德汉学家又炮轰中国文坛 “中国作家是业余的”
以“中国当代文学都是垃圾”等惊人之语走红的德国汉学家顾彬，26日在北京举行的世界汉学大会上又炮轰中国文坛。这次他说：“中国作家是业余的，而不是专家。”据《南方都市报》报道，顾彬是以1949年为界来划分中国现当代文学的。在他看来，1949年以前的中国文学基本上属于世界文学，以后的中国文学则基本上都不属于世界文学，而这又同中国当代作家普遍缺乏外文基础有直接关系。
顾彬说：“1949年以前的中国文学是几百元一瓶的五粮液，以后的是几块钱的二锅头，为什么呢？答案非常简单，1949年以前的中国作家都是翻译家，他们会很多外语，也有很多中国作家能够用外语写作。但你看看1949年以后哪一个中国作家会外语？一些在国外几年的作家外语根本不好。当然也有一两个例外。”
他认为，一个作家应该从另外一种语言体系来看中文。如果一个作家只掌握他的母语，说明他什么语言都不会，因为他不能从外部来看语言有什么特色。
因此，他总结发言时强调：“如果一个作家不掌握语言的话，他根本不是一个作家，所以基本上中国作家是业余的，而不是专家。”
顾彬话才说完，世界汉学大会现场就马上有人提出异议。北京大学中文系教授陈平原起身反击顾彬的论点时，以不会外语但文学造诣深厚的沈从文为例说：“很多好作者根本不是大学教出来的，我们按照这个来要求作家不公平。以后作家评级也考外语就麻烦了。越是作家越要个性化，个性化的作家可能外语好，也可能不好，你只能拿他的作品来评判。”
对于顾彬肯定1949年以前的中国文学，却否定1949年以后的中国文学，陈平原不客气地指他“有点哗众取宠”。
顾彬过后接受《新京报》访问时再强调，中国当代学者如果要搞现代文学，就应该学外语。他认为，中国学者对中国的了解很有限，常常不能用另外一种语言、从另外一种领域的角度看。
他说：“鲁迅的中文受到了德文和日文的影响，如果一个人不了解德文和日文，能了解完全的鲁迅吗？当代中国没有散文、话剧，也没有真正的小说。有一些小说家是不错的。他们在八九十年代发表的东西有一定的历史和文学意义。中国的一些作家在国外很有名，但你认真的看，他们的每一句话，从语法、意义到美学，没办法与欧洲中等的小说家比。我也是作家，我看到中国作家在国外发表的作品，就觉得他们没法跟我们当地的一些小说家比。冰岛只有5万人，都有人拿了诺贝尔文学奖，但中国没有，为什么呢？ ”
顾彬也以自己为例，说明学习外语的重要性。他说：“我们汉学家，如果不会古代汉语，要了解孔子，总不能通过于丹了解孔子吧。中国的于丹太多了。而中国学者基本是通过我们国家的‘于丹’来了解我们。” 很多东西就是炒作起来的，本来也没什么事。比如 百家讲坛，他是定位于初中以上的观众，一起了骂声，倒把他当成了什么了不得的东西了，一方是心知肚明的讲者，一方是心甘情愿的听者，一方是自有坚持的人们，一方却是善良的要求学者礼遇的好好人，呵呵，自扰之。
就当他是蚊子，或者清风吧，此类文字还是少发了，否则就过深地卷入了大众娱乐，没什么意思。不过有人想当面煽他几个耳光，我还是支持的，所谓礼尚往来嘛，对于娱乐流氓，本人向来不喜欢得很，本人也不总是崇尚君子之争的。 引用第1楼颠倒梦想于2007-03-30 08:10发表的 :
很多东西就是炒作起来的，本来也没什么事。比如 百家讲坛，他是定位于初中以上的观众，一起了骂声，倒把他当成了什么了不得的东西了，一方是心知肚明的讲者，一方是心甘情愿的听者，一方是自有坚持的人们，一方却是善良的要求学者礼遇的好好人，呵呵，自扰之。
就当他是蚊子，或者清风吧，此类文字还是少发了，否则就过深地卷入了大众娱乐，没什么意思。不过有人想当面煽他几个耳光，我还是支持的，所谓礼尚往来嘛，对于娱乐流氓，本人向来不喜欢得很，本人也不总是崇尚君子之争的。
