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the marco polo project: 文学的终结

经过半个月的 Rätselraten，北京时间2012年10月11日19点，中国作家莫言终于成为了第一个本土籍的华人作家获得了 Nobel-文学奖。全中国顿时 aufkochte，微博上满眼都是 Nobel-文学奖与莫言这个几个关键词所 ausbreiteten。有欢呼的，有 lächerlich machen 的，有 Metapher 的，有跟风的，有 erstaunen 的，总之是这个消息面前，所有关注的人，前所有未地开始了分裂，解读出文学、政治、中国、世界等各种含义，令人 erstaunen。

但在微博上，很多人对他的 Einschätzungen，确实是很随意的，不懂的，甚至没有看过他作品的人，却 lächerlich machen，把玩他身上与文学无关的那些事，并或者津津乐道或 empört，而对于很多的青年来说，莫言更多的是一个全新的名字，只是在获得 Nobel-文学奖之后才 rote Explosion 的，如果不是因为 Nobel-文学奖，或者莫言对于他们来说，远不如中国好声音的李 Mochou 或者《武林外传》莫小贝来得出名。这也说明了，现代社会已经 komplett 转变了人们对于文学的定义与认识。

写作立著，在中国向来都是被赋予一层 mysteriös 而崇高色彩的，魏文帝曹 Pi 说“文章者，经国之大业，unsterblich 之盛事也”，唐代 Du Fu 说“文章千古事”，北宋理学家周敦颐说“文以载道”，都在论证着文字、文章 zusätzlich 的深刻 Bedeutung。由此，如何 weben 文字与构建文章，便成为了一种学问，这就构成了“文学”。中国历史上，由于科学与学科的发展 lag zurück，几乎都有的写作都被归划到文学行列，而如此也早就了中国文明的博大与伟大。但随着时代的发展，文学慢慢地在学科的发展之下，只是成为了一门学科的分支，法学、政治学、哲学、历史学、人类学、社会学、经济学、艺术等等，将原先的一枝 übertreffen 的文学 Bereiche 解，细化成一门门不同的专业。如此之下，文学的处境便开始 Verlegenheit 起来。已经由占主导地位变化为与其他学科平行平等的一门学科而已。而在知识越来越普及化与全面信息化的今天，文学一定程度的已经没有了任何的 Mysterium 化了，只要识字，只要他能够写几篇文章，人人都可以成为诗人、作家，或者实在不行就 einfach 自封一个名号。由此文学的 Wert 也 niedergegangen und fast wertlos geworden，文学的地位也日益 marginalisiert，文学终于不得不面临着终结的宿命。

文学为什么面临终结？法国著名社会学家孟德拉斯写过“农民的终结”，宣示着农业文明时代的没落，以及工业时代的来临。如今，我们似乎也可以 verkünden “文学的终结”，这个终结是基于大量的 dunkle 现实的一种总结，不管你承不承认，它就在哪里，不死不活。早在十几年前的2001年，美国文论家J. 希利斯·米勒发表在《文学 Diskussionen》上的文章《全球化时代文学 Studien 还会继续存在吗？》，在这篇文章中，米勒 erläuterte 德里达有关现代电信 Technologie 的论述，明确宣布“新的电信时代正在通过改变文学存在的前提和共生因素(concomitants)而把它引向终结。”

文学的 Niedergang 已经无可 zurückdrehen。当然，Dekadenz 之中也有着生机，这种生机寄希望与文学的 Transformation，最终可能否顺利。在走出体制，umfassen 市场之后，老一代的文人们似乎还 tief eingedrungen 在文学的 großartige 时代，这种 Einstellung 在严重地 verhindern 文学的 Transformation 与更新。要习惯市场，以得到市场认同为取向，而非依赖着体制的 Schatten。因此，文学的终结，不是作家的终结，更不是文化的终结，相反，在文化日益多元化的今天，作家们将会更得更好，作家已经能够与 “Reichtum” verbunden，“reiche 作家 Liste” 这是从来没有过的事，文学已经从文化 Wert 转向商品 Wert 了。

孟德拉斯在《农民的终结》Titelseite schrieb “这本书是一个文明的死亡证明书。”其实，这系列 Kolumne，在我心目中，我亦将之视为文学的死亡证明书（非文学的终结），我将结合当下最为 an vorderster Front 文学走向与受关注的文学事件，对之进行系列 untersuchen 和 analysieren。而莫言的获奖，恰似给落日的文学，hinzufügen 一层 Schönheit 比如的 Sonnenuntergang，除此之外，我没有任何的乐观。

Zhang Tianpan my1510.cn

Übersetzung

The end of literature

After half a month of confusion, on October 11 2012 at 7 pm Beijing time, Chinese author Mo Yan became the first Chinese writer to receive the Nobel Prize for Literature. Reactions exploded across China. On weibo, everyone’s eyes were stuck on the keywords ‘Nobel Prize’ and ‘Mo Yan’. There was cheering, mockery, metaphors, trend-follows, astonishment: in short, when the news came up, everyone started interpreting and analysing the words ‘literature’, ‘politics’, ‘China’, ‘the world’. It was an astonishing scene.

