生物諾貝爾獎(jiǎng)獲獎(jiǎng)感言發(fā)言稿

求約翰·斯坦貝克的諾貝爾文學(xué)獎(jiǎng)獲獎(jiǎng)感言，演講稿譯文。

在線(xiàn)等

Banquet SpeechJohn Steinbeck"s speech at the Nobel Banquet at the City Hall in Stockholm, December 10, 1962I thank the Swedish Academy for finding my work worthy of this highest honor.In my heart there may be doubt that I deserve the Nobel award over other men of letters whom I hold in respect and reverence - but there is no question of my pleasure and pride in having it for myself.It is customary for the recipient of this award to offer personal or scholarly comment on the nature and the direction of literature. At this particular time, however, I think it would be well to consider the high duties and the responsibilities of the makers of literature.Such is the prestige of the Nobel award and of this place where I stand that I am impelled, not to squeak like a grateful and apologetic mouse, but to roar like a lion out of pride in my profession and in the great and good men who have practiced it through the ages.Literature was not promulgated by a pale and emasculated critical priesthood singing their litanies in empty churches - nor is it a game for the cloistered elect, the tinhorn mendicants of low calorie despair.Literature is as old as speech. It grew out of human need for it, and it has not changed except to become more needed.The skalds, the bards, the writers are not separate and exclusive. From the beginning, their functions, their duties, their responsibilities have been decreed by our species.Humanity has been passing through a gray and desolate time of confusion. My great predecessor, William Faulkner, speaking here, referred to it as a tragedy of universal fear so long sustained that there were no longer problems of the spirit, so that only the human heart in conflict with itself seemed worth writing about.Faulkner, more than most men, was aware of human strength as well as of human weakness. He knew that the understanding and the resolution of fear are a large part of the writer"s reason for being.This is not new. The ancient commission of the writer has not changed. He is charged with exposing our many grievous faults and failures, with dredging up to the light our dark and dangerous dreams for the purpose of improvement.Furthermore, the writer is delegated to declare and to celebrate man"s proven capacity for greatness of heart and spirit - for gallantry in defeat - for courage, compassion and love. In the endless war against weakness and despair, these are the bright rally-flags of hope and of emulation.I hold that a writer who does not passionately believe in the perfectibility of man, has no dedication nor any membership in literature.The present universal fear has been the result of a forward surge in our knowledge and manipulation of certain dangerous factors in the physical world.It is true that other phases of understanding have not yet caught up with this great step, but there is no reason to presume that they cannot or will not draw abreast. Indeed it is a part of the writer"s responsibility to make sure that they do.With humanity"s long proud history of standing firm against natural enemies, sometimes in the face of almost certain defeat and extinction, we would be cowardly and stupid to leave the field on the eve of our greatest potential victory.Understandably, I have been reading the life of Alfred Nobel - a solitary man, the books say, a thoughtful man. He perfected the release of explosive forces, capable of creative good or of destructive evil, but lacking choice, ungoverned by conscience or judgment.Nobel saw some of the cruel and bloody misuses of his inventions. He may even have foreseen the end result of his probing - access to ultimate violence - to final destruction. Some say that he became cynical, but I do not believe this. I think he strove to invent a control, a safety valve. I think he found it finally only in the human mind and the human spirit. To me, his thinking is clearly indicated in the categories of these awards.They are offered for increased and continuing knowledge of man and of his world - for understanding and communication, which are the functions of literature. And they are offered for demonstrations of the capacity for peace - the culmination of all the others.Less than fifty years after his death, the door of nature was unlocked and we were offered the dreadful burden of choice.We have usurped many of the powers we once ascribed to God.Fearful and unprepared, we have assumed lordship over the life or death of the whole world - of all living things.The danger and the glory and the choice rest finally in man. The test of his perfectibility is at hand.Having taken Godlike power, we must seek in ourselves for the responsibility and the wisdom we once prayed some deity might have.Man himself has become our greatest hazard and our only hope.So that today, St. John the apostle may well be paraphrased: In the end is the Word, and the Word is Man - and the Word is with Men.--------------------------------------------------------------------------------Prior to the speech, R. Sandler, Member of the Royal Academy of Sciences, commented, ?Mr. John Steinbeck - In your writings, crowned with popular success in many countries, you have been a bold observer of human behaviour in both tragic and comic situations. This you have described to the reading public of the entire world with vigour and realism. Your Travels with Charley is not only a search for but also a revelation of America, as you yourself say: ?This monster of a land, this mightiest of nations, this spawn of the future turns out to be the macrocosm of microcosm me.? Thanks to your instinct for what is genuinely American you stand out as a true representative of American life.?

