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For example, he begins by borrowing the Russian formalist distinction in trying to explain what fiction is between plot and story.
举个例子，他开篇在解释那种文体介于情节和故事之间时,借用了俄国结构主义的特点。
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I knew the storyline before I went, but when the lights went down, and then the story came out.
我去看之前就知道故事情节了，但当灯光暗下来，演出开始，
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That's not good enough, and so the repetition in the plot reinforces the repetition of the sound in question.
由于她总是不能正确地发音,这样一来情节的重复，就加强了声音的重复。
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Embedded within the explicit plot of the simile is a secret, a kind of buried narrative, and it's a hidden story that illustrates Satan's self-destruction.
深藏在这个比喻精巧的情节布局里的，是一个秘密，一个被深埋已久的故事，一个隐藏着的，阐述了撒旦自我毁灭的故事。
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In a way, what Coleman does is write his autobiography, a fictional autobiography, in the very process of living it.
从某种意义上讲，Coleman在写自传，虚构的自传，同时他也在经历这些情节。
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You want to get the contract for Johnny Fontaine, you don't tell your consiglieri, "Hey Tom, put a point particle on Jack's bed."
约翰尼·方丹为电影《教父》中的角色,影片中有杀马恐吓的情节
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Quite a lot of you; this is a movie, it has pretty good action, virtually no plot.
不少人看过啊,这是一部几乎没有情节的动作大片
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Pygmalion was then taken by George Bernard Shaw, who created a play based on a similar idea which was made into a musical, "My Fair Lady".
然后萧伯纳借助这个词，创作了一部情节类似的戏剧,后来被改编成音乐剧《窈窕淑女》
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It sounds like something one might expect to see in a Fellini film.
这好像是,你在费里尼电影里可以看到的情节。
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Often in movies what happens is that somebody goes to an analyst.
电影中常见的情节是,有人会求助于精神分析师。
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For one thing, he didn't invent a sort of image, he invented a story wrote and collaborated on the plot of Citizen Kane.
他并没有创造一种形象，他在《公民凯恩》的情节中,创造了一种角色的合作关系。
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So, in other words, if we apply some of the storyline 4 5 6 from the previous tale, if s1 happens to be 4, 5, s2 4 5 6 you're just asking the question is 4, 5, 6 equals equals to 1, 2, 3?
换句话说，如果我们运用之前的一些情节,如果s1正好为，正好为1，2，3，6，and，s2，happens，to，be，1，，2，，3，你就会问：,等于1，2，3吗？
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All right. Now quickly, as to the plot: desire emerges or begins as the narratable. What is the unnarratable?
好的我们赶快再来看情节：,欲望开始的时候是叙述性的，那么什么是不可叙述的呢？
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We can think in terms of repetition, obviously, as the delay that sets in between an origin and an end.
我们可以想想看这里面的重复，很明显，重复性的情节将起因和结果隔开来。
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Then there came to be questions about whether the scenes, the stories in the book, actually did happen to him.
于是问题出现了，书里的那些情节和故事是否真正在他身上发生过。
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It has a lot of plot and no action, so it's the other way around.
这部影片武打少情节多,和前一步刚好相反
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The way to construct it is something that's up to you.
怎样的情节取决于你的想象。
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It goes something like this.
大概的情节如下。
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Okay. Now I want to turn to Tony as an instance of the way in which reading for the plot can take place.
好了，现在我想回头讲《托尼的拖车》,这是一个说明我们会去阅读情节的好例子。
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It's one of the duties of the mask's plot to get the Lady out of her seat.
将女士从座位中救出时《面具》情节的一个职责。
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But, you know, the formalists' own basic distinctions are dualistic, aren't they: the distinction between poetic and practical language, the distinction between plot and story, the distinction between rhythm and meter?
但是，形式主义所认为的区别却是双重标准的，诗歌语言和实用语言的区别，情节和故事的区别，节奏和韵律的区别？
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By the end of the story, in other words, there is implied a plot.
到了结尾，它们建构了整个故事情节。
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So there is a certain pattern in--and of course, I invoke this pattern in arguing that Levi-Strauss's version of the Oedipus myth betrays his Oedipus complex in relation to Freud.
所以说，这里面的确有一个模式--当然，我在说明莱维-斯特劳斯所写的俄狄浦斯神话其实违背了,弗洛伊德的俄狄浦斯情节时引用了这一模式。
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It's just the opposite of the usual relationship between plot and story.
这和常见的情节和故事的关系很不一样。
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What's important in My Fair Lady is to - repeat the repetitiousness of verse-- the rain in spain falls mainly on the plain -in terms of the tautology of the plot.
重要的是窈窕淑女中,这种韵律的加强-,“西班牙之雨大多洒落于平原之上“,韵律的反复加强了情节。
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So, this is a more complex and, sort of, dense example of how that consumer, that push to consume, that consumer sense drives and motivates the novel and plays out in what they see when they are on the road.
这是个更复杂更难懂的例子，它有关那些消费者，怎样推动消费和消费者的意识怎样驱动小说情节发展,及演变出他们在路上看到的各种事物。
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It's that they seem also--and this is one of the reasons -- Brooks does have recourse to this particular text of Freud-- they also have the curious tendency to revisit unpleasurable things.
而事实上--这一点,是布鲁克斯完全照搬弗洛伊德的-,小说还会抱有一种好奇的心态重温情节中不愉快的部分。
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In all of these cases, you're tempted to say, "Well, gee. One of those must be form and the other must be content -in particular, obviously "plot" and "story" where "plot" is the constructedness of the text and the "story" is what the text is about.
在所有这些情况中，他们都企图解释，这些一个是形式,一个是内容,具体来说，很明显在情节和故事的关系上“,情节是构建方式,而故事是内容。
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It takes place of a conversation between two old friends.
情节是关于,两位老朋友间的对话。
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It's not fictional enough.
福克纳在另一方面有异议--情节的虚构度不够。
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