呵呵，其实就是想听到你这样的声音 德国在二战之后也没有什么拿得出手的大作家，最近连读了德国最大作家格拉斯的作品，感觉也就平平，中国的莫言似乎也不在他之下。二战之前德国那是大师如云啊，黑塞，托马斯·曼，那确实是高山仰止，中国作家绝对不可望其项背。 http://www.readfree.net/bbs/read.php?tid=308613&fpage=2
我的看法，这样对中国文化缺乏了解的人谈不上什么汉学家。。
为了弄清他这个人，我百度和谷歌一下：
1、http://www.china.org.cn/chinese/ch-yuwai/174949.htm
沃尔夫冈·顾彬（Wolfgang Kubin）是当今德国最负盛名的汉学家。
他与中国和中国文化结下了不解之缘，以论文《论杜牧的抒情诗》获哲学博士学位，并以此奠定了他一生事业的基础。
在拿到博士学位一年之后的1974年，顾彬与十几个年青的德国学者一起来到了北京，入北京语言学院（今北京语言文化大学前身）学习。他后来回忆说：“那时候中国的环境确实不好，但幸运的是我遇到了好老师，还是学到了不少有益的东西。最大的收获，除了对中国社会有了较为真切的认识之外，就是认识了‘鲁迅’和鲁迅所代表的中国现代文学。”
回国后，顾彬一边从事现代汉语教学，一边大量地阅读鲁迅和中国其他一些知名作家的作品，并给学生开设相关的课程和讲座。1979年，他重译的茅盾小说《子夜》在西柏林出版；不久，又出版了一本由他选译并加注释的鲁迅小说、诗歌、杂文选，书题为《野兽训练法》。此后，他又陆续主持翻译出版了丁玲《莎菲女士的日记》、中国当代小说集《百花齐放》、文学资料集《中国现代文学》和中国现代诗歌选《太阳城消息》；组织翻译出版了巴金的《家》和《寒夜》以及总题为“中国当代文学译丛”的著作多种；发表了数量可观的论文，出版了书题为《猎虎》的中国文学论文集。他把中国当代文学逐步地介绍到了德国。
在这同一时期，他倾注了大量心血构思、撰写了自己的教授论文《空山》（“空山”用唐代诗人王维《鹿柴》“空山不见人，但闻人语响”诗意），副题为“中国文学中自然观之发展”，并于1981年7月获得了通过。正文分三章：一、自然作为标志；二、自然作为外在世界；三、转向内心世界的自然。顾彬将中国文人自然观的发展大致分为三个阶段，中国传统自然观大约在周至唐代的一千五百年间成形，其发展的特征是伴随着多变的宗教面貌而衍生的精神上的渐次归真。自然在三个不同的发展阶段中被次第烘托成对社会的“他”面及相对于我的“非我面”，主要症结在于商周两代旧有世道的瓦解，汉朝地主阶级豪族及其后六朝贵族的兴起。
《空山》中译本1990年由上海人民出版社出版，书名定为《中国文人的自然观》，为周谷城主编“中国文化史丛书”之一种。该书出版后，引起了一些学者的关注。庞朴认为，顾彬的观点“发前人所未发”，对《空山》的学术价值予以肯定，。
他研究鲁迅、翻译鲁迅的工作仍在悄然进行。在顾彬主持下，经过十几位汉学家将近十年的共同努力，一套六卷本的德文版《鲁迅选集》终于1994年由瑞士苏黎士联合出版社出版。
从上个世纪90年代初期起，顾彬几乎每年都应邀来中国，到一些名牌大学讲学。在北京大学的讲演稿，被编入“北大学术讲演丛书”。（北京语言文化大学 马树德）
光明日报2002/7/18
2、http://www.news365.com.cn/jy/200703/t20070330_1351637.htm
中国学者：顾彬是在学术旅游
德国汉学家顾彬去年在接受德国电台采访以及在上海演讲时，对中国当代文学多次给予了严厉的批评。在日前世界汉学大会题为“汉学视野下的20世纪中国文学”圆桌会议上，顾彬再次炮轰中国当代文学。他说，中国当代文学是“二锅头”，中国现代文学是“五粮液”，1949年以前的中国作家们都是翻译家，以后的基本上都不是翻译家，“如果一个作家不掌握(外国)语言的话，他根本不是一个作家，所以基本上中国作家是业余的，而不是专家。”一些学者及作家当时便作出了回应，学者陈平原昨天接受采访时认为顾彬是哗众取宠。