歷屆諾貝爾獎(jiǎng)獲獎(jiǎng)人演講稿

愛(ài)的校領(lǐng)導(dǎo)、老師們，親愛(ài)的同學(xué)們：大家好

　　我很榮幸，并代表全校獲獎(jiǎng)的同學(xué)在此表達(dá)我們對(duì)學(xué)校及老師們的感激之情。

　　首先，我很感謝學(xué)校。

對(duì)于我們廣大學(xué)生來(lái)說(shuō)，這是對(duì)我們?cè)趯W(xué)習(xí)上的一種肯定，更是對(duì)我們學(xué)習(xí)上的一種激勵(lì)和鼓舞，使我們?cè)趯W(xué)習(xí)上不敢有絲毫懈怠。

另外，我還要感謝培育我們的老師們，因?yàn)橛辛四銈兊男燎诟冻觯庞辛宋覀兘裉斓氖斋@。

　　此時(shí)此刻我捧著手中的獎(jiǎng)，心里感慨萬(wàn)千。

雖然并不多，但我想這每一個(gè)獎(jiǎng)的背后都是各位同學(xué)日夜苦戰(zhàn)，用自己的勤奮努力和老師家長(zhǎng)們的付出換來(lái)的。

我不想說(shuō)我們累，更不想說(shuō)我們苦。

因?yàn)槲覀兪乔啻骸t灑的90后，風(fēng)雨過(guò)后我們依然會(huì)展露笑容，今日的累是為了我們明日的輝煌，為了我們肩上那不可推卸的歷史重任。

我相信我們會(huì)做的更好。

　　不過(guò)，獲得了獎(jiǎng)并不意味著就達(dá)到了我們的目標(biāo)而可以停滯不前。

在人生旅途中，獲獎(jiǎng)只是一種助推器，而不是最根本的動(dòng)力器。

我們要如何前進(jìn)

