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The Washington Post surveyed its readership and discovered that ask people what they thought was the most significant causes of the shooting.
华盛顿邮报》在读者中进行了调查,并且发现当询问人们,他们认为,枪杀案发生的主要原因是什么。
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So, this is Nabokov's beautiful evocation of how writer and reader meet at the summit of this misty mountain of the imagination.
那么，这就是纳博科夫的美好呼唤，是关于读者和作者,如何在想像的巅峰相遇。
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Not only now, but, I think, on some level it has always struck some of its readers as ludicrous.
不仅是在现在，我觉得，一直以来都有读者,会觉得这是荒唐可笑的。
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The embroidery and decoration, all that now seems inauthentic, something that, in fact Yeats's audience had failed to value properly he's complaining here in this poem.
那些刺绣和装饰，所有那些看起来不真实的，所有他的读者未能正确欣赏的,他在这首诗里都有抱怨。
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Now if this is the case, it seems to me that one has found a loophole in Gadamer's conservatism about what the reader can do.
如果是这样的话，我认为大家在葛达玛对,读者理解能力的保守主义论中,能找到一个漏洞。
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And my job as a writer is to stand in for you as a subsequent reader.
作为一名作者，我的职责,是站在你们读者的角度上考虑问题。
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Bear this in mind as you are reading the book, because it is easy to kind of forget who's talking and what they represent.
当你们在阅读本书时务必仅记这点，因为读者很容易就忘记,谁在说话及他们各自代表的意涵。
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It's a dramatic way-station in a story that's going to reach its climax in the covenant that will be concluded at Sinai, and as many sensitive readers of the Bible have noted, the road from Egypt leads not to the other side of the Reed Sea, but on to Sinai.
这只是故事的一小部分,高潮产生在西奈制定的契约,就像有些敏感的读者已经注意到,离开埃及的路并没有指向Reed海的另一端，而是向西奈。
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The panting and happy reader, and there they spontaneously embrace and are linked forever if the book lasts forever.
是气喘吁吁却兴高采烈的读者，他们在这里,不由自主的相拥，只要作品永存，他们就永不分离。
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What kind of reader are writers in this period looking for, and what do they want from that reader?
作者在这时候要找的是怎样的读者，他们希望从读者身上获得什么？
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We don't even know where it is we're supposed to be looking from, and the choice between Fesole and Valdarno that Milton gives the reader is crucial here.
我们甚至不知道是否应该从此处着眼，而弥尔顿向读者提出的，菲索尔和瓦达诺之间的抉择,在这儿是至关重要的。
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It's an amazing passage because in a lot of ways, I think, Milton is actually directly enacting for us, the reader, the impossibility of such sweet forgetfulness.
我认为这段诗在很多方面都是令人惊叹的，弥尔顿事实上在直接为我们读者上演着，取得甜美遗忘的不可能。
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Fish imagines Milton as always on some level slapping the reader's wrist, reminding the reader of his or her fallen-ness, that there's a constant pedagogical correction going on.
费什想象弥尔顿总是在某种程度上斥责着读者们，提醒他们自身的堕落，并且诗中有一种持续的教育性的纠正在重复出现。
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He's the friend of women everywhere, at least for a few of his female readers in the eighteenth century, and for many he's the very embodiment of oppressive patriarchy.
他到处都有女人缘，至少在18世纪他有不少女性读者，但对很多人来说他是压抑的男权主义的象征。
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He's introducing the reader to a mode of vision different from the vision typically permitted him from within the poem's more or less straightforward, linear, narrative boundaries.
他在向读者介绍一种不同于这首诗里,直白的线状叙述的界限,或多或少已经容许他，显露出的设想有所不同的先见之明。
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One can see the amalgam of these two sets of ideas in his work.
读者可以在他们作品中看到两种思想的结合。
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Milton wants the reader to know that she's fallen, we are all fallen, and any problem that we have in understanding the theology of heaven and hell is our problem as fallen readers.
