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So, there are multiple ways, at multiple levels, that Nabokov is defending his work in this afterword. For one thing, he insults the publishers.
因此，在这篇后记中，纳博科夫在多种不同层面上,为他的作品辩护，一方面，他侮辱他的出版商。
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and be able to do, you know, sell his artwork and make a living that way,
在这儿，他可以卖他的艺术作品，并以此谋生，
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Milton will only use the word career once in his poetic oeuvre and it comes -- it will come pretty soon, actually, in Sonnet Number Seven.
弥尔顿在他的全部诗歌作品中只用过一次事业这个词,我们马上就会看到，在十四行诗的第七行。
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I really, really need you to read that before the next class, and I want you to read it critically.Kaufman's ideas are important, but they are also overstated, and so they're going to be interesting for us.
我非常非常需要你们在下一次课前读完，要带有批判性的去读，考夫曼的思想是很重要的，但也有夸张的成分在里面，所以阅读他的作品对我们来说是很有趣的。
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He was a master of English style and prose, and his work ranks among the very greatest in this or any other language.
他是英文写作的大师，他的作品不管在哪种语言里,都是佼佼者。
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It was an event that was really meant to be a kind of coronation of Claude Levi-Strauss, whose work had burst upon the American scene only a few years earlier.
这个会议其实可以看做是,列维斯特劳斯加冕礼，他的作品在会议前几年刚刚传入美国。
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Okay, so I'd say he's got about four things he's working with here.
好吧,因此我想说说他在这段作品中,重要的四个特点
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This is a point of view specifically associated in Yeats's late poetry particularly, but not only, old women, as he says on page 886, back in that General Introduction for My Work.
这一观点具体和叶芝晚期,的诗歌相联系,尤其但不仅仅是老女人，886页他说，在我的作品简介一书里。
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That's not what Welles wanted He wanted to examine the myth of the past, even the rest of being a little nostalgic about the whole stuff, and to build the work of art, so we can live with that.
这不是威尔斯想要做的,他想检验过去之谜，甚至对这一切,和创作艺术作品，有一点怀念,所以我们可以生活在他的艺术里。
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He writes about Jewish experience in America basically.
他的作品基本上都是描写犹太人在美国的经历。
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In Ekman's work, he presents us with instructions on how to make different faces and identify faces.
在艾克曼的作品中，他给我们指导,怎样做不同面部表情并去区分他们。
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It's possible that in this general drama of overvaluation that Milton's working to distance himself from his own youthful interest in the virtues of virginity.
这是可能的，在被高估的戏剧中,弥尔顿的作品,让他无法投入到自己年轻时对贞操的兴趣中去。
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Now his work created a sensation. It undermined of course traditional claims about the authorship of God and the work of Moses. It's still disputed by conservative groups and Roman Catholic authorities, although Roman Catholic scholars certainly teach it and adopt it.
他的作品引起了轰动，当然，它削弱了传统的关于,摩西是”上帝“这个称呼和《律法》的作者的主张,尽管天主教学者也会接受并传授他的作品，但它仍然在保守派和罗马天主教当局中备受争议。
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In other words, here is a moment when Levi-Strauss is admitting something about his own work which he is not admitting in his analysis of the Oedipus myth in the essay from Structural Anthropology that you read last time.
换句话说，在这里，列维承认了,关于自己作品的一些观点，而这些观点,是他在《结构人类学》中的那篇文章中,分析俄狄浦斯神话时所没有承认的,大家上次读过那篇文章。
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And the violence, I think, of this reaction is due in large part to our tendency to think of Milton and of Milton's work in terms of the category of power.
之所以会有这么激烈的回应，我认为在很大程度上,是由于人们倾向于在力量的范畴,理解米尔顿和他的作品。
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Yeats was trained in the occult disciplines of Theosophy and Gnosticism. Those traditions merge in his early work with European symbolism, and also with Irish cultural nationalism.
叶芝曾受到通神论和诺斯替教,神秘主义教条的训练，这些传统,在他早期作品中与欧洲象征主义，和爱尔兰文化民族主义结合。
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This is why in the last passage on your sheet from the interview with Stefano Rosso, de Man is willing to venture on a categorical distinction between his own work and that of his very close friend, Jacques Derrida.
那就解释了为什么在纸上的最后一段,选自斯蒂法诺，罗素的采访，德曼愿意在自己的作品与他的密友雅克，德里达的作品,之间一个绝对的差别上冒险。
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And you're getting to see something like an intimation of John Milton the published poet, a poet whose energies are going to be directed toward making his poems public.
你们看到约翰·弥尔顿的一点暗示,这位出版作品的诗人,他的能量将完全花费在出版自己的诗篇上。
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This much, by the way, Wimsatt has in common with Gadamer, because Gadamer doesn't talk much about authors either, and Gadamer is interested in what he calls meaning, the subject matter, die Sache. Right? He's not interested in your sort of expression of that meaning or my expression of that meaning.
顺便说一句，文萨特和葛达玛很大相同之处就在于，葛达玛也不太强调作者的作用，而是对文章的含义，主题感兴趣，不是吗？，他不关注作品在用,你的还是我的表达方式来表现内涵。
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Modernity is, in his work, a condition of social and psychological fragmentation which is both a private, personal dilemma and a public one, as he understands it.
在他的作品里，现代性，是一种社会和心理上的零散状态,就他而言，这既是个人的僵局，也是社会的停滞不前。
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Milton's performing a similar boundary-crossing aesthetic gesture here.
弥尔顿在他的作品中也展现了这种美学上的边界交叉。
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Everybody knows or thinks they know what his work is about.
每个人都好像以为,他们清楚他的作品在谈什么。
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Usually it's not. That was the point that discussed in my chapter comparing him to Houston's film The Dead. Houston's film is filled with sentimentality and nostalgia. Welles generally avoids that, the way James Joyce does.
通常并非如此，那正是我在比较,他的作品与休斯顿的电影《死魂灵》,的章节中所谈到的，休斯顿的电影,充满了多愁善感和怀旧情绪，而威尔斯通常,尽量避免那样做，那是詹姆斯·乔伊斯的方式。
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