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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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This question of determinism is as important in the discourse of literary theory as the question of skepticism.
在文学理论的话语中,决定论的问题和怀疑论的问题是同等重要的。
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It's also that knowledge that an educated, sort of belletristic reader of The Saturday Review of Literature would be very, very familiar with.
这也是受过教育，某种研究文学且是,《周六文学评论》的读者所十分熟悉的知识。
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But it also contains other positions, alternatives that open those over-sized cultural ambitions to critique, to imaginative alternatives of many kinds.
但是它其中也包含着其他一些姿态，一些将这种过量的文学抱负供以批判的选择，以及多种多样的想象出的选择。
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It underscores the degree to which this story is part of a literary genre, part of a literary convention, how much the Exodus story itself is very much a literary story.
它强调了这个故事作为文学类型的一种，一种文学的惯例，《出埃及记》本身有多大比例是一个文学故事呢？
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And yet the concepts go into my interests and people, they are literary and it's a mixture of the two that when I'm looking and if I'm successful - which is, not very much amount of time, I put into my writing, so this is something worth exploring.
这些概念成为我兴趣的一部分,人是文学的,是二者的混合,当我的观察卓有成效时,-这种时候不常见，我就将观察记述下来，这是值得探究的。
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So the criterion is: is it relevant to the unified form that we as critics are trying to realize in the text?
所以，这里的标准是：,隐含的意义是否和文本的一致性有关,而这正是我们作为文学批评家,要通过文本实现的？
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Finally, I think it can be said that it's a poem whose deepest investmentis actually in Milton's mastery over the entire Western tradition of literature.
最后，我要说的是,这是一首弥尔顿对自身对于现代文学传统的,写作技巧苦心经营的诗。
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iterature cannot merely be received as a definite unit of referential meaning that can be decoded without leaving a residue.
文学不能仅仅以一个确切的参考性意思的单位来理解,这种参考性意思的单位在破解时不会留下任何残余。
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In other words, an enormous variety of aspects of literature, understood as "literariness," can become the dominant.
也就是说，文学的很多方面，也就是我们所说的文学性，都可以占支配地位。
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This is the line that begins the poem's final verse paragraph and it has to be one of the most amazing moments in all of English literature.
这行是以诗篇最后的韵诗开端的,是英语诗歌文学中,最惊艳的段落之一了。
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He is exclusively concerned with fiction and how we read fiction, how we come to understand fiction, and how we determine the meaning of a work of fiction.
他只关注文学，以及我们怎样读文学，怎样来理解文学，怎样确定一部文学作品的意义。
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The language of Homer and of Virgil and of Pindar and of Ovid had become an inextricable part of his literary imagination and of his consciousness in general.
荷马，维吉尔，品达尔和奥维德的语言,成为弥尔顿文学想象还有文学觉悟中,无法摆脱的一部分。
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In the first passage, the statement about language by criticism, that sign and meaning can never coincide, is what is precisely taken for granted in the kind of language we call "literary."
在第一段，关于语言的主张，用批判的方式，认为符号和意思永远不能相矛盾，正是这个主张,被人们认为是理所当然的，对于我们所说的文学语言来说“
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What's new in theory is the element of skepticism that literary criticism by and large which is usually affirming a canon of some sort doesn't reflect.
这新内容就是怀疑主义元素,它是文学评论,所不具备的,文学评论总是坚持某种原则。
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Literary theory, as I say, is skeptical about the foundations of its subject matter and also, in many cases, about the foundations of what it itself is doing.
就像我说的，文学理论，是对创作题材的怀疑,在很多情况下，也是对自身所做之事的基础的怀疑。
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Now the surest sign of a hurdle is one of those pointed literary allusions that Milton makes in Lycidas, one of those remote allusions that Johnson had complained about.
如今关于这道坎的最确定无疑的迹象就是,他在里作出的那些文学臆想,即约翰逊曾经抱怨过的那些不切实际的幻想。
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They are steeped in the entire literary tradition of the underworld journey that stretches from The Odyssey of Homer up through Virgil's Aeneid, and of course up through all of the Renaissance romance epics.
