has to be without anesthesia," he said.

"Why?"

"Because you have an abscess."

The Mayor looked him in the eye. "All right," he said, and tried to smile. The dentist did not return the smile. He brought the basin of sterilized instruments to the worktable and took them out of the water with a pair of cold tweezers, still without hurrying. Then he pushed the spittoon with the tip of his shoe, and went to wash his hands in the washbasin. He did all this without looking at the Mayor. But the Mayor didn't take his eyes off him.

It was a lower wisdom tooth. The dentist spread his feet and grasped the tooth with the hot forceps. The Mayor seized the arms of the chair, braced his feet with all his strength, and felt an icy void in his kidneys, but didn't make a sound. The dentist moved only his wrist. Without rancor, rather with a bitter tenderness, he said:

"Now you'll pay for our twenty dead men."

The Mayor felt the crunch of bones in his jaw, and his eyes filled with tears. But he didn't breathe until he felt the tooth come out. Then he saw it through his tears. It seemed so foreign to his pain that he failed to understand his torture of the five previous nights.

Bent over the spittoon, sweating, panting, he unbuttoned his tunic and reached for the handkerchief in his pants pocket. The dentist gave him a clean cloth.

"Dry your tears," he said.

The Mayor did. He was trembling. While the dentist washed his hands, he saw the crumbling ceiling and a dusty spider web with spider's eggs and dead insects. The dentist returned, drying his hands. "Go to bed," he said, "and gargle with salt water." The Mayor stood up, said goodbye with a casual military salute, and walked toward the door, stretching his legs, without buttoning up his tunic.

"Send the bill," he said.

"To you or the town?"

The Mayor didn't look at him. He closed the door and said through the screen:

"It's the same damn thing."

Posted: 02-06-08 Mon 7:47 pm
by kuanghong
有必要介绍这个作家。

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加西亚·马尔克斯 Gabriel García Márquez

加布里埃尔·加西亚·马尔克斯(Gabriel García Márquez,1928年3月6日),台湾译为贾西亚·马奎斯,是哥伦比亚作家、记者和社会活动家;拉丁美洲魔幻现实主义文学的代表人物。

生平简述


马尔克斯1928年3月6日生于哥伦比亚阿拉卡塔卡。1940年迁居首都波哥大。1947年入波哥大大学攻读法律,并开始文学创作。1948年因哥伦比亚内战中途辍学。不久他进入报界,任《观察家报》记者。1955年,他因连载文章揭露被政府美化了的海难而被迫离开哥伦比亚,任《观察家报》驻欧洲记者。1960年,任古巴拉丁通讯社记者。1961年至1967年,他移居墨西哥,从事文学、新闻和电影工作。之后他主要居住在墨西哥和欧洲,继续其文学创作。1975年,他为抗议智利政变举行文学罢工,搁笔5年。1982年,获诺贝尔文学奖,并任法国西班牙语文化交流委员会主席。1982年,哥伦比亚地震,他回到祖国。1999年得淋巴癌,此後文學產量遽減,2006年1月宣布封筆。

代表作品

在《百年孤独》发表之前,马尔克斯在拉丁美洲文坛之外并不广为人知。《百年孤独》甫一面世即震惊拉丁美洲文坛及整个西班牙语世界,并很快被翻译为多种语言。马尔克斯也一跃成为炙手可热的世界级作家。《百年孤独》的故事发生在虚构的马孔多镇(马尔克斯称威廉·福克纳为导师,显然深受其影响),描述了布恩蒂亚家族百年七代的兴衰、荣辱、爱恨、福祸,和文化与人性中根深蒂固的孤独。其内容涉及社会和家庭生活的方方面面,可以说是拉丁美洲历史文化的浓缩投影。《百年孤独》风格独特,既气势恢宏又奇幻诡丽。粗旷处寥寥数笔勾勒出数十年内战的血腥冷酷;细腻处描写热恋中情欲煎熬如慕如诉;奇诡处人间鬼界过去未来变幻莫测。轻灵厚重,兼而有之,被公认为魔幻现实主义最具代表性的作品,也是二十世纪现代文学中不容错过的精品

《百年孤独》的英译本在数十种外文版中被公认为最佳。以此为基础的中译本(高长荣译,十月文藝出版社,北京)也为几种中译本中的佼佼者。

《百年孤独》另有從西班牙文直接翻譯的版本:黃錦炎等合譯的上海譯文出版社版與吳健恆獨力翻譯的雲南人民出版社版。

臺灣推出過2種透過英譯本轉譯的版本,分別是宋碧雲翻譯的《一百年的孤寂》(遠景出版公司,臺北)和楊耐冬翻譯的《百年孤寂》(志文出版社,臺北),有些評論認為宋碧雲的譯本比較動人,楊耐冬還從英文轉譯了題為《馬奎斯小說傑作集》的马尔克斯中短篇小說集,某些跡象顯示,臺灣小說作者張大春、吳繼文、駱以軍等人受到這些譯作的影響

http://zh.wikipedia.org/wiki/%E5%8A%A0% ... B%E6%96%AF

Posted: 02-06-08 Mon 7:58 pm
by kuanghong
《Cien años de soledad》(百年孤寂)的各个版本

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Posted: 02-06-08 Mon 8:09 pm
by kuanghong
有关马奎斯的其他资料:

