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But one of Milton's projects in Paradise Lost is to effect his forgetting of all of his literary precursors.
但是弥尔顿在《失乐园》中的一个计划是,让自己忘记所有文学前辈。
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it's in thinking critically and applying the ideas that you get from reading that... really make it valuable.
学习文学能锻炼我们的批判性思维，我们还能将文学中体现的思想应用到现实生活中。这才是文学的价值所在。
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Now in addition to defining literature, literary theory also asks questions obviously not unrelated but which open up the field somewhat.
除了定义文学以外，文学理论还提出一些,显然不是不相关，却开辟了新领域的问题。
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Milton anticipated and lovingly invested all of his energy in his future literary power and his future literary fame.
米尔顿预测到了他将来在文学领域的力量和声望,并且钟情的将他所有的精力投入到文学中。
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Literary analysis that is sensitive to the larger contours of the account will reveal the artistic hand of the final editor.
通常经过文学分析，会发现,最终版本都经过艺术加工。
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It had been my accidental reading of fiction and literary criticism that had invoked in me vague glimpses of life's possibilities.
我偶尔会读小说和文学评述,这让我隐约地窥探到,生活的可能性，“
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We're not going to be studying it necessarily for how important it was for Medieval and Early Modern Literature, for example.
也不会研究它,对于中世纪及早期现代文学的重要性，等等。
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There's an extraordinary literature, the close concurrent, the close competition for that, the richest literature would be the Spanish Civil War with Orwell, and Borkenau and Brennan.
还有一类好的文学作品,能和一战类一拼高下的,争夺最丰富文学奖,应该就是西班牙内战,有奥威尔,博克南和布伦南
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That is the modification of what would and does evolve in and of itself within an understanding of literary historiography.
这种修正会在文学历史的领域里,进化自己。
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John Milton has made a mistake. He's made a literary mistake and, as I think all editors know, Spenser does not.
约翰·弥尔顿犯下了一个错误，他犯下了一个文学上的错误，而且我认为所有的编辑都知道，这个错误斯潘塞没犯过。
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That's why the poem, the lyric poem, is privileged among the forms of literary discourse in the New Criticism.
这就是为什么诗，一首抒情诗，在新批评派眼里要优于其他各种文学形式。
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The structural moment of concentration on the code for its own sake cannot be avoided, and literature necessarily breeds its own formalism.
集中在代码上的结构瞬间,因为它本身的原因不可避免，文学必要地导致了它自身的形式主义。
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I first started teaching this course in the late 1970s and 80s when literary theory was a thing absolutely of the moment.
我在20世纪七八十年代时开始教这门课,当时文学理论非常流行。
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It probably is at least in part, but mainly it is probably intended to be fiction or fictionalized biography.
最少一部分是，可是结果大相径庭,大篇都是虚构或文学小说化了的自传。
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In other words, it was written directly in the aftermath of a bombshell published by Leon Trotsky called Literature and Revolution in 1926.
也就是说，它是针对,1926年列夫托洛斯基发表的引起轰动的,文学与革命，而写的。
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And it's this rhetoric of anticipation, this language of looking forward, that structures all of Milton's own narratives about his own literary career.
正是这种预期修辞学，这种期待的文字，构建了所有弥尔顿的自述,和他自己的文学事业。
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Literary theory is very much involved with questions of that kind, and organizing those questions is basically what rationalizes the structure of our syllabus.
文学理论和这种问题有密切联系，我们的课程大纲基本上,就是根据这些问题来组织的。
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Let me take you back to the seventeenth century, up to the very beginning of the literary reception of John Milton.
让我把你们带回到17世纪，约翰·弥尔顿刚在文学领域为人所知的时候。
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This is an aspect of thought concerning literature that tends to fall out of literary theory but not out of the materials that we are reading this week.
这样其实是在,脱离了文学理论的框架来思考文学，但我们,还是要联系上这周在读的内容。
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It was awkward teaching an introduction Y and probably for that reason while I was teaching Lit 300, which was then called Lit Y, Z Paul de Man was teaching Lit Z.
教入门课非常尴尬,也许正因为这样，我教文学300时，当时它还叫文学，保罗，德，曼教教文学。
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Introduction to New Testament History and Literature: Lecture 1 This is Introduction to New Testament History and Literature.
新约历史与文学导论，第一讲1,这是新约历史与文学导论课。
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One can speak hesitantly of literary discourse, political discourse, anthropological discourse, but one doesn't want to go so far as to say literature, political science, anthropology.
一个人可能会犹豫地说出,文学话语，政治话语和人类学话语，即使他并不想谈论,文学，政治学和人类学。
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If you think about Alexander Pope, for example, or even Samuel Johnson, as they reflect on literature and why it's important and what the nature of literature is, they aren't concerned about interpretation.
比如，亚历山大，蒲柏，或塞缪尔，约翰逊，他们思考文学,及其重要性时，并不关心文学的解读问题。
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This isn't the last time this will happen during the course of the syllabus, our job is to bring out the implications for literature of texts that we read that don't have any direct bearing on literary study.
而且以后你们还会读到很多和文学没有关系的东西,在课程大纲里，我们的任务是,读懂文学的含义,但是课程里却又很多东西和文学无关。
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That's the difference for Iser between nonfiction and fiction.
这就是伊瑟尔所说的文学与非文学之间的差别。
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Now as yet we haven't said anything about literature, and the fact is there is no hermeneutic art devoted to literature during the early modern period and for most of the eighteenth century.
到现在为止我们还没有讲到文学，在现代的早期和18世纪大部分时候,都没有任何关于文学的诠释学研究。
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So, Salinger imagines that the literary art imitates that kind of voice, and in that way it is a sacred practice, a sacred art.
所以，Salinger将文学艺术,比作那种声音，在那种情况下,文学是一种神圣的做法，是神圣的艺术。
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After that, I began a series of readings of novels that emphasized more what you might call the history of literature, the history of literature's forms and ambitions.
在那之后，我讲了一系列的,强调文学史，关于文学形式和理想的，历史的小说阅读。
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So while again, what we read for today is not in itself literary theory, it is nevertheless crucially formative for a great many of the developments in literary theory that we'll be studying.
再重申一遍，我们今天读到的并不是文学理论，但是对于文学理论,的发展却又有重大贡献。
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It's a course which is absolutely fascinating in all sorts of ways, and it has one very important thing in common with literary theory: that is to say, literary criticism is, too, perpetually concerned with the definition of literature.
这门课在各方面都很棒，而且它与文学理论有一个重要的相似之处：,即文学评论也永远会关注，文学的定义问题。
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