它们被浸泡在整套文学传统中,穿越了从荷马的《奥德赛》上升到,维吉尔的《埃涅阿斯纪》的地下之旅，当然它也经历了所有文艺复兴时期的浪漫史诗。
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Though he sometimes does talk about texts that we call "literary," indeed he very often does, nevertheless Derrida's position and the logic of that position suggest that we can't really reliably discriminate among genres.
尽管他有时确实会讨论被我们称为“文学“的文本“,事实上他经常如此，然而德里达的立场和他立场的逻辑,是我们不能够明确地划分文学的体裁。
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As we'll learn from Jakobson next week, literature can be understood--or what he calls the study of literature, "poetics"--can be understood as a subfield of semiotics, but semiotics is not in itself a literary theory.
下周我们学雅各布森的时候也会看到，文学可以被理解为，诗学，即符号学的一个分支，但是符号学不是文学理论。
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But this was a moment of particular and headlined notoriety in the history of academic thinking about literature, and a moment in which academic thinking about literature had a peculiar influence on topics much broader than literature.
但那是一个臭名昭著的时代,在文学学术思想的历史上，也是那个时候，文学学术思想,对比文学宽泛得多的话题所产生的特别影响。
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Many of the issues that I raised in talking about defining literature are as relevant for literary criticism as they are for literary theory, and yet we all instinctively know that these are two very different enterprises.
当讨论文学的定义时，我提出的许多问题,对于文学理论和文学评论都同样相关，但我们都知道,它们是两个不同的概念。
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But the parting genius is also a part of Milton's own genius, his literary genius, that aspect of his literary career and his literary expertise that has been nourished and fed, lovingly fed, by classical literature.
但这些逝去的天赋也是弥尔顿的天赋的一部分，还有他的文学事业方面的天赋,和被古典文学，深深滋养的才能。
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That's why I gave you the extraordinary passage on your sheet, the end of Tynjanov's "On Literary Evolution," written also 1927, written also, in other words, in response to Trotsky's Literature and Revolution.
这就是为什么我给你们了这篇精彩的文章阅读，1927年蒂尼亚诺夫在，文学进化，中写道，这也是，他对托洛斯基，文学与革命，的回应。
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And once we rid ourselves of the burden of historicity, we're free to appreciate the stories for what they are: powerful, powerful narratives that must be read against the literary conventions of their time, and whose truths are social, political, moral and existential.
曾经我们将自己从史实性的负担中解放出来，我们,以故事原本的样子自由地欣赏它们：强大的，强大的叙事,必须能冲破那个时代的文学惯例和社会、政治、,道德及实存的真实而被解读。
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Now we've been charting for a couple of weeks now Milton's long-standing project to purge his lips of secular interests and to cleanse his literary consciousness of the tempting influence of secular literary voices, and one of those voices is obviously Shakespeare's.
现在我们已经讨论了几个星期了,弥尔顿长期坚持的项目像净化世俗利益,净化世俗的文学看法的影响,对他文学意识诱惑，其中有一个看法显然是莎士比亚的。
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It is really going to give you a whole packaged reading of Franny and Zooey.We have just the one day on this novel, and what I'm going to be doing for you is modeling the way literary critics use evidence to advance an argument.
实际上，我从整体上全面的给你们讲解这部小说,关于这部小说我们只有一天的时间，我将要做的是为你们建立起,文学评论家使用例子来论证的模式。
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Like the sun, it was thought to be a perfect heavenly body and, as you probably know, it was Galileo though -the Tuscan artist, the Italian astronomer 0 -who disproved just that assumption in 1610 when he published the Sidereus Nuncius .
正如太阳那样，它被认为是完美的天体，也是伽利略,-那个托斯卡纳大师，意大利的天文学家,-他驳斥了1610年的假设0,在他出版的那本中。
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