答案就掌握在我們自己的手中。

所以，獎(jiǎng)并不是我們最終的目標(biāo)，而是我們前進(jìn)路途中的一股動(dòng)力。

我們應(yīng)正確看待這種獎(jiǎng)勵(lì)和榮譽(yù)。

不能因?yàn)橐粫r(shí)取得好的成績(jī)而驕傲，也不能因?yàn)槌煽?jī)一時(shí)不理想而氣餒。

學(xué)習(xí)就如逆水行舟，不進(jìn)則退。

只有不斷地努力，不驕不躁，認(rèn)真對(duì)待學(xué)習(xí)，不輕言放棄，看淡得失。

以一顆平常心，踏實(shí)勤奮。

才能取得更優(yōu)異的成績(jī)，才能創(chuàng)造更美好的未來(lái)。

當(dāng)然，沒(méi)有獲得獎(jiǎng)學(xué)金的同學(xué)更不能放棄。

要努力起來(lái)，哪怕最終沒(méi)有成功，最起碼自己努力了，也無(wú)愧于心。

　　作為一名學(xué)生，面對(duì)獲獎(jiǎng)，我除了些許的緊張和好奇，更多的是一份坦然，我們相信努力就會(huì)成功。

在此，我也想送上我衷心的祝福，希望你們能放飛自己的理想，創(chuàng)出更美的輝煌。

諾貝爾獎(jiǎng)英文發(fā)言稿

I decline to accept the end of man. William Faulkner: Nobel Prize SpeechStockholm, SwedenDecember 10, 1950 All his life William Faulkner had avoided speeches, and insisted that he not be taken as a man of letters. "I"m just a farmer who likes to tell stories." he once said. Because of his known aversion to making formal pronouncements, there was much interest, when he traveled to Stockholm to receive the prize on December 10, 1950, in what he would say in the speech that custom obliged him to deliver. Faulkner evidently wanted to set right the misinterpretation of his own work as pessimistic. But beyond that, he recognized that, as the first American novelist to receive the prize since the end of World War II, he had a special obligation to take the changed situation of the writer, and of man, into account.Richard Ellmann I feel that this award was not made to me as a man, but to my work--a life"s work in the agony and sweat of the human spirit, not for glory and least of all for profit, but to create out of the materials of the human spirit something which did not exist before. So this award is only mine in trust. It will not be difficult to find a dedication for the money part of it commensurate with the purpose and significance of its origin. But I would like to do the same with the acclaim too, by using this moment as a pinnacle from which I might be listened to by the young men and women already dedicated to the same anguish and travail, among whom is already that one who will some day stand where I am standing. Our tragedy today is a general and universal physical fear so long sustained by now that we can even bear it. There are no longer problems of the spirit. There is only one question: When will I be blown up? Because of this, the young man or woman writing today has forgotten the problems of the human heart in conflict with itself which alone can make good writing because only that is worth writing about, worth the agony and the sweat. He must learn them again. He must teach himself that the basest of all things is to be afraid: and, teaching himself that, forget it forever, leaving no room in his workshop for anything but the old verities and truths of the heart, the universal truths lacking which any story is ephemeral and doomed--love and honor and pity and pride and compassion and sacrifice. Until he does so, he labors under a curse. He writes not of love but of lust, of defeats in which nobody loses anything of value, and victories without hope and worst of all, without pity or compassion. His griefs grieve on no universal bones, leaving no scars. He writes not of the heart but of the glands. Until he learns these things, he will write as though he stood among and watched the end of man. I decline to accept the end of man. It is easy enough to say that man is immortal because he will endure: that when the last ding-dong of doom has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will still be one more sound: that of his puny inexhaustible voice, still talking. I refuse to accept this. I believe that man will not merely endure: he will prevail. He is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of compassion and sacrifice and endurance. The poet"s, the writer"s, duty is to write about these things. It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past. The poet"s voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail.

諾貝爾獲獎(jiǎng)?wù)叩墨@獎(jiǎng)感言

答謝詞：諾貝爾文學(xué)獎(jiǎng)在我心目中是意外的殊榮，很遺憾我職責(zé)在身，不能親自來(lái)斯德哥爾摩，從你們敬愛(ài)的國(guó)王陛下手中領(lǐng)獎(jiǎng)。

你們?nèi)菰S我將此任務(wù)托付給吾妻，我感激不盡。

我有幸列名的案卷代表20世紀(jì)世界文學(xué)的種種杰出成就。

瑞典學(xué)會(huì)的判斷是整個(gè)文明世界公認(rèn)為無(wú)私、可信又誠(chéng)懇的。

諸位決定將我收錄在內(nèi)，我引以為榮，也承認(rèn)有點(diǎn)害怕。

但愿你們沒(méi)有錯(cuò)。

我覺(jué)得你我雙方都冒著相當(dāng)?shù)奈ｋU(xiǎn)，我覺(jué)得自己不配得獎(jiǎng)。

不過(guò)諸位若不擔(dān)心，我也不再存疑。

請(qǐng)采納

作文:讀完莫言諾貝爾文學(xué)獎(jiǎng)獲獎(jiǎng)演講稿后有什么感想?（400字左右）

服了你們老師，給你們出這么難的題目，這不是小孩子該想的，他表達(dá)的情感太復(fù)雜，或者說(shuō)被人們太多復(fù)雜的解讀，都不是大人能搞明白的。