“顾彬对当代中国文学的批评是哗众取宠，根本不值得认真对待。”北京大学中文系教授陈平原说。昨天，在接受记者采访时，他解释了自己在世界汉学大会上批评德国波恩大学教授顾彬的动机。
陈平原:这不是学者的发言
陈平原当场批评了“外来和尚会念经”的一种架势，觉得有必要做一个调整。他表示，个性化的作家可能有人外语好，有人外语不好，这些东西你只能拿他的作品来评判，当代文学和现代文学的差别问题，不谈体制，可以说文学场或别的理论，但拿外语问题做这样的全程判断自己表示反对。
陈平原称，“顾彬对当代中国文学的批评不是一个学者对中国当代文学进行研究分析之后作出的学术判断，而是一种大而化之的，凭感觉所说出来的话。因此，中国作家也没有必要太在意。”陈平原称，顾彬的观点不是一个研究性的结论，一个真正的汉学家决不会这样说。所以，当时，顾彬说自己是一个作家，也写小说、写诗的时候，“我表示，如果你是作为一个作家这么发言的话，我可以理解。”
陈平原称，顾彬对中国当代文学下了很多结论，如果是一个严肃认真的学者，在作出这些结论之前，必须收集大量材料，经过仔细的研究和分析之后，再作出判断。“顾彬所采用的发言方式是媒体所乐意见到的，这件事情从一开始到现在就是娱乐化的。”
张柠:顾彬只是中国文学的“旅游者”
顾彬此前还表示自己不喜欢中国作家，包括莫言在内，好多中国作家是蜉蝣，他们是一种短暂的现象。记者拨通莫言电话时，莫言表示“随他去吧”，接着说自己正在三峡，不方便接听电话。作家北村表示，不能以懂外语来评判作家的写作水平及其作品，懂外语未必就能读懂外国文学，而不懂外语也可以通过译作了解外国文学。“不过，我同意顾彬的某些判断，中国当代文学确实不如现代文学。”
北京师范大学中文系教授张柠认为，“就像我们对德国文学的了解一样，顾彬对当代中国文学的了解也不过是皮毛。一个作家要解决的是本民族的问题，如果能传递给其他国家当然更好，如果传递不了，那也不是惟一的标准，李白懂外语吗？”他还表示，中国当代文学的好坏不出在作家身上，对于另外的原因，他根本不了解。“顾彬只是一个中国文学的旅游者，而学术旅游不能解决任何学术问题。”(《新京报》供稿)
3、http://www.zonaeuropa.com/culture/c20061214_1.htm
Wolfgang Kubin on Contemporary Chinese Literature 接受德国之声采访
Bonn University Professor of Chinese Studies Wolfgang Kubin is one of the most renowned Sinologists in Germany, especially on the presentation and study of contemporary Chinese literature. In this DW interview, he expressed his views on the Chinese Writers Association, the problems in contemporary Chinese literature, the problems of Chinese writers and how they can step onto the world stage, and also about certain specific writers and works.
