• This is Barth's effort to enclose the silence into something readable, to contain that impossibility in the structure of the story.

    这是巴斯想把沉默嵌套到某些可阅读的的,在故事的结构中包含一些不可能的努力。

    耶鲁公开课 - 1945年后的美国小说课程节选

  • I don't know if you've been to Bath. But it's very nice, but a bit boring and small.

    我不知道你去过巴斯没有。那里非常漂亮,只是有一点无聊,而且那里很小。

    刚来伦敦的时候 - SpeakingMax英语口语达人

  • So, Barth is taking a risk that this little craft project emphasizes and that the stories in the book act out.

    所以,这个小小的手工作品强调了,书中的故事,展示了巴斯冒的风险。

    耶鲁公开课 - 1945年后的美国小说课程节选

  • And these can be checked out at the Bass Library that's on the cross campus.

    你们可以到对面的,巴斯图书馆登记领取

    耶鲁公开课 - 关于食物的心理学、生物学和政治学课程节选

  • They have the greatest organization, they have the greatest owner, Dr. Jerry Buss.

    他们有最好的组织和最好的老板--杰里•巴斯博士。

    洛杉矶湖人队 - SpeakingMax英语口语达人

  • Then I went to study more in Bath, which is beautiful.

    然后我去了巴斯继续学习,那里很美。

    刚来伦敦的时候 - SpeakingMax英语口语达人

  • Self-alienation, in Barth's work, is the product of desire. Desire, love: that's the moment when you're supposed to be perfectly present.

    巴斯作品中,自我疏离是欲望的产物,欲望,爱:,那是你应该在场的时刻。

    耶鲁公开课 - 1945年后的美国小说课程节选

  • Let me ask you a question first about John Barth and the stories that I asked you to read. Which of them was your favorite? Some cackling I hear None of them?Which of them was your favorite?

    我先来问你们一个关于约翰·巴斯和我让你们读的,故事的问题,你们最喜欢哪个故事,我听到一些咯咯笑的声音,都不喜欢吗,你们最喜欢哪个故事啊?

    耶鲁公开课 - 1945年后的美国小说课程节选

  • Do you think I should neck or not? I shall not enter the kingdom of heaven anyway so I don't see what difference it makes.'" And then she writes back, Mary Brittle: "Dear Sabbath: Light necking is acceptable, but I think your real problem is one of adjustment to the modern world.

    你认为我是该做还是不该做,我反正都上不了天堂了,因此,我认为做不做都无所谓,之后她给她回信了,玛丽-巴瑞特,亲爱的萨巴斯,你的做法是可接受的,但我认为,你真正的问题是无法融入现代社会。

    耶鲁公开课 - 1945年后的美国小说课程节选

  • some chemistry class will show up in here, and someone will wonder what that is, and Barth will have done his work, or we will have done Barth's work for him. Now, let me ask you another question. Who is the narrator of "Night-Sea Journey"?

    这里将会上化学课,有人会想,这到底是什么,巴斯将完成他的工作,或是我们将为他完成工作,现在,我来问你们第二个问题,《夜航》的叙述者是谁?

    耶鲁公开课 - 1945年后的美国小说课程节选

  • Why is it worth it to him to take that risk? What's he trying to teach us about narrative and about language that makes it worth this risk?

    为什么这值得他承担如此风险呢,关于叙述文章,和让这些风险值得语言,巴斯到底想教会我们什么呢?

    耶鲁公开课 - 1945年后的美国小说课程节选

  • I want to suggest to you finally that Barth is interested in the oral tradition above all other traditions in this book.

    我想提醒你们在这本书里,超越其他传统,巴斯终于对口头传统感兴趣了。

    耶鲁公开课 - 1945年后的美国小说课程节选

  • Why does Barth put this in the front of his story?

    为什么巴斯在书的第一页要放这个呢?

    耶鲁公开课 - 1945年后的美国小说课程节选

  • I really liked the tricks that Barth played with vocabulary.

    学生:我非常喜欢巴斯用词的花招。

    耶鲁公开课 - 1945年后的美国小说课程节选

  • I started last time, and actually my whole lecture existed under the rubric of, this quotation from Sabbath Lily Hawks, and I'm just going to read it to you again. "I like his eyes.

    上堂课我给你们介绍了一下这部小说的基本内容,这次的讲座,将从萨巴斯-莉莉-霍克斯的引语开始,我现在要再将这段话朗读一遍,我喜欢他的眼睛。

    耶鲁公开课 - 1945年后的美国小说课程节选

  • Please go get the clicker at the Bass Circulation Desk, and they should have enough everybody in the class.

    巴斯借书处领取表决器吧,应该每人都能领取到一个

    耶鲁公开课 - 关于食物的心理学、生物学和政治学课程节选

  • Barth wrote a famous essay just the year before these stories came out all in one volume. They had been written over a series of years, got a lot of exposure--called "The Literature of Exhaustion."

    在写完这一卷故事的前一年,巴斯写了一篇著名的论文,在60年代,叫《枯竭的文学》

    耶鲁公开课 - 1945年后的美国小说课程节选

  • But he invites us to do this to his story.

    巴斯却邀请我们思考这件事。

    耶鲁公开课 - 1945年后的美国小说课程节选

  • I think that's also why Barth chose to write this story in the perfect short story form. And that form is also given to us in Lost in the Funhouse, on page 95, when we get the diagram of Freitag's Triangle.

    我认为这也是为什么巴斯选择用完美的短篇小说的,模式写这个故事的原因,这个模式在,《迷失在开心馆》里也有体现,在第95页,就是Freitag三角的图解。

    耶鲁公开课 - 1945年后的美国小说课程节选

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