作品年表

* 1955年 - 《枯枝败叶》(La hojarasca)
* 1961年 - 《没有人写信给上校》(El coronel no tiene quien le escriba)
* 1962年 - 《大妈妈的葬礼》(Los funerales de la Mamá Grande)
* 1962年 - 《蓝宝石般的眼睛》(Ojos de perro azul)
* 1962年 - 《恶时辰》(La mala hora)
* 1967年 - 《百年孤独》(Cien años de soledad)
* 1975年 - 《家长的没落》(El otoño del patriarca)
* 1970年 - 《落难海员的故事》(Relato de un náufrago)
* 1978年 - 《难以置信的悲惨故事——纯真的埃伦蒂拉和残忍的祖母》(La increíble y triste historia de la cándida Eréndira y de su abuela desalmada)
* 1981年 - 《一桩事先张扬的谋杀案》(Crónica de una muerte anunciada)
* 1985年 - 《霍乱时期的爱情》(El amor en los tiempos del cólera)
* 1989年 - 《迷宫里的将军》(El general en su laberinto)
* 1992年 - 《奇怪的朝圣者》(Doce cuentos peregrinos)
* 1994年 - 《关于爱和其它恶魔》(Del amor y otros demonios)
* 1996年 - 《绑架》(Noticia de un secuestro)


荣誉

* 1962年 - 《恶时辰》获埃索奖。
* 1969年 - 《百年孤独》获意大利基安恰诺奖。
* 1969年 - 《百年孤独》获法国最佳外国作品奖。
* 1971年 - 获美国哥伦比亚大学名誉教授称号。
* 1972年 - 获拉丁美洲文学最高奖——加列戈斯文学奖。
* 1981年 - 获法国政府颁荣誉军团勋章。
* 1982年 - 获诺贝尔文学奖。
* 1982年 - 获哥伦比亚语言科学院名誉院士称号。

http://zh.wikipedia.org/wiki/%E5%8A%A0% ... B%E6%96%AF

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Posted: 02-06-08 Mon 8:54 pm
by kuanghong
方路简介

曾获南大微型小说第一名、大马杰出潮青文学奖、花踪散文佳作奖。作品选入台湾《八十八年诗选》《九十年诗选》以及《有本诗集》。著有诗文集《鱼》,诗集《伤心的隐喻》,微型小说《挽歌》和散文集《单向道》

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龚万辉简介

1976年出生于马来西亚。1996年赴台,入学国立师范大学美术系。曾获第26届联合报文学奖散文奖大奖、马来西亚花综文学奖小说首奖和散文首奖、马来西亚旅台文学奖小说首奖和散文首奖。曾在宝瓶出版《隔壁的房间》。目前从事文字创作、绘画创作和设计工作。

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Posted: 10-06-08 Tue 9:54 pm
by kuanghong
“消失”了一周,是时候把未说完的话给说完。
kuanghong wrote:1030-1100 团康
1100-1300 作品点评 方路、曾翎龙
营会终于来到万众瞩目的一环 - 作品点评。共有3位点评人,比流程表上的多了一位吕育陶先生。

点评环节如预料中没有多大意义。面对文学新手们在一小时内完成的“呕心沥血”之作,点评只能在一些非常基本的要求上进行,如:写诗要有诗意、诗歌要求意象、诗歌不能写得太白等。

此外,点评人在时间的分配上也显得不大理想。曾翎龙先生在点评的最初,花了近半小时来点评一篇作品。若是对这篇作品的点评是极具启发性也罢,但个人便不是那么的受到启发,也许是个人的修为不足吧。这样一来,由于时间的限制,点评人在最后半小时的点评便显得“行色匆匆”,甚至是有点敷衍了,一些同学的作品甚至没被点评。

在点评环节结束前的10分钟,3位点评人利用宝贵的时间,为彼此的著作做推荐(有点像推销)。我哭笑,本地中文书市场还真是不景气啊。

就这样,作品点评环节结束了。说真的,脑海中似乎没留下多少印象。间中应该有些笑声,有些喝彩声吧,除此之外,我不记得还剩下什么了。

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Posted: 10-06-08 Tue 10:28 pm
by kuanghong
曾翎龙简介:

马来西亚博特拉大学人类发展系毕业。星洲日报《学海》周刊主编丶有人出版社负责人。曾获星洲日报花踪文学奖小说及散文佳作全国大专生文学奖新诗组次奖第八届全国嘉应散文奖首奖“国庆月”新诗奖首奖台湾彭邦桢纪念诗奖等。作品收入《有本诗集:22诗人自选》,最新出版诗集:《有人以北》

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吕育陶简介:

1969年生於槟城乔治市,祖籍广东顺德,美国康贝尔大学电脑科学系毕业,现为投资银行资讯部经理。

曾获台湾时报文学奖新诗奖,花踪文学奖新诗首奖,大专文学奖诗歌首奖。着有诗集《在我万能的想像王国》,诗合集《有本诗集》。作品入选台湾《跨国界诗想》

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Posted: 06-10-08 Mon 5:51 pm
by 子晶
我个人也不怎么喜欢点评环节,个人没有从中获益。
换言之,这一趟,回想起,应该可以说是旅行吧,放松心情的到他府观看。
再者,在那之前,完全不晓得有“创作环节“这一回。给予的时间也很少……
虽然有点扫兴,但也算是观看了一场文学颁奖典礼。
感觉,还好。