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In other words, language, according to Derrida, in the Saussurian tradition seems to privilege sound over script, over what is graphic.
换句话说，德里达认为，在索绪尔的理论中，音响比文字，更具优势。
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Derrida, as I said, believes in a kind of seamless web of discourse or discursivity. We are awash in discourse.
德里达，我说过，他相信有一种无缝的网,存在于论述或推论中，我们在论述中是处于同一水平线的。
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Jacques Lacan So, the work of Jacques Lacan in France in the 1950s and '60s and of Jacques Derrida who brought deconstruction to the United States, actually to Johns Hopkins where Barth was teaching.
所以,于20世纪50年代和60年代间在法国的作品；,将结构主义带到美国的，Johns，Hopkins大学，当时Barth在那任教。
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take a look at page 917, the left-hand column, where Derrida is talking not about Levi-Strauss but about Saussure.
看一下第917页，左边，这里德里达不是在说列维而是在说索绪尔。
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Derrida, I think, freely acknowledges in this essay the degree to which he is standing on Levi-Strauss's shoulders.
在我看来，德里达在这篇论文中，声明了,自己在何种程度上借鉴了列维的观点。
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All right. There a couple of things that I want to say about the key moves of Derrida.
好，我还想说一些,德里达的重要举动。
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Now I want to pause a little bit more, then, in this regard over Derrida's distinction between writing and speech--writing, ecriture.
现在我想再停下来花一点儿时间讲讲,德里达的书写和演讲之间的区别，书写，文字。
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Suppose Archie Bunker were Jacques Derrida, and Jacques Derrida came along and said, "What is the differance?"
假设阿齐，邦克是雅克，德里达，雅克，德里达走过来说，区别在哪“
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Derrida famously, notoriously, said "there is nothing outside the text," right? What he meant by that, of course, is that there's nothing but text.
德里达著名地，恶名昭彰地，说道，文本之外什么都没有“,是吧，当然，他意思就是说，需要考虑的只有文本。
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I'd like to start with a little more discussion of Derrida before we turn to de Man.
首先我想再谈谈德里达,然后再讨论德曼。
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This is a metaphor that Derrida frequently uses, as a kind of writing on the ear.
这是德里达经常用的一个比喻，就像在耳朵上书写。
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I have a tendency to put upon texts an inherent authority which is stronger, I think, than Derrida is willing to put on them.
我倾向于把一个固有的权威,放在文本之上，这个权威，我想，比德里达愿意放置的更强大。
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He follows Jakobson much more consistently in this regard than Derrida does.
他与雅各布森意见一致,在这个方面比德里达与雅各布森的意见更加一致。
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Metonymy is the delay or perpetual, as we gathered also from Derrida, differance of signification.
转喻具有那种延期和永恒的特质，这也是我们从法国人，德里达那本《书写与差异》的书中看出来的。
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What happened subsequently can, I think, be traced to Derrida's lecture.
我认为之后的事，可以追溯到德里达的演讲。
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Now I do want to go back to the relationship between Derrida and Levi-Strauss.
现在我想回到,德里达和列维，施特劳斯之间的关系。
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Derrida was, of course, a central figure in this.
德里达当然是这其中的一个重要人物。
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Also--this is to be kept in mind, and this is of course we'll have more to say about distinctions between them on Tuesday: Derrida is not a literary theorist.
请记住,周二我们会更详细地讨论他们之间的不同：,德里达不是一个文学理论家。
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It always necessarily must, as Derrida would say, put this sense of a spatial full presence of everything there as Derrida would say, must put that "under erasure."
德里达会说，我们总是有必要，使一切事物的空间存在,德里达会说，必须使其，“被涂抹“
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Derrida never really claims that you can do without it.
德里达从来没有说过，不这样做是可以的。
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There are no stable binaries in Derrida.
在德里达的理论中没有稳定的二元系统。
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But in the meantime it's probably on this occasion, once we accept them both as having come under the influence of the same form of linguistic thinking, to say a little bit about the similarities and differences that exist between Derrida and de Man.
但同时在这种场合下可能，一旦我们接受这俩概念，在受到同样的语言学思想的影响后,我们就能看到一些,德里达和德曼之间存在的相同点和不同点。
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I will also look over my notes and see what I might say further about these troublesome terms and their relation to Derrida's understanding of language so that Tuesday our introduction will still have to do with Derrida and then we'll move into thinking about de Man.
我同时会看一下我的教案,来看看我怎样进一步介绍这些麻烦的术语,以及它们同德里达的语言的理解的关系,所以我们周二会继续讲德里达,这之后我们介绍会一下德曼。
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I mean a blanket term, a guiding concept, a transcendental signified, something that explains the nature of the structure and something also, as Derrida says, which allows for limited free play within the structure; but at the same time the structure has this kind of boundary nature.
是一个概括性称呼，一个引领概念，一个超验所指，它解释了这个结构的内涵，正如德里达所说，它允许在结构内有限的自由游戏;,但同时这个结构也有限性。
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There it wouldn't be possible to invoke an intention because the whole complication of Derrida is precisely to raise the question about not knowing, not being able to voice the differance between difference and differance and not knowing whether Archie is right or whether Edith is right.
这里它不可能引起一个意图,以为德里达的复杂之处恰恰在于,提出一类问题，有关不知道的，说不出来的,像是区别和延异之间的差别,也不知道阿齐和依迪斯谁对谁错。
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So here's what, a little more than halfway down, the left-hand column, page 917, Derrida has to say about that.
所以这里，中部偏下，第917页左边，德里达说出了自己关于它的看法。
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So those are some remarks then on the differences and the similarities between de Man and Derrida.
关于德曼与德里达之间的,不同点和相同点，我要讲的就那些。
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There is a self-consciousness in the thinking about structure that we find in many places in Levi-Strauss that Derrida freely acknowledges in his essay.
在列维的作品中,我们能找到多处对结构认识的自觉,德里达在自己的论文中也承认了这种自觉的正确性。
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So this is Levi-Strauss' argument, and Derrida is interested in it because he recognizes its affinity with his own hesitation in talking about events, births, emergence and so on.
这就是列维，施特劳斯的论点，而德里达对此感兴趣是因为他意识到它与自己的犹豫类同,他在谈论语言的发展，诞生和危机等东西时的犹豫。
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Derrida is aware of it in advance. He says in effect, "Look, I know we're running this risk in saying everything is language," or, if you will here, everything is discourse.
德里达提前意识到了这一点，他说，“我就知道将一切都说成是语言是冒险的“,或者，如果你愿意，一切都是言语。
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