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But one of Milton's projects in Paradise Lost is to effect his forgetting of all of his literary precursors.
但是弥尔顿在《失乐园》中的一个计划是,让自己忘记所有文学前辈。
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so that helps. Yeah, that's been really interesting and just the, just the whole new kind of literature
这对学习这门课程很有帮助。这门课程非常有意思，我们在课上学到了一种全新的文学形式。
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He's a page-turner, and his extraordinary brilliance as a critic is really just part of the experience of reading him.
他的书让人欲罢不能，读他的书不仅能,在文学批判方面有所收获。
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Milton surveys the wealth of literary tradition before him, and he resists its allure without the help of any human guide.
弥尔顿在他之前就调查过文学传统的宝藏，他在没有人帮助的情况下抗拒了这一诱惑。
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So what I think we get from these two little readings today is a sense of where literature finds itself at a kind of crossroads.
所以我们今天要从这两篇短文里认识到,文学在十字路口所处的位置。
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I mean as an undergraduate, I majored in a field -Harvard still has it-- called History and Literature.
我在本科时，专业是,历史和文学，哈佛还有这个专业。
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Hamas is a word that literally means violence, bloodshed, but also all kinds of injustice and oppression.
哈马斯在文学中是暴力，血腥，各种压迫和不公平的意思。
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In some ways the most distinctive literature America has is a kind of Southern literature, white and black.
在某种程度上,美国最有特点的文学,就是一种南方文学,关于白人和黑人
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He's a familiar face in American literature, and I've gathered some of them that seemed representative.
他在美国文学中是经常出现的人，我找到了一些有代表性的图像。
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Freud lives on both in a clinical setting and in the university but Freud at Yale, for instance, is much more likely to be found in the history department or the literature department than in the psychology department.
虽然在临床和大学中,都会有涉及到弗洛伊德的理论,但是，以耶鲁为例，你更可能在历史系或是文学系,听到弗洛伊德的理论,而不是在心理学系。
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Sure. So, I went to the University of Toronto where I studied English Literature and Classical Civilizations.
当然可以。我在多伦多大学上学，在那儿我学习英国文学和古典文化。
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When do they start thinking of themselves as French? And this has been hotly debated in the literature for a very long time.
他们什么时候开始觉得自己是法国人了,这曾在文学界,引起长时间热烈的讨论
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That's very largely visual rather than literary.
这些在更大程度上是视觉的而非文学的。
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That is the modification of what would and does evolve in and of itself within an understanding of literary historiography.
这种修正会在文学历史的领域里,进化自己。
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There's plainly a tendency in modern literary theory to reduce all the tropes of rhetoric to just these two terms.
在现代文学理论中有一个很明显的趋势,那就是减少一切华丽的辞藻，只保留这两个。
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This question of determinism is as important in the discourse of literary theory as the question of skepticism.
在文学理论的话语中,决定论的问题和怀疑论的问题是同等重要的。
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This is one of the primary strategies that Milton develops, especially in the first two books of Paradise Lost, as a kind of defense against his dependence on classical literature.
这是弥尔顿发展出的早期策略之一，尤其是在《失乐园》的前两册书中,这似乎是在反驳他对古典文学的依赖。
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But he's really in the middle of his literary career at that point.
但他那时确实是在,他文学事业的中期。
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It's what creativity has to be, in the literary sense.
这是创造力必须位为之的，在文学的范畴。
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It's a pretty state of affairs, in his view, when the most rigorous thinking that's being done about literature is being done in popular journals.
他认为，关于文学的严肃的思考大多,被发表在流行杂志上很不妥当。
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Any device can be the dominant at a given moment in the development of literary history.
任何一种方法都可以,在文学发展史的特定时期占支配地位。
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Again, there were actual sort of literary texts written directly under the influence of Freud.
也就是说，的确有一些文学文本,就是在弗洛伊德的影响下创作出来的。
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Now the surest sign of a hurdle is one of those pointed literary allusions that Milton makes in Lycidas, one of those remote allusions that Johnson had complained about.
如今关于这道坎的最确定无疑的迹象就是,他在里作出的那些文学臆想,即约翰逊曾经抱怨过的那些不切实际的幻想。
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And it's precisely a silencing of classical literature that Milton is attempting to effect here.
准确的说那是古典文学中缄默的一部分,弥尔顿在这想让人们注意它。
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Literary theory, as I say, is skeptical about the foundations of its subject matter and also, in many cases, about the foundations of what it itself is doing.
就像我说的，文学理论，是对创作题材的怀疑,在很多情况下，也是对自身所做之事的基础的怀疑。
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They are steeped in the entire literary tradition of the underworld journey that stretches from The Odyssey of Homer up through Virgil's Aeneid, and of course up through all of the Renaissance romance epics.
它们被浸泡在整套文学传统中,穿越了从荷马的《奥德赛》上升到,维吉尔的《埃涅阿斯纪》的地下之旅，当然它也经历了所有文艺复兴时期的浪漫史诗。
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After the long sway of Theocritus' and Virgil's pastorals, ; of course Christianity entered the scene,a new dispensation; and Christianity began to load this pastoral literary tradition with its own set of associations.
在维吉尔等两人对田园诗的长久统治之后，基督教义作为新的统治思想兴起了;,并且开始以它自身的一套体系,附在田园诗的文学传统之上。
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But this was a moment of particular and headlined notoriety in the history of academic thinking about literature, and a moment in which academic thinking about literature had a peculiar influence on topics much broader than literature.
但那是一个臭名昭著的时代,在文学学术思想的历史上，也是那个时候，文学学术思想,对比文学宽泛得多的话题所产生的特别影响。
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That's why I gave you the extraordinary passage on your sheet, the end of Tynjanov's "On Literary Evolution," written also 1927, written also, in other words, in response to Trotsky's Literature and Revolution.
这就是为什么我给你们了这篇精彩的文章阅读，1927年蒂尼亚诺夫在，文学进化，中写道，这也是，他对托洛斯基，文学与革命，的回应。
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