“永不道歉,永不解释”,罗兰·巴特在《文本的乐趣》(The Pleasure of the Text)中写道。我已经感觉到,这项充满八卦的科技产品永远不会满足于少量的信息,那么,这种无言胜有言的方式似乎是使用它的最佳方式。
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最终,巴特远离了结构主义而转向互文性问题,他在《S/Z》(S/Z,1970)和《文本的快乐》(The Pleasure of the Text,1973),以及英语文集《意象音乐文本》(Image Music Text,1977)中常被人们引用的论文中对互文性进行了研究。
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以上来源于: WordNet
When it emerged towards the end of the 1980s as a purely text-based medium, it was seen as a tool to pursue knowledge, not pleasure.
20世纪80年代末,当它作为一种纯文本媒介出现时,它被视为一种追求知识而非快乐的工具。
Now that's precisely the question that Freud asked himself in Beyond the Pleasure Principle, a text which begins with a consideration of trauma victims.
这就是弗洛伊德,在他的《超越快乐原则》中提到的核心问题,整篇文章以对创伤患者的考虑开始。
We'll say a little bit about Beyond the Pleasure Principle, ; which is the crucial text for our purposes; but plainly apart from the influence of and the ideas borrowed from Freud, you'll find Brooks writing on what for you is pretty familiar turf.
我想花一点点时间说说《超越快乐原则》,这篇文章对于我们今天理解主题至关重要;,但是如果不看从弗洛伊德那里借来的思想和影响外,布鲁克斯所写的对于你们来说应该会很熟悉。
So it was a theme of the period and Freud's Beyond the Pleasure Principle contributes to this theme. Brooks himself likes to -- refer to the text of Beyond the Pleasure Principle as itself a master plot-- in other words as having a certain fictive character.
所以不难发现,这就是弗洛伊德时期的一大主题,而那本《超越快乐原则》也就响应了这个主题,布鲁克斯,本人很喜欢引用《超越快乐原则》中的片段-,换句话说,就好像有一个虚构的角色。
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