弥尔顿希望读者认识到她在堕落，我们也在堕落，以及我们在理解天堂中遇到的任何问题,以及地狱式我们这些堕落了的读者们的心魔。
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Nabokov cannot meet his reader on the misty mountain ; because somebody has to agree to publish this book first; it has to exist in the world before that reader can meet it.
然而纳博科夫却不能在这座巅峰上与他的读者相遇,因为在那之前必须有人先同意出版那本书;,在读者遇到那座山峰之前，它必须首先存在。
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Right, OK. So what I do to open the book is to ask the reader to image that they walking past a shallow pond, maybe somewhere in the park or or university campus.
好的，我在这本书的开篇,请读者想象这样一个画面，你走过,一个浅浅的池塘，可能是公园里,或是大学校园里。
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It's neither in the text nor in the reader but the result of the negotiation back and forth between the text and the reader, he says, that sort of brings the literary work into existence in a virtual space.
它不在文本中，也不在读者的视域中,而在反复阅读文本和读者的视域之中，他说，那样会把文学作品,放到一个虚拟的空间中去。
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But then I ask them to think, and in the book I ask the readers to think: Well, have you given a cost of an expensive pair of shoes to save the life of one of the around 9 million children who are dying from poverty related causes each year around the world?
但是，接着我让他们思考，在书中，我让读者思考这样一个问题：,你有没有捐出过买一双鞋的钱,来拯救900万儿童中的一个生命？,他可能正因为贫困导致的种种问题,而生命垂危，每年世界上都会有这样的儿童？
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For Empson, there's a kind of a fluid and easy movement back and forth between what for hermeneutics are three very different phenomena: author, text, reader.
对Empson来说，在作者，文本，读者之间,诠释学里认为这是三种非常不同的现象：,在三者之间有一种流畅的反复的关联。
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This is the realm of that mountain of imagination that I was showing you in the passage from Good Readers and Good Writers.
这就那想象力的巅峰，我曾在《好的读者和好的作家》,中向你们展示过它。
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There is also the question of what kind of reader we are that this preface brings up and sort of puts in front of us.
有一个问题，我们是什么样的读者呢,在这个序言面前。
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Milton has dug up a gem from the pages of The Iliad, and this gem has something like a Medusa effect on the poem or perhaps on us as readers. Time almost seems to stop when we begin appreciating this image solely on aesthetic grounds.
弥尔顿从《伊利亚特》中挖出了一块瑰宝，这块瑰宝对于诗或我们读者起得作用,如同美杜莎一样，在我们只欣赏着,精美绝伦的地面上的场景时，时间仿佛停止。
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So for Stanley Fish, Milton is always reminding us of our fallen-ness as readers and we're continually being encouraged to submit all of our uncertainties and all of our doubts to the power of faith.
对费什来说，弥尔顿总是在提醒我们自身作为读者的,堕落，我们也不断的被激励着,屈从于自身的不确定和,对信仰的力量的犹疑。
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Now as I mentioned, the title of this piece was originally A Mask Presented at Ludlow Castle, and it seems actually to have been known by the reading public by this title for a good hundred years or so.
现在正如我提到的，这部作品的标题,最初是拉德洛城堡里上演的《面具》,它似乎已经在好几百年前,就因为这个标题被广大读者熟知了。
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I want to start my lecture today looking back to that handout I gave you -but didn't give you a discussion of--a couple of days ago, ] from that essay Good Readers and Good Writers that I quoted at the very beginning of class this term.
今天我将用几天前发给你们的,却没有进行讨论的资料，开始我们的课程，从那篇叫做“好的作家和好的读者“的文章开始,我曾在本学期课程的最开始引用过它。
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Now when Virginia Woolf writes that Milton's bogey has shut out the view of his female readers, she seems to be suggesting that the specter of Milton blinds women to the things that they should be seeing, the most important truths out there in the world.
当佛吉尼亚·伍尔夫写道弥尔顿的惑众谣言遮挡了,她的女性读者的目光时，她似乎是在说,弥尔顿的幽灵让女性对她们应该看到的,东西视而不见，这些东西正是世间最重要的真理。
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