• One kind of question, then, I was raising is: what context do you use to read any novel?

    我所提出的一类问题是:,一般采用什么语境去理解小说

    耶鲁公开课 - 1945年后的美国小说课程节选

  • So I'm actually writing my own fiction, and no, it's not easy. But you can actually learn from, if you read other writers.

    我现在也正在写自己的小说,真的不容易。但是可以从以前阅读的作品中学到很多。

    写作课程比较难 - SpeakingMax英语口语达人

  • The process of doing those three things will have allowed you to already have thought quite a bit about these novels.

    做这三项的过程中,已经思考了关于这些小说的一些问题。

    耶鲁公开课 - 1945年后的美国小说课程节选

  • Crushing your computer, or whatever it is that you do as you write the great American novel.

    砸碎电脑,随便想怎样,当创作最伟大的美国小说时。

    耶鲁公开课 - 死亡课程节选

  • I've never taken a course of philosophy So I'm looking for it and I guess it struk me because I've never learned an art class here so much and I like the elements, images, and fictions of alienation. -OK, I missed a few words.

    我没有上过哲学课,所以就选了这门课,在这里我没怎么学过,艺术课程,我也喜欢异化的元素,图像,和,小说,等等,我没听见说的。

    麻省理工公开课 - 电影哲学课程节选

  • And there you are, and, for the next 40 years, no one ever sees the novel that you wrote, or the autobiography that you wrote originally.

    就这样,在这之后的40年里,没有人看到写的小说,或者最初的自传。

    耶鲁公开课 - 1945年后的美国小说课程节选

  • Now let me just say in a technical way: if you decide to volunteer to nominate a novel, you'll get no extra credit.

    从实际角度讲:,如果自愿推荐一部小说不会得到额外的学分。

    耶鲁公开课 - 1945年后的美国小说课程节选

  • It is not about finding the average man--which you are--also in the novel, there staring back at you.

    也不是寻找小说里和一样的,也在回头凝视你的平常人。

    耶鲁公开课 - 1945年后的美国小说课程节选

  • And if you look on that page, about in the middle, this is Enoch describing his foster mother: "'This woman was hard to get along with.

    如果翻到小说中间的那页,这就是阿纳克,对他养母的描述,总是难以与这个女人相处。

    耶鲁公开课 - 1945年后的美国小说课程节选

  • The point of this advertisement is to make you feel like you don't have to know what the critic knows in order to read this novel.

    这个广告的目的是让觉得不用具备批评家的知识,也能读懂这部小说

    耶鲁公开课 - 1945年后的美国小说课程节选

  • And yet, you like him anyway, and I think that's the power of the novel, and that's why I think he's such a character.

    但是,还是会喜欢他,我想那就是这部小说的力量,那就是为什么我认为他是个很有趣的角色。

    耶鲁公开课 - 1945年后的美国小说课程节选

  • Even if you like the novel, who else is really put off by this? Yes.

    即使喜欢这部小说,还有什么被这个题材影响的吗,是的。

    耶鲁公开课 - 1945年后的美国小说课程节选

  • You wanted to know your place in the universe, but you don't even have that kind of knowledge either, because you think you're writing novels, finding the cure for cancer, climbing Mount Everest.

    想知道自己在宇宙里的位置,但是连那种知识都没有,因为以为自己是在写小说,在寻找治疗癌症的办法,在攀登珠穆朗玛峰。

    耶鲁公开课 - 死亡课程节选

  • Whatever you think those are. Here, you might imagine different people disagreeing about-- oh, but throw in something--but if what you want to do is write the great American novel, then you've got the experience of staying up late at night not knowing how to make the plot work out, crushing pieces of paper and throwing them away.

    能想到的都在里面,可能有人不同意-,插入某某东西,比如想,创作最伟大的美国小说,于是获得熬夜的体验,纠结于如何构建情节,撕碎稿纸,扔在一边。

    耶鲁公开课 - 死亡课程节选

  • We finished Black Boy last time, and one of the big questions coming out of my discussion of that autobiography is: how do you manage the question of context in reading a novel or an autobiography--in reading any text?

    我们上次讲完了《黑孩子》,在关于那部自传的讨论中随之而来,的一个重要问题是:,当在读小说、自传或者其他文本时,怎么处理上下文?

    耶鲁公开课 - 1945年后的美国小说课程节选

  • Oprah gets page proofs of your novel.

    她为你的小说来校对。

    耶鲁公开课 - 1945年后的美国小说课程节选

  • You just wrote a really successful novel.

    写了一部很成功的小说

    耶鲁公开课 - 1945年后的美国小说课程节选

  • Can you make a novel, as he says in the essay, that will "sprout wings and grow claws" in secret in his mind? That's an image taken from the metamorphosis of the butterfly within the chrysalis.

    能够让一本小说,就像他在那篇文章里说的那样,会在他,脑海里秘密的“展开翅膀,伸出爪子“?,这是从蝴蝶羽化中,借鉴来的比喻。

    耶鲁公开课 - 1945年后的美国小说课程节选

  • You wanted to be writing the great American novel, but you're not writing the great American novel.

    想书写伟大的美国小说,但实际上不是在写小说

    耶鲁公开课 - 死亡课程节选

  • To write about your life and to pretend that you're communicating the memory of what happened to you--your grief, your private grief-- doesn't contain that universalizing move that fiction, by its very essence, contains.

    你的生活呈现出来,假装成在描述发生在身上的事,你的不幸,个人的不幸-,不包括小说根本性的一般化处理,看,可以回忆我们在《尤利西斯》的广告。

    耶鲁公开课 - 1945年后的美国小说课程节选

  • You can feel that back story to the novel. Yeah. What else?

    可以感受到这部小说的背景故事,嗯还有吗?

    耶鲁公开课 - 1945年后的美国小说课程节选

  • It even does wonders for Tolstoy when Tolstoy gets on So you get on Oprah's Book Club. Oprah asks for the proofs for your novel She takes them. She says, "This is great, but you know what?

    当托尔斯泰的书进了书友会,所以进入了书友会,奥普拉要预读你的小说,她拿到书,说,“很不错,但知道吗?

    耶鲁公开课 - 1945年后的美国小说课程节选

  • And there is this heartbreaking love that Sal has for Dean, and, if you track that through, the major turning points in the second two thirds of the novel are moments when Sal makes it clear to Dean that he actually cares about him.

    而且萨尔对迪安有着令人悲痛的爱情,如果追踪这一点,就会发现小说里,三分之二的时间萨尔都在,向迪安说明他有多在乎迪安。

    耶鲁公开课 - 1945年后的美国小说课程节选

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