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John Milton has made a mistake. He's made a literary mistake and, as I think all editors know, Spenser does not.
约翰·弥尔顿犯下了一个错误，他犯下了一个文学上的错误，而且我认为所有的编辑都知道，这个错误斯潘塞没犯过。
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I chose English Literature because when I started off a university, I didn't know what it was I wanted to do.
我选英语文学是因为当我刚上大学的时候，我不知道自己到底想做什么。
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He is more steeped in the sensuous beauty of classical literature, the classical tradition, than probably anyone else of his generation.
他比同时代的任何人都沉湎于古典文学感觉上的美，一种经典的传统的美。
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It's a pretty state of affairs, in his view, when the most rigorous thinking that's being done about literature is being done in popular journals.
他认为，关于文学的严肃的思考大多,被发表在流行杂志上很不妥当。
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In some ways the most distinctive literature America has is a kind of Southern literature, white and black.
在某种程度上,美国最有特点的文学,就是一种南方文学,关于白人和黑人
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Knowledge, all the arts and sciences, literature, all of the religious writings of the world are manifestations of that voice that at its origin is God saying, "Let there be light." It's the voice of creation.
只是，所有的艺术，科学，文学，所有世界上宗教的写作的开端,都是上帝的声音，让光明普照世界。
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That's very largely visual rather than literary.
这些在更大程度上是视觉的而非文学的。
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just in a sense that when she was taking, say, I don't know, class like C.C., which is Contemporary Civilization, or Lit. Hum.,
就好像她在上论当代文明，或人类文学这样的课程时，我不太清楚，
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Milton is alluding so unashamedly here to Spenser's Errour because, I think, on some level he wants to brand Spenserian allegory as an erroneous literary practice.
弥尔顿是如此厚颜无耻地引用斯潘塞的“错误“因为，在某种程度上他想标榜斯潘塞的寓言,是文学上的一个错误尝试。
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That makes the subject matter that we'll be discussing this week, as I say, as much a part of the history of criticism as it is of literary theory.
这样一来，我们这周的内容就变得至关重要了，就像我说过的那样，我们将学习到文学理论方面,乃至评论史上重要的一章。
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There's a rich vein of literary history which insists on their interchangeability.
文学史上很多人都,支持这二者是可以互换的。
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Much of what we'll be reading takes up the question "What is literature?"
我们将阅读的文章很大程度上是关于“文学是什么？“
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But this was a moment of particular and headlined notoriety in the history of academic thinking about literature, and a moment in which academic thinking about literature had a peculiar influence on topics much broader than literature.
但那是一个臭名昭著的时代,在文学学术思想的历史上，也是那个时候，文学学术思想,对比文学宽泛得多的话题所产生的特别影响。
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It's kind of unsettling because we like to know what things are, but at the same time it's not really a big problem because as long as we know about the fact that a certain notion of literature exists in certain communities we can begin to do very interesting work precisely with that idea.
可能会有点让人不安，因为我们总想知道事物的定义，但知不知道,实际上问题不大,只要我们知道在特定群体中对文学有特定的认识,我们就能在这种认识上做文章。
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You remember in the first lecture I said there's a difference between the history of criticism and theory of literature, one difference being that the history of criticism has a great deal to do with literary evaluation: that is to say, why do we care about literature and how can we find means of saying that it's good or not good?
你们还记得吗，第一节课我说过,文学评论历史和文学理论有一个重大区别，那就是文学评论的历史,很大程度上与文学评估有关：,意思就是我们为什么要关心文学,还有我们怎么能说一部作品是好还是坏？
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This is an aspect of thought concerning literature that tends to fall out of literary theory but not out of the materials that we are reading this week.
这样其实是在,脱离了文学理论的框架来思考文学，但我们,还是要联系上这周在读的内容。
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And so I'm going to leave you here at the end of this lecture less with a conclusion than with a paradox.
我准备就讲到这里，留给你们,一个文学上的悖论而非一个结论。
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That's a limiting case, but for the most part language that we use is not like that and therefore, what we think of is that literary should in principle also be able to show itself in something that is visual.
那是个很局限性的案例，但是总的来说，我们使用的语言,并不是那样,因此，我们所认为的文学的东西,原则上也应当能展示,一些视觉上的东西。
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It's that backdrop--it's that sense of bureaucratized existence-- that defamiliarization has, to a certain extent, the ideological purpose of dispelling and undermining.
而这种灰色的机械的背景-,在一定程度上被文学带来的陌生化，冲淡了，减弱了。
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It's a daring way to jump-start one's own literary celebrity.
发起自己在文学上的声望是一种很大胆的方式。
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I mentioned earlier that it's Virginia Woolf who's largely responsible for our sense of Milton's identity as an oppressive patriarchal literary voice, but Virginia Woolf, too, had inherited these contradictory ways of thinking about Milton and about Milton's power.
我先前提到过，我们之所以会,把弥尔顿看作是男权主义在文学领域的发言人,在很大程度上是由于佛吉尼亚·伍尔夫，但佛吉尼亚也继承了这互相矛盾的,思考弥尔顿及其力量的方式。
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First of all, Empson doesn't really kind of settle into - a sense that it's all about the reader-- that is to say, that it's all about the reader's experience of the literary.
首先，Empson并没有真正,从读者角度考虑问题-,也就是说,没有从读者的文学经历上考虑。
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