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That's for those people who really want to push themselves and want to advance a really significant piece of thinking about a novel.
这是针对那些确实想进步,想在小说理解方面更进一大步的人。
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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，没有人看到你写的小说，或者你最初的自传。
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This angelic laser begins slowly the gradual process in some kind of extraordinary science-fiction sort of way of transforming the virginal human body to the essence of the soul itself.
这天国的激光开始了这渐渐的过程,用一种很特别的科幻小说的方式,把人纯净的身体变成灵魂的精髓。
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The people in the Tolstoy story seem to have put facts of mortality out of their mind.
托尔斯泰小说中的人物似乎,把人必有一死的事实置诸脑外。
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Toni Morrison was speaking for black Southerners in that, I think, fantastic line in her novel Beloved which I know many of you've read because it's taught all the time but there's that marvelous little exchange at one point between Paul D and Sethe.
托尼.莫里森藉由她的小说《宠儿》中,用一句绝妙的句子表达了南方黑人的心声,我知道很多人都已经读过《宠儿》,因为这本书一直被当做教材,不过小说中男女主人公保罗和塞丝,有这么一小段触人心弦的对话
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Well, I guess it's the problem that people who teach the eighteenth-century novel always have, or the Victorian novel: the Victorian novel like the triple-decker, the three-volume novel.
好吧，我猜这个问题是,讲授十八世纪小说,或维多利亚时期小说的人经常遇到的：,像维多利亚时期的三层小说，三卷本小说。
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And those who were close to her have picked up that understanding of her fiction and promulgated it.
那些和她熟的人,理解了她的小说并并将其发布。
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And he says of his own writing, "I had tried to convey something of what it felt like to be a Negro, and no one had been able to listen.
作者自己也这小说里写道：“我曾试着去和身边人,传达那种我想成为黑人的强烈感觉，但没人能听进去。
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Now as it happens--this is a novel--as it happens, our hero looks rather like the other man.
小说中故事就这样发生了，我们的主角和另一个人长得很像。
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Yeah. A lot of attention to physical detail and physical movement,and that's connected to this point about confined spaces. It's the movement of bodies within confined spaces that really preoccupies this novel.
嗯，很多的注意力放到了肢体上的细节和,肢体上的运动，这和限定的空间有关,就是这个在限定空间里的肢体运动,让人迷上了这部小说。
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Did anyone take this course because they love On the Road?
有没有人是因为喜欢这部小说才选这门课的？
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So this novel, this autobiography, begins with the sense that this boy is in danger from practically the moment he comes into the world, the moment he comes into consciousness.
这小说，这自传，让人一开始,就觉得这孩子,一生下来，就浸泡在苦水里。
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And what does it mean to be an American in this novel? So, that's the question I'd like to take up today first. Coming from Lolita, the vision of America in On the Road looks quite different.
这对于小说里你是一个美国人又意味着什么？,这是我今天想让你们思考的第一个问题，《洛丽塔》里，描写的美国景象非常不同于《在路上》之中的景象。
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There is a whole mystical objectification of these people that's going on, that's allied to the religious strains of this novel, which I'm going to pick up again a little bit later on in my lecture today.
在此有将这些人的神秘感对象化，客体化，这也为小说增添了一些宗教色彩,关于这一点我还会在今天课堂的后部分中提到。
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Now, why the Fat Lady? It's this mythical, incredibly humanly embodied-- whenever you see a fat lady in a novel, one of the first things you want to ask is: why does that person need to be excessively embodied?
现在，为什么是胖太太，这是个神话，人们呈现了，无论你什么时候看到一个胖太太,在小说里，你首先会想问：,为什么那个人需要被这样过多的描写呢？
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Everyone loved it.
所有人都喜欢的小说。
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