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In English it begins with the late novels of Henry James around 1900, in poetry with Eliot and with Ezra Pound.
在英国现代主义萌芽于1900年左右，体现在亨利·詹姆斯,的后期小说，艾略特和艾兹拉·庞德的诗歌上。
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It's a huge book which is all about this short story by Balzac, "Sarrasine," that he begins this essay by quoting.
这本大部头的书都是在讲巴尔扎克的短篇小说《沙拉辛》的，在文章开头他引用道。
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And he's parodying both kinds of response in this novel, so in that sense, the novel is very much of its time.
在小说中他模仿了两种方式的应答，从这个意义上说这本小说很有它的时代价值。
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The wonderful line he has in his last prose-fiction "Worstward Ho", Try again, fail again, fail better.
在他最后一部散文小说《向西去啊》有一句，再尝试，再失败，却更好地失败。
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I'm not really sure who said it but it's in a Lynda Barry novel called "Cruddy".
我并不确定是谁说的,不过确信这是在林达·巴里的小说《压花》里的话。
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You wanted to be writing the great American novel, but you're not writing the great American novel.
你想书写伟大的美国小说，但你实际上不是在写小说。
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And I think this is expressed in Hobbes' novel and in many ways altogether unprecedented teaching about liberty in chapter 21, a very famous and important chapter.
霍布斯的这一思想曾出现在他的小说中,以及本书第21章记载的,他在教学时对自由的见解中，本书第21章可是很有名且很重要的一章。
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One of the best descriptions I've ever read of why slavery persisted, of why people defended it, and why people went to war for it, came before the war, in 1857, in a speech by the African-American woman, novelist, writer, poet Frances Ellen Watkins Harper.
我曾读到的一段比较精彩的论述,关于为什么奴隶制度留存了下来,为什么人们为其辩护,为其而战,在1857年,战争前夕,在一个非裔美国女人的演讲中,她是小说家兼作家兼诗人,弗朗斯·伊莲·瓦特金·哈伯
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One of the great short stories of the last century begins with a sentence by Franz Kafka: "As Gregor Samsa woke one morning from uneasy dreams, he found himself transformed in his bed into a gigantic insect."
上世纪最伟大的短篇小说之一,弗朗茨·卡夫卡所写的名篇是这样开头的,"一天早晨,格里高尔·萨姆沙,从不安的睡梦中醒来,发现自己躺在床上,变成了一只巨大的甲虫"
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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，我没听见你说的。
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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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One way to put it, especially in nineteenth-century realism which particularly interests Brooks, is all these characters are just madly making bad object choices.
一种解释的方式，用19世纪现实主义的观点来看,也就是布鲁克斯感兴趣的观点来看，就是小说中的人物在疯狂地做着错误的决定。
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Things just don't happen the way they happen in nurse novels and bodice-rippers -in which somehow or another the pauper marries the prince.
现实生活中不会发生像,？护士小说和浪漫情欲小说中发生的那些事情,在那些情节中，穷姑娘莫名其妙地嫁给了王子。
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I'm going to talk a little bit about its publishing history, its compositional history, actually, at the end of my two lectures on the novel.
我打算在讲这部小说的最后两次课上，略微谈一点关于这部小说的出版历史，实际上也是创作历史。
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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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It's what allowed you to speak so powerfully to people in your first novel, and you've always wanted to write an autobiography.
让你在第一本小说里,掷地有声地向人们说话,所以你想写自传。
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All these things you can read about in these novels, but reading these novels is not just about reading about those things.
所有这些你都能在这些小说里读到，但读这些书不仅仅是为了读这些。
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So he had published Native Son in 1940 to great acclaim, a very successful novel.
他在1940年出版了《土生子》，广受好评，是一部很成功的小说。
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Is it a political one? What should the novel strive to do?
小说发展的方向在哪里？
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That has a typical Bildungsroman structure, the structure of a story about a boy who goes out from his home and sort of becomes a man through his travels.
这里具备一个典型成长小说的框架，故事结构讲的是,一个背井离乡的男孩,在旅途中长大成人。
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All the women in Dean's life call him to the carpet and tell him of all his sins. That's a sad moment in the novel, a moment of difficulty, a moment of specificity also.
所有在迪安生命里出现的女人都向他,斥责他所有的罪恶，这也是小说中悲伤地部分，是困难的时刻，也是专属于他的时刻。
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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.
把你的生活呈现出来,假装成在描述发生在你身上的事，你的不幸，你个人的不幸-,不包括小说根本性的一般化处理，你看，你可以回忆我们在《尤利西斯》的广告。
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That's what fatness is in a novel like this.
胖在小说里有点像这样。
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I want to suggest to you that he did that because a woman is expected to occupy certain conventional roles at this moment, and we see her in one at the very beginning of the novel.
因为在这个时代,女人是被要求扮演,一定的传统角色的，我们在小说的一开始就看到了她。
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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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Throbs" is a word that Nabokov brings out over and over again, in multiple contexts, always connected somehow with this novel.
悸动这个词，Nabokov经常使用，在很多的文章中似乎总与这本小说有关。
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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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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，如果你追踪这一点，你就会发现小说里,三分之二的时间萨尔都在,向迪安说明他有多在乎迪安。
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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.
你能想到的都在里面，可能有人不同意-,插入某某东西，比如你想,创作最伟大的美国小说，于是你获得熬夜的体验,纠结于如何构建情节，撕碎稿纸，扔在一边。
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