桑塔格一直都是那种与众不同、极有魅力的知识分子。
Sontag has always been that rarity, a glamorous intellectual.
桑塔格变得“极为不满”，经常因为愤怒懊恼而大动肝火。
Sontag grew "mortally malcontented", often seething with outrage and regret.
然后桑塔格结婚了。
公众对于桑塔格文字的反应褒贬不一。
桑塔格写到：将癌症“美化简直是不可想象的事情。”
"It seems unimaginable," Sontag wrote, "to aestheticize" cancer.
桑塔格论述道，现代文化创造了有于疾病的神话和故事。
Sontag argued that modern culture creates myths or stories about sickness.
苏珊·桑塔格就注意到，癌症被认为是可耻的，甚至是淫秽下流的。
As Susan Sontag observed, cancer was considered shameful, not to be mentioned, even obscene.
1976年努涅斯初遇桑塔格时，后者已经是美国为数不多的公共知识分子之一。
When Ms Nunez first met Sontag in 1976, the author was already that rare specimen in America: a public intellectual.
利用桑塔格的“坎普”的阐释来解说，它还是一种感觉方式和感受力。
Utilizing the explanation which is called "Kamp" written by Sontag to explain, it is even a quomodo with a feeling.
慢慢地，桑塔格变得对生活极为不满，经常因为愤怒懊恼而大动肝火。
With time Sontag grew "mortally malcontented", often seething with outrage and regret.
本论文最后一部分是对桑塔格生平和小说《在美国》中自我实现主题的总结。
This thesis ends with the conclusion that in both Susan Sontag's life journey and her novel In America, self-actualization is an important motif.
通过这些文章，桑塔格表达了她在新的语境下建构形式美学来感知艺术的理想。
Sontag expressed through these articles her ideal of constructing a formal aesthetics to feel works of art.
为了向对苏珊·桑塔格表示致敬，才设立“苏珊·桑塔格翻译奖”来继续这项工作。
In Susan Sontag's honor, the Susan Sontag Prize for Translation was established to continue that work.
某位评论家高度赞扬了苏珊·桑塔格的文章，即便他说大多数情况下和她持有异见。
One critic praised Susan Sontag's writing even though he said he often disagreed with what she wrote.
桑塔格工作时的冲劲儿令人振奋，她可以长时间地猛敲打字机，好像吃了兴奋剂一样。
Sontag could work with inspiring bravado, pounding away at her typewriter in long, Dexedrine-fuelled binges.
桑塔格的最后一部小说《在美国》发表于1999年，并于2000年荣获国家图书奖。
Published in the year of 1999, the last novel of Susan Sontag, In America, won the National Book Award in 2000.
在那里，罗森布拉特太太与内森·桑塔格相识，两人婚后举家迁往加利福尼亚州的洛杉矶居住。
There, Missus Rosenblatt met Nathan Sontag. The couple married and the family moved to Los Angeles, California.
苏珊·桑塔格在《关于“坎普”的札记》中提出了著名的“坎普”概念，并将其运用于小说创作中。
Susan Sontag presents the concept of "camp" in her book Against Interpretation and Other Essays and employs it in her novels.
苏珊·桑塔格对于西方文化中“疾病隐喻”的分析，揭示了人类文化在疾病隐喻中表现出来的问题。
Susan Sontag's analysis of the "Illness as Metaphor" in western culture reveals the weaknesses and problems of the human culture existing in "Illness as Metaphor".
苏珊·桑塔格的大众文化思想不仅有自己内在的清晰脉络，而且正触及了大众文化研究中的诸多关键问题。
Susan Sontag's thinking on mass culture has its clear sequence, and relates to several key issues in cultural study.
苏珊·桑塔格在《反对阐释》文集中采取了较极端的形式批判了当时的批评主流将艺术作品等同于内容的做法。
In Against Interpretation and Other Essays Susan Sontag criticizes the mainstream of modern criticism, which assumes that a work of art is content.
桑塔格是位非常多产的散文作家，她与摄影师安妮·莱博维茨(Annie Leibovitz)的恋情直到她身后才得以确证。
Sontag was a prolific essayist whose relationship with photographer Annie Leibovitz was only really solidified publicly after her death.
除了在一篇短序中桑塔格笼统地承认使用过有关以及默杰斯卡的书籍和文章﹐桑塔格女士并没有专门承认她的资料来源。
Except for a brief preface expressing a general debt to "books and articles by and on Modjeska," Ms. Sontag did not specifically acknowledge her sources.
同样，我也无法过多责备桑塔格的儿子大卫，因为他提到，他是在别人可能用他们的方式行动之前而决定抢先出版这套日记。
Also, I can't blame her son, David, too much as he noted he wanted to publish them before anyone else could do it their own way.
桑塔格觉得这些措辞使得病者对目前的情况负有责任感，她的书给读者带来一股力量，使他们有勇气从医生那里获取更多的病情信息。
Sontag felt these terms made sick people feel responsible for their condition. Her book gave readers the power to demand more information from doctors.
苏珊·桑塔格获得了位于马萨诸塞州剑桥的哈佛大学的两个硕士学位，第一个硕士学位是英语硕士学位，第二个硕士学位是哲学硕士学位。
Susan Sontag completed two master's degrees from Harvard University in Cambridge, Massachusetts. The first was in English; the second was in philosophy.
桑塔格还是一位社会评论家和文学评论家，她对时代以及文化的批评杂文涉及到20世纪的各个层面，其中包括摄影、艺术、文学等，被人们誉为“美国公众的良心”。
She was known for her work as a critic of art, culture and society since the 1960s.
同样是桑塔格，她说：“最早的超现实主义照片出现在1850年代，当时的摄影家们首次走出室外，逡巡在伦敦、巴黎和纽约的街头，寻找不事修饰的栩栩如生的现实生活的侧影。
"The earliest surreal photographs come from the 1850s, " added Sontag, "when photographers first went out prowling the streets of London, Paris, and New York, looking for their unposed slice of life.
同样是桑塔格，她说：“最早的超现实主义照片出现在1850年代，当时的摄影家们首次走出室外，逡巡在伦敦、巴黎和纽约的街头，寻找不事修饰的栩栩如生的现实生活的侧影。
"The earliest surreal photographs come from the 1850s, " added Sontag, "when photographers first went out prowling the streets of London, Paris, and New York, looking for their unposed slice of life.
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