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An ear and an appetite for these sounds of sense is the first qualification of a writer, be it of prose or verse.
这些感性的声音的耳朵和胃口,是作家最基本的素质，不论是写散文还是诗歌。
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or in some cases because they're very famous writer or theorist or politician.
在某种情形，这些称号也能授给一些出名的作家、理论家或者政治家。
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I know why the mix again, you have the religious figures, you have the art, the writers, life of the mind, and you have the musical.
我知道为什么你能将这些宗教人物，艺术者，作家，精神生活，以及音乐剧融合起来了。
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The short answer is that I think these writers best represent all the different threads, all the different forces in the American Novel Since 1945.
简单的回答是我觉得这些作家极洽当地,代表了1945年以来美国小说中的，各种主题和力量。
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Those are the categories of value that we tend to associate or to affiliate with our other favorite writers, writers as diverse as Shakespeare and Virginia Woolf, for example.
我们往往将这类正面的感受,与其他一些喜爱的作家相联系，这些作家千差万别，例如莎士比亚和佛吉尼亚·伍尔夫。
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I need a contract that says, here's what I want in terms of things that you're going to take as input, to begin your part of the drama, here's what you're going to produce at the output, and the details of what they do inside are up to them.
这些作家相互沟通进行工作呢？,我需要一封规格说明书,我需要一份合约，上面列出了我想要你做的事，这些是你要再开始时做的输入,这些是你要的输出,细节工作就取决于它们了。
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How is Foucault going to mount an argument in which privileged authors -that is to say, figures whom one cites positively and can somehow or another stay in the picture?
福柯又如何为特殊的作者辩护呢,特殊的作者即是经常被一个人引用,这些作家能被辩护吗？
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Unlike Nabokov, these writers are not trying to make a language that is autonomous and separate from the world, so you will not see the kind of artifice and the labored attention to form.
不同的是这些作家并不想要营造一种,独立的和世界分离的语言，所以你不会看到这方面的炼化技巧,和费劲地塑造。
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There are lots of other writers we could include, including those two that I named, that would equally illustrate some of the threads that I've got on the syllabus now, but these are the ones for various practical and more substantive reasons that I have chosen.
我们其实还可以讲很多其他作家，包括刚才提到的那两位,他们也能阐述我大纲里的一些主题思想，但是因为各种实用并且更为实在的原因的存在,我才选了这些作家的作品。
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