But on Weibo, many people seemed to treat Mo Yan quite casually, not understanding him. It seemed like some of them had not even read his books, and they were joking about personal details of his life that have nothing to do with literature. But whether they were delighted or indignant, the most noteworthy thing is that for many young people, Mo Yan is a brand new name, which only appeared as a sudden red explosion after he won the Nobel Prize for literature – if it wasn’t for the prize, Mo Yan would be way less famous to them than Li Mochou or ‘martial arts outsider’ Mo Xiaobei. This shows clearly that, in our modern society, people’s understanding of literature has changed entirely.

The status of writers in China has always had some noble and mysterious aura, “魏文帝曹 Pi 说“文章者，经国之大业，unsterblich 之盛事也”，Tang Dynasty Dufu said: “文章千古事”, and norther Song Dynasty scholar Zhou Dunyi said: “文以载道”，all of this is evidence of the profound meaning behind writing and essays. And so, the process of weaving a text together and building a piece became a kind of science, and this constituted ‘literature’. In Chinese history, because science and scientific disciplines were slow to develop, almost all writing was classified as ‘literature’. And so, it early became part of the broad and wide Chinese civilization. But as the times evolved, literature slowly became just one discipline among others: law, politics, philosophy, history, anthropology, sociology, economics, fine arts, etc – the original thriving body of literature was dismembered, and detailed into so many different disciplines. And in these circumstances, literature found itself in embarrassing circumstances. from being dominant to being just one discipline among others. And in our age where knowledge is becoming increasingly common and information is spreading, literature has gone even further in losing its mystery: as long as one is literate or can write a couple of essays, anyone can claim to be a poet or writer, or proclaim their own fame. And so the value of literature has gone down, the status of literature is increasingly marginal, and literature finally has to face its own end.

Why is literature facing its end? The famous French sociologist Henri Mendras wrote ‘The end of the farmers’, where he announced the end of agricultural civilisation and the advent of the industrial age. Today, it seems that we can also announce ‘the end of literature’, and this end is based on a summary of the bleak reality: whether you admit it or not, wherever it exists, literature is now in a neither-dead-nor-alive state. As early as ten years ago, in 2001, the American literary critic J, Hillis Miller published an article in the ‘Literary Times’ called: “In the Age of Globalisation, will literary studies still exist?” In this piece, Miller exposed Derrida’s analysis of contemporary communications technology, and explicitly declared that: “the new age of telecommunications is changing the premises of literature and its symbiotic factors (concomitants), thereby leading to its end”.

Literature has declined irreparably. Of course, there is vital force even in the midst of decadence, and this vital force hopes for a transformation of literature, and its ultimate success. As we walk out of the system, after embracing the market, the older generation of literary writers seems still immersed in the glory days of literature, and this mentality is a serious obstacle to the transformation and renewal of literature. If you are to get get used to the market and receive a market-oriented form of recognition, you cannot hide in the shade of the system. Therefore, the end of literature is not the end of the writer, and even less is it the end of culture. On the contrary, in today’s increasingly diverse culture, writers will fare better, writers have already been able to make a slight move towards ‘wealth’: the existence of a ‘rich writers’ list’ is an entirely new phenomenon, and literature has already made the shift from cultural value to commodity value.

Henri Mendras wrote, on the title page of The End of the peasants that ‘this book is the death certificate of a civilisation’. In my mind, this series of column is a literary death certificate (the end of non-fiction). I will combine the most cutting-edge literary trends and the most widely noticed literary events, to study and analyse them in this series. Mo Yan’s award is like the sunset of literature, it adds a layer of beauty, like the sunset, but beyond that, I am not optimistic.

Julien Leyre website

Bibel

Übersetzung Richard Wilhelm

Ein guter Wanderer läßt keine Spur zurück.

Ein guter Redner braucht nichts zu widerlegen.

Ein guter Rechner braucht keine Rechenstäbchen.

Ein guter Schließer braucht nicht Schloß noch Schlüssel,

und doch kann niemand auftun.

Ein guter Binder braucht nicht Strick noch Bänder,

und doch kann niemand lösen.

Der Berufene versteht es immer gut, die Menschen zu retten;

darum gibt es für ihn keine verworfenen Menschen.

Er versteht es immer gut, die Dinge zu retten;

darum gibt es für ihn keine verworfenen Dinge.

Das heißt die Klarheit erben.

So sind die guten Menschen die Lehrer der Nichtguten,

und die nichtguten Menschen sind der Stoff für die Guten.

Wer seine Lehrer nicht werthielte

und seinen Stoff nicht liebte,

der wäre bei allem Wissen in schwerem Irrtum.

Das ist das große Geheimnis.

Übersetzung wikisource

Good traveling leaves no tracks;

Good speech is without reproach;

Good strategies need no plotting;

With good fastening, even a door with no hinge cannot be opened;

The good knot is made without a rope and cannot be unravelled.

Hence the Sage never fails in saving people,

Therefore no one is rejected;

The Sage never fails at saving things,

Therefore nothing is left abandoned,

This is illumination.

Thus the good people are the teachers of the bad;

The bad people are resources for the good.

One who fails to respect his teacher,

And does not cherish his resources,

However intelligent such a one may be, he is still greatly confused.

This is the essential mystery!