作家名片| 余秋雨：诗化地思索天下的灵魂
近年来，中华文化“走出去”的影响力不断扩大，在全球文化多元化发展日益兴盛的背景下，中国文化译研网(CCTSS)联合中国作家协会《小说选刊》杂志社，启动“新世纪中国当代作家、作品海外传播数据库”项目，将100位中国当代优秀作家的简介、代表作品以及展示作家风采的短视频翻译为10种语言，集结成1000张中国作家名片向全球推介。千张“作家名片”将鲜明地向世界宣告：我是中国作家，我在进行中国创作。
此种形式和规模是中国故事走向世界的一大创新，会让世界更加全面、客观、公正地了解中国优秀作家作品，同时也是打通中国文化走向世界的“最后一公里”。
余秋雨，1946年8月23日出生在浙江省余姚县（今慈溪）。1968年毕业于上海戏剧学院戏剧文学系。1962年开始发表作品，2008年9月，上海市教育委员会颁授成立“余秋雨大师工作室”。2012年10月12日，北京成立“秋雨书院”，该书院是一个培养博士生的高层教学机构，现培养中国文化史专业和中国艺术史专业两个专业的博士研究生。余秋雨先生出版的相关著作二十卷享誉海内外，其文学写作拥有当代华文世界最多的读者。代表作有系列散文集《文化苦旅》《山居笔记》《千年一叹》《行者无疆》《借我一生》等。
余秋雨的写作建立了“时间意义上的中国、空间意义上的中国、人格意义上的中国、审美意义上的中国”四大研究方位。他的《文化苦旅》《霜冷长河》《千年一叹》《行者无疆》等历史文化散文凭借丰厚的文史知识功底、深刻的思考、诗意的文辞引领读者泛舟于千年文明长河之中，不但揭示了中国文化深厚的内涵，更以独创性“文化大散文”文体为中国当代散文开辟了新路。
人民网评论余秋雨的一系列“文化散文”中，始终贯彻着一个鲜明的主题：对中国历史、中国文化的追溯、思索和反问。一个民族的历史，是这个民族共同的精神财富，是这个民族的民族特性中正面因素和负面因素纠结而成的“沉淀物”。著名作家白先勇评价余秋雨“重铸了唐宋八大家诗化地思索天下的灵魂”；贾平凹认为“余秋雨无疑拓展了当今文学的天空”。
《文化苦旅》是余秋雨先生二十世纪八十年代末和九十年代初在海内外讲学和考察途中写下的作品，是他的第一部文化散文集，主要包括四部分：分别为如梦起点、中国之旅、世界之旅、人生之旅。全书凭借山水风物来寻求文化灵魂和人生真谛，探索中国文化的历史命运和中国文人的人格。《山居笔记》是余秋雨在1992年至1994年间，全身心地用两年多的时间创作成的，共十一篇文章。写作期间，作者辞去职务，不再上班；同时写作又与考察联在一起，很多写到的地方一去再去。在作者的总体计划上，这本《山居笔记》是他以直接感悟方式探访中华文明的记述。《千年一叹》与以往不同，这是一本日记。在千年之交时，余秋雨先生随香港凤凰卫视“千禧之旅”越野车队跋涉四万公里，这本书完全记录了四万公里行程中的经历。在书中作者以感伤、厚重而平实，却不失优美的语言，记录了伊斯兰文明、两河文明、阿拉伯文明、印度文明、古埃及文明、希伯来文明等文明的衰落，并探讨了衰落的根本原因，在对比中又逐渐找到了华夏文明之所以延续的原因。
Yu Qiuyu was born 23 August 1946 in Yuyao, Zhejiang province, China. In 1968, Yu graduated from the School of Dramatic Literature at the Shanghai Theatre Academy, and in 1962 started to publish his own writing. In September 2008, the Shanghai Municipal Education Commission established the Yu Qiuyu Studio. On 12 October 2012, the advanced teaching institution Qiuyu Academy was built in Beijing with the aim of producing doctoral candidates with a focus on majors of Chinese culture history and Chinese art history. Yu has published over 20 works that are well-known both in and outside of China, and has one of the largest readership bases in the Chinese literary world. His representative works include the prose collections A Bitter Journey Through Culture, Notes on Living in the Mountains, A Millennium Sigh, Travel No End and A Life Borrowed.
Yu’s writing examines China from the perspectives of time, space, character and aesthetics. His historical and cultural prose works A Bitter Journey Through Culture, Cold River, A Millennium Sigh and Travel No End embody Yu’s solid classical foundation. Their poetic style invites the reader to contemplate the past few thousand years of Chinese civilization, thereby not only revealing the hidden depths of Chinese culture but also developing an innovative genre of cultural prose. They have truly broken new ground in contemporary Chinese prose.
The People’s Daily suggests that Yu’s cultural prose is highly informed by its investigation and critique of Chinese history and culture. The history of a nation is its legacy, a kind of sediment made up of both positive and negative elements. Renowned writer Pai Hsien-yung remarked that Yu embodies the spirit of the Eight Great Prose Masters of the Tang and Song. Jia Pingwa believes that Yu “has, without a doubt, has made a significant contribution to contemporary Chinese literature.”
Yu wrote his first cultural prose collection A Bitter Journey Through Culture when he was lecturing in China and overseas in the late 1980s to early '90s. The book is divided into four parts: “Dream Start”, “China Tour”, “World Tour” and “Life Tour”. It uses natural landscapes as a vehicle for exploring the big questions in life, and how they are connected with the history of Chinese culture and the character of Chinese intellectuals. As for his work Notes on Living in the Mountains, it took more than two years for Yu to finish it, during which time he quit his job. 11 chapters in length, the book offers unique insights into Chinese culture. By contrast, A Millenium Sigh is in the form of a diary which narrates Yu’s 40,000 kilometre SUV trek which was later televised in the Hong Kong Phoenix TV production Millenium Trip. In simple, moving, yet elegant language, the work records the fall of the Islamic, Mesopotamian, Arabian, Indian, Egyptian and Hebrew civilizations. In exploring the reasons behind their deterioration, Yu also examines why Chinese civilization was able to last to this day.
编辑 | 罗雨静
“文化互译，沟通世界”