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This is not a wasteland of thought by any means, and the Russian formalists are an important part of what's going on.
俄国并不是一座思想的废都，形式主义者是思想界很重要的一个部分。
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By the way, if we begin by talking about poetic and practical language, we're beginning where the Russian formalists began.
谈到诗化语言和实用语言，我们就和俄国的形式主义者站到了同一个起点。
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It becomes, at certain moments in the evolution of forms according to the Russian formalists, the dominant.
根据俄国形式主义者们的说法,它只是在进化中变成了支配而已。
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The formalists don't want to keep that distinction for the reasons that I have been trying to develop.
就像我已经阐述过的一样,形式主义者不认同这种区别。
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Trotsky's Literature and Revolution is a brilliant book, an attack on many things and a defense of certain other things, but in particular and very painfully an attack on the formalists.
列夫，托洛斯基的文学与革命非常精彩，它攻击了许多当时的理论，同时也维护了一些，但是它特别猛烈地攻击了形式主义者。
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The formalists are uniquely concerned, however, with the way in which literature is put together.
形式主义者特别关注，文本是怎么被组合的。
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So they are still engaged in the hermeneutic enterprise in interpretation The formalists are really relatively indifferent to questions of meaning and to questions of interpretation.
所以，他们感兴趣的仍然是解释学,但是形式主义者对,阐释和含义不感兴趣。
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Like the Russian formalists--and in a way like the New Critics -talking about their "academic" colleagues, Saussure is vexed by the messiness and lack of system in the study of linguistics.
这一点和形式主义者，新批评论者,这些学院派的人们很相像，索绪尔对语言学的杂乱,和无章感到恼火。
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But, you know, the formalists' own basic distinctions are dualistic, aren't they: the distinction between poetic and practical language, the distinction between plot and story, the distinction between rhythm and meter?
但是，形式主义所认为的区别却是双重标准的，诗歌语言和实用语言的区别，情节和故事的区别，节奏和韵律的区别？
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Notice the importance -and we'll come back to it-- of the word "dominant": "the dominant" in the thinking of the Russian formalists and the struggle for dominance among species in a habitat.
注意这个词的重要性,我们还会讲到，支配，这个词：,俄国形式主义者所说的支配,和物种间争夺栖息地的支配。
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The word "defamiliarization" we will encounter soon when we take up the Russian Formalists.
我们立马遇到了“陌生化“这个词,当我们开始读俄国形式主义者的作品时。
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This is a crucial issue for the Russian formalists, which they handle very boldly.
这是俄国形式主义者的重要论点，他们处理的十分大胆。
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The newness that the Russian formalists are interested in is not just any newness.
俄国形式主义者并不是对,所有的新奇都感兴趣。
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Those titles that Eikhenbaum keeps talking about -How Don Quixote was Made, How Gogol's Overcoat was Made- reflect the preoccupation of the Russian formalists with how literature is put together.
艾肯鲍姆总谈论,堂吉诃德，果戈理的外套是是怎么塑造的-,这反映了俄国形式主义者,对文本组合方式的执着。
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There you would really think the formalists are on thin ice.
你会发现形式主义者的论点在这里如履薄冰。
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Well, I actually think the Russian formalists can be defended against the charge that, unbeknownst to themselves, they fall back in to form-content distinctions by insisting on this variety of dualities.
但是我认为,这些形式主义者们在不自觉中，对于形式和内容的双重性,太过偏执。
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So in formalist terms, that's the way we have to understand what, if we weren't formalists, we would suppose, as I say, to be a mnemotechnical device for the purpose of communicating something about the weather in Spain. Right?
形式主义者会这样理解，但如果我们不是形式主义者，我们就会认为这个重复单纯是为了,记住西班牙的天气，对吗？
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There's an obvious sense in which they understand poetic languageto be that in which form is predominant and practical language to be that in which content is predominant, but the Russian formalists see it in a slightly different way.
他们认为,诗歌中形式占主导,实用语言中内容占主导，但是俄国形式主义者们不这么认为。
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In other words, replacing the shortest distance between two points that we experience in a practical message, "literariness," as the formalists call it, or "poetic language," as they also sometimes call it and as the New Critics certainly call it, slows us down.
也就是说，实用语言以最短的距离,联系两点，而文学性，如形式主义者所称，或诗意的语言，他们有时也会这么叫,新批评派成员一定会这么称呼，使我们的理解速度慢了下来。
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Whether and to what extent the Russian formalists and their allies, the Futurists--among them Mayakovsky and others felt a kind of antagonism or growing threat from the government is not wholly clear to me.
俄国的形式主义者和他们的同盟，未来主义者，比如玛雅可夫斯基,或多或少的感觉到了来自政府的敌意,这一点我并不十分清楚。
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