DW: In the recent Writers Association meeting in Beijing, Tie Ning was elected chairperson. This is the third chairperson in the history of the Writers Association after Mao Dun and Ba Jin. I understand that you were in China at the time. What are your views?
Kubin: I was in China at the time, but I don't know much about this event. In any case, it can be said that all of the Chinese writers that I know hold the Writers Association in contempt. For us Sinologists, it is a matter of indifference if there is a new chairperson for the Writers Association.
DW: Can it be said that the new Writers Association president does not need to the most famous and respected person in the manner of Mao Dun and Ba Jin?
Kubin: This Writers Association serves no purpose whatsoever. You can ask all the writers in mainland China and none of them will voluntarily talk about the Writers Association. Nobody. Not a single person. If one is a genuine Chinese writer, he will not join this Writers Association. If he became a great writer only after joining, then something is wrong with him. Generally speaking, good writers cannot possibly be associated with the Writers Association.
DW: I understand you wrote a report recently about the problem of existence of Chinese literature in the 21st century. Can you summarize the contents of this report? That is to say, tell us about the problems that exist for Chinese literature over the past few years.
Kubin: I can only mention certain existing problems that I feel exists in 20th century Chinese literature. If we divide Chinese writers into those before or after 1949, we will find out that writers before 1949 were pretty good with foreign languages -- Eileen Chang, Lin Yu-tang, Hu Shi, they can all write in foreign languages. Some of the authors (such as Lu Xun) can handle two foreign languages without any problems. After 1949, you basically cannot find a Chinese writer who can speak a foreign language. Therefore, he cannot use another language system to examine his own work. Also, he cannot read the works written in foreign languages. He can only read foreign works translated into English. Therefore, Chinese writers have very poor understanding of foreign literature. Many of the pre-1949 writers believe that when they learn foreign languages, they will enrich their own writing. But if you ask a contemporary Chinese writer why he won't learn a foreign language, he will say that a foreign language can only ruin his mother tongue. I guess this is why there are no great writers after 1949 and why these writers do not compare to the pre-1949 writers. This is where the problem lies. This is a very important issue.
DW: Do you think that this is the sole problem, or the main problem?
Kubin. This is the biggest problem. When Chinese writers go overseas, they have to rely on the Sinologists because they can't even speak a word of foreign language. They rely on us completely. Their works need us to translate them from Chinese.
DW: You must have some understanding about certain recent works from China in recent years, such as <Wolf Totem>.
Kubin: <Wolf Totem> is fascism according to us Germans. That book causes China to lose face.
DW: There are also the works of other authors such as the "pretty girl writers" like Mian Mian and Wei Hui.
Kubin: You must be joking. That is not literature. That is trash.
DW: Do you think that there is any more decent Chinese literature in recent years?
Kubin: There is some in Chinese poetry. There are some good, even excellent, writers of Chinese poetry, such as Ouyang Jianghe, Sichuan, Zhai Yongming and others. There are many others. That is for sure.
DW: China is talking about "Poetry is dead." Why do you think?
Kubin: How can poetry be dead? Even if China is dead, then poetry will be dead in China but it will continue to "live on" in Germany. If a Chinese poet comes to Germany and we organize a reading, there will be at least 50 people, 100 people in attendance. We will certain publish their collected poems. Contemporary Chinese writers have published many poetry books in German. Chinese literature will not die in Germany.
DW: How does contemporary Chinese poetry compare to the 1980's with people like Bei Dao and Yang Lian?
Kubin: That is hard to compare. But I think that the poets from both the 1980's and 1990's are excellent. They have their own visions, they have their own language, etc. Personally, I obviously like Bei Dao and that group of people. But I am older and I should consider the younger readers. Those younger readers are likely to prefer the 1990's poets such as Wang Jiaxin, Ouyang Jianghe, Zhai Yongming and so on.
