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There is a self-consciousness in the thinking about structure that we find in many places in Levi-Strauss that Derrida freely acknowledges in his essay.
在列维的作品中,我们能找到多处对结构认识的自觉,德里达在自己的论文中也承认了这种自觉的正确性。
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He also plainly shares with Gadamer the assumption, the supposition, that the construal of meaning cannot be altogether objective.
他同时也坦率地表示自己和葛达玛，有一样的设想，那就是意思的解读并不都是客观的。
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Cities like Gdansk, which we tend to forget about, unfortunately, which is a very important port then and still now.
像格达斯克这样的城市,也就渐渐淡出了人们的视野,而其实,它在当时和现在都仍是,非常重要的港口
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The most common and the most widely used was Achaeans, another one is Danaans, and a third one is Argives.
最普通也最广泛应用的是亚该亚人,另一个是达南人,第三个是阿戈斯人
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He wrote -- and this too is in the packet -- he wrote: Listen, Diodati, but in secret lest thy blush, and let me talk to you grandiloquently for a while.
他写道--这也在阅读材料里--他写道：,听着，迪奥达蒂，但要悄悄的，以免你会脸红，让我对你说说大话。
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Well, there're different interpretations: One, Welles vehemently rejects in the book called This is Orson Welles which is his interviews with Bogdanovich, that I think I told you I read over and over. I loved it so much.
当然，有不同的解释：,一，威尔斯在一本叫做,《这就是奥森·威尔斯》，也就是,他和博格达诺维奇的谈话中，反对这种观点,我看了很多遍，我也很喜欢。
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Well, all the way down, i guess, to C or beyond that -then you're failing.
如此排列,我想到达C或者更低时...,也就意味着你违约了
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You remember that Milton had vowed to his friend Charles Diodati in the Sixth Elegy that he would become an epic poet some day, and that he was taking all of the necessary steps to transform himself into an epic poet.
弥尔顿曾在第六挽歌中向他的朋友查尔斯，迪奥达蒂宣布,他有一天将成为一名史诗诗人，他也在不断努力,把自己变为一名史诗诗人。
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In fact, this is an argument that's been made a number of times, and I think there's a lot of sense to it -the last eight lines of Lycidas are written in a very specific line form the Italian scheme of the ottava rima.
这是一个的确曾被无数次提到的观点，并且我也认为这个观点确实有一定道理,利西达斯的最后8行是以一种非常特殊的体裁写的,即意大利式的八行诗。
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He's interested in the way in which a reader can come to terms with a meaning conveyed by a text, and that much, as I say, despite the profoundly different nature of their projects, Wimsatt and Gadamer have in common.
他只关注读者如何明白,文章的意思，而这也就是，我所说的，文萨特和葛达玛的共同之处，即是他俩在某些领域有本质上的差别。
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Well, it was published originally as an article in 1979, but this is also near the end of a period of flourishing that Derrida's essay inaugurates, and other things have begun to become crucial.
它初次出版是在1979年，作为一篇文章发表，但是这也快到了繁盛时期的末端,德里达的论文出现的那个时期，其它的东西开始变得重要。
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We find Egyptian things in Mycenae and vice versa, and also presumably, much of it must have gone into Mesopotamia; some of it went all the way to the Western Mediterranean.
我们在迈锡尼城中发现了来自埃及的物品,反之亦然,由此推测,很多迈锡尼物品也散播到了美索不达米亚,其中一些出现在西地中海
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Lycidas is going to shampoo his hair in heaven much as he shampooed his hair on earth, except in heaven there's always a difference.
利西达斯在天堂也要洗头发,正如在人间一样，但在天堂总会有点不同。
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The body of Lycidas, even in death, is of an unusual interest to our poet.
利西达斯的身体，即使死了，对弥尔顿来说也很重要。
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This is implied in Gadamer as well.
这个葛达玛也提到过。
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It is a bleeding or spilling into successive signs in such a way that it perpetually leaves what Derrida calls "traces." That is to say, as we examine the unfolding of a speech act, we see the way in which successive signs are contaminated.
它渗入或涌入一系列符号之中,并且永恒地留下了德里达所说的，“痕迹“，也就是说，如果我们研究言语行为，我们就能看到连续的符号被污染的方式。
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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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