他寫(xiě)的都是災(zāi)難的時(shí)代，或者他自己感受過(guò)的種種苦難，我估計(jì)是小孩子的時(shí)候挨餓，給他創(chuàng)傷太深，同樣的事情，兒童眼里看來(lái)就會(huì)特別殘酷，而且這種殘酷和討厭虛偽的感覺(jué)，到老不能改。

所以，他寫(xiě)了一個(gè)無(wú)情但無(wú)私的世界

一個(gè)母親善良但社會(huì)虛偽惡劣的世界

你不覺(jué)得這很分裂嗎。

那些個(gè)時(shí)代荒謬，但人們的邏輯并非那么不可理喻，跳出來(lái)看，為什么會(huì)犯錯(cuò)大體是清楚的。

我不是說(shuō)不存在深切的虛偽和苦難，還有人性的種種惡劣不光明的一面，政治也有骯臟的一面，就像你鄧爺爺說(shuō)的，制度訂的不當(dāng)，會(huì)讓好人不能充分做好事，壞人趁機(jī)干盡壞事（甚至好人也能干壞事）----------這些道理，我們?nèi)裨缍税?/p>

------我不知道看些精致的怨言有什么教益，易地易時(shí)作人，你也會(huì)同樣陷進(jìn)坑里。

我可以理解，或者說(shuō)盡量理解他的苦難，但是不接受他的觀(guān)點(diǎn)，也不喜歡找他的文章看，我寧愿要紀(jì)實(shí)文學(xué)，或者現(xiàn)實(shí)主義的描寫(xiě)（就像那誰(shuí)說(shuō)的，到老了明白最好的文學(xué)是直接去寫(xiě)，不要靠賣(mài)弄才氣--------我好像也明白了），不要變形，夸張和嘲弄--------不要講故事的書(shū)看。

---------對(duì)了，他告訴你，他描寫(xiě)的人物，原型和小說(shuō)很不同的，我在意這個(gè)。

-----------------------------------對(duì)了，他的文章原本應(yīng)該是寫(xiě)給我們這些國(guó)人看的，他不可能寫(xiě)作時(shí)就想象到哪篇為爭(zhēng)取諾獎(jiǎng)而寫(xiě)-------這一點(diǎn)對(duì)于怎么理解他，和他的文章，并非不重要。

-----尤其是中國(guó)人，都懂得，嘛叫內(nèi)外有別?

丁肇中諾貝爾獲獎(jiǎng)發(fā)言詞

丁肇中諾貝爾獎(jiǎng)發(fā)言詞： 國(guó)王、王后陛下，王族們，各位朋友： 得到諾貝爾獎(jiǎng)，是一個(gè)科學(xué)家最大的榮譽(yù)。

我是在舊中國(guó)長(zhǎng)大的，因此，想借這個(gè)機(jī)會(huì)向發(fā)展中國(guó)家的青年們強(qiáng)調(diào)實(shí)驗(yàn)工作的重要性。

中國(guó)有句古話(huà)：“勞心者治人，勞力者治于人。

”這種落后的思想，對(duì)發(fā)展中國(guó)家的青年們有很大的害處。

由于這種思想，很多發(fā)展中國(guó)家的學(xué)生都傾向于理論的研究，而避免實(shí)驗(yàn)工作。

事實(shí)上，自然科學(xué)理論不能離開(kāi)實(shí)驗(yàn)的基礎(chǔ)，特別是物理學(xué)更是從實(shí)驗(yàn)中產(chǎn)生的。

我希望由于我這次得獎(jiǎng)，能夠喚起發(fā)展中國(guó)家的學(xué)生們的興趣，而注意實(shí)驗(yàn)工作的重要性。

諾貝爾文學(xué)獎(jiǎng)阿列克謝獲獎(jiǎng)感言

我其實(shí)不是一個(gè)人站在這領(lǐng)獎(jiǎng)臺(tái)上。

小時(shí)候我和小伙伴喜歡在戶(hù)外玩耍，但是每當(dāng)夜幕降臨，疲憊的村婦們一起坐在農(nóng)舍邊的長(zhǎng)凳上開(kāi)始講故事時(shí)，她們的聲音就會(huì)像磁石一樣吸引我們。

