That is the way in which de Man wants to think about the relationship precisely between literature and other forms of speech.
那就是德曼想要用来思考文学和其他形式的演讲之间的关系的方式。
As we think about these things as I suggest, we've already introduced what de Man drives home to us.
正如我提议的那样思考这些事情，我们已经介绍过了德曼想让我们明白的东西。
De Man does not believe this. De Man thinks, on the contrary, that there is such a thing as literariness.
德曼不相信这一点。相反，德曼认为有一种东西叫做文学性。
Dat was right too. De man dat built things oughta boss it.
本来就应该这样，建成一切的人就该主宰一切。
That is the main topic of what we have to say about DE Man today.
这是我们今天要说的关于德曼的主要话题。
So those are some remarks then on the differences and the similarities between DE Man and Derrida.
关于德曼与德里达之间的，不同点和相同点，我要讲的就那些。
So as we think about these things as I suggest, we've already introduced what DE Man drives home to us.
所以我们正如我提议的那样思考这些事情，我们已经介绍过了德曼想让我们了解的东西。
The present dissertation is an attempt to introduce, straighten out and evaluate the deconstructive thoughts of American critic Paul DE Man.
本文旨在介绍、清理和评价美国批评家保尔·德曼的解构思路。
This is the point that de Man is making in Semiology and Rhetoric that there is a perpetual tension in any utterance between grammar and rhetoric.
德曼在其《符号学与修辞学》中提到,在任何说出的话中语法和修辞间,存在着永恒的对立。
In this way de Man can read the text as rigorously as possible in terms of what the text itself—as a rhetorical entity—makes possible, even necessary.
用这种方法，德曼可以进行一种残酷的阅读，发现文本可提供的一切可能性。
Now Brooks then USES these terms in ways that should be familiar to us, as I say. We have now been amply exposed to them in reading Jakobson and DE Man.
而就想我之前说过的那样，布鲁克斯，用一种我们熟悉的方式运用这两个词，我们在读雅各布森和德曼的著作时已经充分见识过了。
There is this wonderful overarching voice that unifies everything after all. This is what I call," says de Man, "the rhetoricization of grammar, right--but wait!
有这种包罗万象的声音,它把所有东西都联合起来，这就是我所说的“，德曼说，“语法的修辞化，对了，等等！
DE Man goes on to say very challengingly: What we call ideology is precisely the confusion of linguistic with natural reality, of reference with phenomenalism.
德曼继续挑战性地说道，我们所说的思想意识就是指语言学上的困惑，在自然现实意义上的，以及关于现象论的参考上的困惑。
Even before the death of de Man and the revelations about his past, there were a lot of people sort of shaking their fists and saying, "What about history? What about reality?"
甚至在德曼逝世之前，对他的过往的揭露之前，就有许多人挑战他的观点，说道，那历史呢，现实呢
We may think it is the life that makes the autobiography, but de Man wondered if the reverse were true: “the autobiographical project may itself produce and determine the life.”
我们可以认为生活创造了自传，但是保罗德曼却猜想是否将其倒过来说更为准确：“那些自传性的作品可能创造并决定着生活本身。”
The second way that a paradox of self-reflexivity is revealed is in the fact that a reader (Paul de Man) is reading a text in terms of the way it thematizes the problems of reading.
自我反省的另一种矛盾被揭露出来是基于这样的事实：读者阅读一个文本的方法是根据他定义的阅读中出现的问题做出的。
DE Niro is being lined up to play a bitter man dying in a hospital, while Pfeiffer could be a frustrated executive secretary who decides to tackle her unfulfilled resolutions.
德尼罗被安排扮演一个即将垂死于医院的苦涩男人，而菲弗则是饰演一个执行秘书，她决定去完成她未曾实现的决定。
Aubrey DE Grey is a man of ideas, and he has set himself toward the goal of transforming the basis of what it means to be human.
奥布里·德格雷是个有思想的人，他坚持向着改善人类生存基础的目标前进。
A man is silhouetted against the outer wall of a church in the colonial town of San Miguel DE Allende in central Mexico.
中墨西哥殖民城市圣米格尔·阿连德，一名男子的剪影映在一座教堂的外墙上。
The younger man had stood silent as he and DE Roquefort sparred.
这年轻人在他和雷孟达争吵时一直保持着安静。
"Young man," said Laigle DE Meaux, "let this serve you as a lesson."
“年轻人，”赖格尔·德·莫说，“希望您能从这里吸取教训。”
"Yes," replied M. DE Boville; "I myself had occasion to see this man in 1816 or 1817, and we could only go into his dungeon with a file of soldiers."
“是的，”波维里先生答道，“在一八一六或1817年的时候，我曾亲眼见过这个人，我们要到他的地牢里去时，总得带一排兵同去才行。”
He is a magnificent man, like Charles DE Gaulle.
他是个出色的男人，有些像CharlesdeGaulle。
A free man again, DE Cantel was able to court Suzanne Walter.
德•坎特尔又自由了，他得以向苏珊娜•华代尔小姐求婚。
An illegal campsite outside Palos de la Frontera, Spain. “We are not bush people, ” one man said.
在西班牙拂兰特龙的一处违法营蓬里，一个男人说道：“我们不是原始人，只不过欧洲对我们有太大的吸引力罢了。”
"He [man] viewed the crocodile as a thing sometimes to worship, but always to run away from" (Thomas De Quincey).
“他[人类]把鳄鱼看成可以崇拜的东西，但又经常从鳄鱼那儿逃离”(托玛斯·德·昆西)。
'Nicholai DE Raylan' passed as a man until her death of tuberculosis at age 33.
尼古拉作为男人生活，一直到她33岁得肺结核死亡为止。
He finished the Netherlands film Academy in 1986 as a fiction director of the short fiction film called "DE Drenkeling" (the drowning man).
1986年结束在荷兰电影学院的学习并导演了了剧情短片《正在溺死的男人》。
He finished the Netherlands film Academy in 1986 as a fiction director of the short fiction film called "DE Drenkeling" (the drowning man).
1986年结束在荷兰电影学院的学习并导演了了剧情短片《正在溺死的男人》。
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