DW: The Chinese Writers Association has a project now to select 100 Chinese works and translate them into foreign languages so that Chinese literature can go out into the world. What do you think about this plan? Is it meaningful?
Kubin: This may mean something in the United States, but it is meaningless in Germany. Basically, we have already translated the Chinese literary works into German. All Chinese writers of any era already has German editions of their works. We do not need that help. But it is a problem in the United States where the need exists because they have done fewer translations.
DW: China has been developing economically very rapidly. Some people say that China will surpass the United States economically in the next 30 or 40 years. The United States got prosperous in the last century. But we know that they prospered not only economically, but also in literature, cinema, popular music and so on. They had a tremendous impact on the world. Do you believe that China will also develop rapidly in literature to match its economic standing?
Kubin: That depends on the Chinese people themselves. The people who despise Chinese culture and Chinese literature are not us foreigners, but the Chinese people themselves. The problem is with China itself. The Chinese people do not assign any important position to their own culture and literature.
DW: How are we supposed to understand this? Why do you say that the Chinese people do not assign any importance to their literature?
Kubin: Let me give you a very simple example. Last year, I published in Germany a history of 20th century Chinese literature. When the Chinese intellectuals who are all my friends (including the writers) heard that I was writing such a history, they said, "Don't write it. There is nothing good. It is all trash."
DW: That is to say, they despise themselves. Or perhaps one should say that they despise each other.
Kubin: Yes, you are very correct. They despise each other.
DW: When Gao Xingjian won the Nobel Prize, the reaction from China was more negative than positive. Is that what happened? Do you feel that China will get another Nobel Prize in Literature?
Kubin: The Nobel Prize in Literature is secondary. You have to write poorly in order to win. If you write well, you will never win it. Therefore the Nobel Prize in Literature is also trash.
DW: If you have to say a few words to Chinese writers, what will you say?
Kubin: They should learn to master their mother tongue well. Most Chinese writers have poor mastery of Chinese. Also, they should learn first on how to write. The problem there is tremendous for Chinese writers. But their basic problem is that their awareness is poor and their vistas are limited. It seems as if they live in a small room and they are afraid to open their eyes to look at the world. Therefore, China does not have its own voice, at least in terms of literature. There are writers everywhere in Germany, they represent Germany and they speak for the German people. Therefore we have a voice for Germany. But where is the voice for China? None. It does not exist. The Chinese writers are gutless. Basically, they have no guts.
DW: That is to say, there is no such person like Lu Xun.
Kubin: Yes, you are very correct. Lu Xun was representative. But can show me such a Chinese writer today? There isn't any.
DW: Does this have anything to do with the environment inside China? That is to say, the ideological control.
Kubin: Possibly. But you cannot keep saying that the conditions do not allow you. I feel that a Chinese writer should not keep saying that historical conditions do not allow him to do this or that. I consider that to be a joke. In order for a writer to become a genuine writer, he should not consider what difficulties he might encounter. He should speak out just like Lin Yu-tang and Lu Xun did back then.
DW: From the 20th century to the 21st century, which Chinese writers would you consider to be great?
Kubin: This is premature to say. You have to wait at least 50 years later and then you look back to see which (if any) are great. Lu Xun is definitely great. There are others before 1949. There are definitely none from 1949 to now.
DW: Bei Dao and Gao Xingjian are not?
Kubin: Gao Xingjian? Don't joke about this. Bei Dao could be considered great, because he is courageous. But you should not forget that he is only 50 years old.
大致意思：
中国作协被中国作家看不起，有水平作家不会加入作协（哪位文学同学来说说是不是这么回事？）；
中国49年后没有好的文学家；
狼图腾和美女作家是垃圾；
诗歌在中国已经死了；
中国文人看不起自己文化；
云云。。
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