這些婦女沒(méi)有一個(gè)人有丈夫、父親或者兄弟。

二戰(zhàn)之后，我?guī)缀蹩床坏酱遄永镉心腥顺鰶](méi)。

戰(zhàn)爭(zhēng)期間，四分之一的白俄羅斯人喪生，有些死于前線(xiàn)抗擊敵人，有些死于后方和敵對(duì)游擊隊(duì)的戰(zhàn)斗。

我從童年時(shí)代就已經(jīng)明白了愛(ài)的真正內(nèi)涵。

每當(dāng)我走在街上，記錄下聽(tīng)到的各種詞匯、短語(yǔ)和感嘆時(shí)，我都會(huì)在想：有多少小說(shuō)都沒(méi)有痕跡地消失了啊

人們還不能直接把他們生活中的對(duì)話(huà)記錄下來(lái)作為文學(xué)作品，因?yàn)槿藗儾欢萌バ蕾p這些對(duì)話(huà)，也不會(huì)因?yàn)樽x它們而感到驚訝或者快樂(lè)。

我喜歡人類(lèi)交談的方式，我喜歡寂寞的人聲。

為什么關(guān)于戰(zhàn)爭(zhēng)

因?yàn)槲覀兪菓?zhàn)爭(zhēng)中的人——我們一直在戰(zhàn)爭(zhēng)或者準(zhǔn)備戰(zhàn)爭(zhēng)。

在家里，在街上。

這也是為什么這個(gè)國(guó)家的人命如此廉價(jià)。

一切都是戰(zhàn)爭(zhēng)。

在一次旅行中，我遇到了一個(gè)女人，她在二戰(zhàn)期間是一名醫(yī)療兵。

她告訴我一個(gè)故事：冬天她們穿過(guò)拉多加湖時(shí)，敵人注意到了風(fēng)吹草動(dòng)，開(kāi)始朝她們射擊。

人和馬都摔在了冰上，這一切都發(fā)生在夜里。

她抓住一個(gè)受傷的人，開(kāi)始把他拖向岸邊。

‘我拉著他，他全身赤裸濕透，衣服都被撕爛了。

’她對(duì)我說(shuō)。

到岸后，她發(fā)現(xiàn)自己拽的是一條巨大的受傷的鱘魚(yú)，這個(gè)女人想到：人類(lèi)在受苦受難，但是動(dòng)物、鳥(niǎo)和魚(yú)，它們做了什么

