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One of the wonderful things you can see in the Beinecke's Richard Wright Archives is the draft copies of Black Boy.
在Beinecket图书馆的怀特档案中,可以发现《黑孩子》的草稿,这个形象怀特在草稿里。
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You know, McDonald's being junk food and they don't want that image with Pret.
麦当劳是卖垃圾食品的，他们不想把这个形象传染给普雷特公司。
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What are we to make of Milton's use of this striking and painful image of prophetic preparation?
我们怎么把这个引人注目，令人痛苦的形象,用于弥尔顿的身上呢？
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So, here are at least three examples of canceled children, and you can use that phrase, I think, to characterize Lolita. She is a canceled child.
那么，这里至少有三个被忽视的孩子的形象，我想你们,也会用这个词去描述洛丽塔，她也是一个被忽视的孩子。
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and knowing that the sound image correlative to the concept tree is "arbor," right, arbor I can think of something like that , something in some way resembling that.
树这个词所对应的声音形象是,凉亭，对，凉亭,也就是像我画的树这样，至少是像这样的东西。
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The Joule experiment was a constant energy experiment, right. Here we're going to have to find a constant enthalpy experiment, and that is going to be the Joule-Thomson experiment. That's going to extract out a physical meaning to this derivative here.
非常像焦耳实验,焦耳实验是一个能量恒定的实验,我们这里要做的是，找到一个焓不变的实验,也就是焦耳-汤姆逊实验,这个实验可以把这里的微分式形象化。
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It's with this image of a brooding impregnation that Milton announces the presence in his poem of his most potent, what I think is the most interesting, theological innovation that he comes up with here.
正是通过这个孵伏怀孕的形象,弥尔顿在这里宣告了他在这首诗中,最具潜力，最有趣的神学新观点。
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Now, this particular simile conjures for us an image of someone trying to get a fix on Satan's shield, and there's the suggestion here of an attempt to get a proper perspective on this huge character, Satan.
这个特别的比喻如同戏法般,像我们展示了一个想要对撒旦的屏障有所一瞥的形象，这里有找出对这个重要的人物，撒旦,的一个合理的观点的暗示。
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Milton lends a special horror, I think, to this image of a blind Fury, and I hope you will agree with those critics -- I didn't make this up - who find embedded in these lines something like a figurative intimation of castration.
弥尔顿给这个暴怒形象添加了特殊的恐怖色彩，我希望你们同意--这不是我编造的,-有评论家发现这几句字里行间,在暗喻阉割。
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And, if you skip over to 215, this image comes back of this mother: "All cars had disappeared except his station wagon. His pregnant young wife was now getting into it with her baby and the other more or less canceled child."
还有，如果你翻到215页，这个妈妈的形象会再次出现：,“所有的车都不见了，只剩下他的小汽车，他,他怀孕的妻子正抱着婴儿上车，那个惹是生非的小男孩,也上去了“
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So, let's begin with another of those scenes on 213 that Nabokov points out to us, the Kasbeam barber. Why did it take him a month to come up with the Kasbeam barber? What's going on in this tiny snippet that's so important? So here it is.
那么，我们从213页纳博科夫向我们指出的另一个,场景开始：理发师加斯比姆，为什么他花了一个月的时间,来创造理发师加斯比姆的形象呢？这个小片段里,发生了什么重要的事情呢？我们来看这里：
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By the same token--I still speak Latin--the sound image corresponding to it is "arbor."
同样的，用拉丁语来讲，它的声音形象,和，arbor，这个词对应“
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If we think about this, analogize it to how Haze looks, it's a way of looking at O'Connor's fiction that sees nothing but the theology behind it, that sees nothing but the Christian iconography.
我们好好想想这个，再将此与Haze的形象联系起来，除了神学和圣像,我们看不到任何东西，这就是阅读奥康纳作品的一种方式。
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Okay. That's one way to read the simile, one way to make sense of this mention of the X, the Galileo figure.
这是理解这个比喻的一种方式，一种了解X，即伽利略的形象的方式。
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