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If I understand it correctly, science as science insofar as its belike scientific methodology, he needs to be defended.
如果我没有弄错的话，就论文所用的科学方法本身而言,就论文所用的科学方法本身而言，作者的立场应该受到维护。
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So it might be something like that, a tiny little something that one would set down like a couple of elements.
所以创作的支点可能是类似这些的，很小很小的事情，作者会把它们列出来,就像一系列元素一样。
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Yes, Barthes talks about the death of the author, but even Barthes doesn't mean that the author is dead like Nietzsche's God. The author is there, sure.
是的，巴尔特谈到了作者已死的问题，但和尼采所说的上帝已死这个层面上的内容还是有所不同,作者肯定就在那里。
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It's sort of a sympathetic look at--that's the name of this-- of these expiring dudes there.
作者对他们报以同情,这幅画的名字就叫《同情的目光》
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It's not just a question, as obviously Foucault and Barthes are always suggesting, of deferring to authority as though the authority were the police with a baton in its hand, right?
这不仅仅是一个，如福柯和巴特经常暗示的一样明显的，尊崇作者权威就好像这种权威,是一个手握警棍的警官的问题，对吧？
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It has no more connection with its author from birth on and roams the world on its own.
作品一旦创作成型就和作者没有联系了,它独立的存在着。
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Barthes says, "Once the Author is removed, the claim to decipher a text becomes quite futile."
巴特说：“一旦作者被移位，那么解读原文就没有希望了“
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And so yes, the signal that this field of discursivity is on the table is introduced by the name of the author but it remains just a name.
所以的确，这种公开的散漫性的信号,就通过作者的名字被介绍出来，而且也仅仅只是个名字。
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Like I said, they wanted them to be traced back to the apostles.
就像我所说的，作者希望人们认为它是使徒所写。
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Well, look at this footnote: And the history of words after a poem is written may contribute meanings which if relevant to the original pattern should not be ruled out by a scruple about intention.
那么我们就来看一下这条脚注：,在诗产生后，语言的意思也就跟着产生了,这种意思如果和原始的形式不同,就不该有对作者意图的顾虑。
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The author is a signal, is what Foucault calls a "function."
作者是一个标志，就像福柯所说的“功能“
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And one of the things one may immediately detect is whether or not the person who wrote the poem was indeed writing the poem and thought that she or he was in command, right?
一个人在阅读时很快就能发现,写这首诗的作者是否,真的是在独立作诗,认为自己对文字完全具有掌控权？
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At bottom, Empson doesn't really settle into the rigorous consideration of the author, the text, or the reader as if they were separate functions.
实际上，Empson并不会,仔细考虑作者，文本，读者这些因素,就好像他们各有功能一样。
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It's a problem if we reject the police-like authority of authors, of whom we may have a certain suspicion on those grounds, when we certainly don't feel that way about Marx and Freud.
但若我们并不喜欢马克思和弗洛伊德，那么如果我们排斥警察，就好像因为对作者有所怀疑，而排斥作者权威的话，就有问题了。
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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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