在另一次旅行中，我聽(tīng)到了另一個(gè)醫(yī)療兵的故事。

在一次戰(zhàn)斗中，她把一名受傷的士兵拉到彈坑，突然發(fā)現(xiàn)這是一名德國(guó)兵。

他的腿斷了，不停流血。

他是敵人

怎么辦

自己這邊的人全死了。

但是，她還是幫德國(guó)兵包扎好，隨后又跑出來(lái)，拖著一名失去意識(shí)的蘇聯(lián)兵來(lái)到彈坑。

蘇聯(lián)兵見(jiàn)到德國(guó)兵時(shí)，雙方都拔槍想殺了對(duì)方。

我給了蘇聯(lián)兵一耳光，又扇了德國(guó)兵一耳光。

我們的腿都浸沒(méi)在血泊中。

彼此的血融在了一起。

女人的戰(zhàn)爭(zhēng)，而不是英雄的戰(zhàn)爭(zhēng)，不是一方英勇地殺死了另一方。

我記得女人們頻繁地哀嘆：一場(chǎng)戰(zhàn)役后，你穿過(guò)田野，他們都躺在那里……都很年輕，很英俊。

他們躺在那里，看著天空。

你為他們感到難過(guò)和惋惜，戰(zhàn)爭(zhēng)雙方的人。

戰(zhàn)爭(zhēng)無(wú)非就是殺戮。

這是女性記憶中的戰(zhàn)爭(zhēng)模樣。

‘消失’是女人談?wù)撟疃嗟臇|西，戰(zhàn)爭(zhēng)可以很快將一切化為烏有，不管是人命還是時(shí)間。

男人們十七八歲就志愿上前線(xiàn)，但并不意味著他們想殺人。

但是，他們準(zhǔn)備隨時(shí)赴死。

為了祖國(guó)而死。

為了斯大林而死。

這些是無(wú)法從歷史中抹去的詞。

俄羅斯文學(xué)的有趣之處在于，它講述了在一個(gè)大國(guó)實(shí)施一場(chǎng)實(shí)驗(yàn)的故事。

我經(jīng)常被問(wèn)到：你為什么總是寫(xiě)悲劇

因?yàn)檫@就是我們的生活。

現(xiàn)在我們住在不同的國(guó)家，但是‘紅’人無(wú)處不在。

他們來(lái)自同一個(gè)國(guó)家，曾擁有相同的生活，有著相同的記憶。

在我的祖國(guó)，孩子們從小就了解死亡。

我們被教育了死亡的含義。

我們被告知人類(lèi)的存在就是為了奉獻(xiàn)一切，犧牲自我。

我們被教會(huì)如何用武器去對(duì)待別人。

邪惡是冷酷無(wú)情的，你必須要對(duì)此打個(gè)預(yù)防針。

”阿列克謝耶維奇說(shuō)，他們是在行刑人和受害者之間成長(zhǎng)起來(lái)的，他們的生活環(huán)境是被玷污的，“我已經(jīng)寫(xiě)了五本書(shū)，但我感覺(jué)到它們都是同一本，都在講述烏托邦的歷史。

過(guò)去有段時(shí)間，整個(gè)20世紀(jì)沒(méi)有一個(gè)政治理念可以和共產(chǎn)主義（以十月革命為象征）相提并論，共產(chǎn)主義比任何其他事情都更強(qiáng)烈且富有感染力地吸引著西方知識(shí)分子。

但是實(shí)際上，共產(chǎn)主義理想已經(jīng)至少2000多歲了。

我們可以在柏拉圖的理想國(guó)里找到它的淵源；在阿里斯多芬尼斯有關(guān)‘萬(wàn)物共享’的夢(mèng)里看到它的影子；歷史上還有托馬斯·莫爾和托馬索·坎帕內(nèi)拉，圣西蒙，傅里葉和羅伯特·歐文這些人。

俄羅斯人的骨子里有一種精神推動(dòng)著他們?nèi)ピ噲D把這些夢(mèng)想變成現(xiàn)實(shí)。

我那位至死都相信共產(chǎn)主義的父親把黨員卡留到了最后。

我的父親、我的朋友以及我身邊的許多人，他們都來(lái)自同一個(gè)地方——社會(huì)主義，他們之中有許多理想主義者、浪漫主義者。

但在今天，他們會(huì)被稱(chēng)為‘被綁架的浪漫主義者’，或者‘烏托邦的奴隸’。

我相信他們所有人本都可以過(guò)上不一樣的生活，但他們還是選擇了蘇聯(lián)式生活。

為什么會(huì)這樣

為了找到答案，我花了很長(zhǎng)一段時(shí)間。

我行走于這個(gè)曾被稱(chēng)為蘇聯(lián)的幅員遼闊的土地，并留下了成千上萬(wàn)的磁帶。

我一點(diǎn)點(diǎn)地回顧社會(huì)主義的歷史，回顧社會(huì)主義對(duì)人類(lèi)的影響。

我發(fā)現(xiàn)人類(lèi)其實(shí)是很小的概念，尤其具體到我們每一個(gè)人。

但在現(xiàn)實(shí)中，人類(lèi)讓一切發(fā)生皆有可能。

白俄羅斯的土地，那里是我父親的家鄉(xiāng)，那兒有我的整個(gè)人生；烏克蘭，我母親的家鄉(xiāng)、我出生的地方；以及俄羅斯的偉大文化，沒(méi)有它我不能想象自己。

我很愛(ài)這三個(gè)家。

但是在這個(gè)時(shí)代，我們很難談愛(ài)。