That is to say, the text is there to express desire, to put in motion, and to make manifest desire or a desire.

也就是说，文本就是用来表现内心真正的欲望，用一种动态的方式来展现愿望的。

耶鲁公开课 - 文学理论导论课程节选

The dream work simultaneously condenses and displaces that which it is somehow or another struggling to make manifest as its object of desire.

梦运作时，凝缩和移置同时进行,这样一来，梦试图展示愿望的过程,就显得有些纠结了。

耶鲁公开课 - 文学理论导论课程节选

We usually only talk about Manifest Destiny when we're talking about the westward movement beyond the Mississippi.

当我们谈到跨越密西西比河的西进运动时,我们一般只认为这是命运天定

耶鲁公开课 - 美国内战与重建课程节选

And deep at the root of Manifest Destiny, of course and there's book after book written on this is a deep and abiding American white supremacy.

很明显,这都源于命运天定,关于这点有很多著书证明,命运天定是根植于美国的白人至上主义

耶鲁公开课 - 美国内战与重建课程节选

There is a kind of manifest and knowing confusion of the two in literature-- and Freud always says that the poets preceded him in everything that he thought--which suggests that it is rather hard to keep these things separate.

文学中二者并没有明确区分-,他想来想去也找不到论据,这就证明,的确很难区分它们。

耶鲁公开课 - 文学理论导论课程节选

But Manifest Destiny was in some ways the fuel of the American imagination.

但是命运天定在某种程度上,丰富了美国人的想象力

耶鲁公开课 - 美国内战与重建课程节选

We have to assume, though, in the context of a reading of this kind that it's a push toward a state in which the little yellow garage and the unnarratable junkyard are manifest as one and the same thing.

我们只能假设这种阅读的上下文,是在揭示一个状态，那就是黄色车库,和那个没有明说的垃圾场其实是一样东西。

耶鲁公开课 - 文学理论导论课程节选

I leave it to my expert colleagues in History of the American West to decide exactly who came up with the term Manifest Destiny, who actually first used it.

我的同事是美国西部史专家,他也许能够,阐述清楚命运天定这个术语是怎么出现的,以及到底是谁第一个用它

耶鲁公开课 - 美国内战与重建课程节选

And Manifest Destiny was the engine of capitalism, make no mistake.

而且,命运天定思想,是资本主义的发动机,这点无容置疑

耶鲁公开课 - 美国内战与重建课程节选

A Christian civilization was deeply at the root of this cluster of ideas we call Manifest Destiny, as was a virulent kind of nationalism that boomed after the War of 1812 and through the 1820s into the 1830s.

基督教文明是我们所称的命运天定,及其相关思想的核心,它是一种有害的民族主义,在1812年战争后兴起,并流行于十九世纪二十年代和三十年代

耶鲁公开课 - 美国内战与重建课程节选

You need a hero to help you, and having that hero, encountering the other mind as helper, is what obviates the tendency, even in a nice guy like Tony, toward narcissism which is manifest in the "I," "I," "I" at the beginning of the story.

他能帮助你，有了他的帮助，就可以避免自我陶醉的趋势，即便是托尼这么好的人，也可能会有这一趋势,总是用，“我“，“我“，“我“来开头。

耶鲁公开课 - 文学理论导论课程节选