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This goes back in time from the text we were discussing last time in the teens and twenties to 1901.
这要回到我们上次课所讲,他年少时直到1901的那段时期。
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And under this title, "On the Morning of Christ's Nativity," appears as you can see from your text -- appears the subtitle, "composed 1629."
你们可以看到在《圣诞清晨歌》,的标题下有个副标题“作于1629“
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This is the diagram taken right from your text, there are the two electrodes coming in and this is atomic hydrogen in the gas tube.
这是从教科书上复制下来的图表，这里有两个电极进来,这是气体管中的氢原子。
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How do we put ourselves in touch with the text which may after all in a variety of ways be remote from us?
文本在各种方面距离我们如此遥远,如何与之发生联系？
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It's just a long, long text that's set to music but that text is drawn from "Apocalypse, " The images of "Apocalypse."
它改编自一段很长的文字,但文本来自《启示录》,对《启示录》的想像
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You've probably already noticed that there's some material that's set aside from the text in boxes, and I encourage you to particularly look at those boxes for this chapter.
你们可能已经注意到,在正文旁边的方框里有一些材料,我希望你们仔细看看方框中的内容
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So what I want to do today is look closely first at the selections from Black Boy that I asked you to read and to look at those as a text and to ask ourselves what kind of story it is.
它们细微的差别,我先读部分《黑孩子》,先前我布置给大家去阅读,并思考几个问题,我发现了什么,故事是什么类型。
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To begin to answer this question you might say even begin to think about it in the right way requires that we stand back from Aristotle's text for a while and ask some fundamental questions about it.
若要开始回答这个问题,你也甚至可以说,开始以正确的方式思考这个问题,需要我们,暂时放下亚里士多德的大作,回头提问一些基本的问题。
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But you can see from the text that you have in your Hughes editions -- - or any edition, any printed edition now -- the speech continues in the version of the mask that we have.
但是你们可以在休斯版本的书里看到-,或者其他版本，其他任何印刷版本-,演说在《面具》里以我们知道的版本继续。
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Our primary text will be the excerpt in your book from Hans-Georg Gadamer and a few passages that I'll be handing out from Martin Heidegger and E.D. Hirsch.
主要内容就在大家手上课本里,汉斯·格奥尔格·加达默尔的节选以及,我将带给大家的马丁·海德格尔和赫希的一些文章。
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Who knows? Maybe we'll try on some other occasion, but for the moment I think you can see that in making remarks of this kind about a text one has shifted the attention from meaning to structure.
我们也许会在以后讲到它，谁知道呢，但是我想你们应该已经看出来,我们的重点已经从内容,转移到了形式。
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That is the good news.The bad news is there isn't a text that fits this syllabus, so we choose readings from various sources.And the text that I have chosen is the best of a bad lot.
那是个好消息，坏消息是,没有与课程大纲对应的课本，我们从很多的资源中选取阅读材料,我选的课本不过是糟粕中的精华。
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Over the weekend, you were assigned material from chapter one of the text and it dealt really with three famous beginnings of pieces of classical music.
上周末,布置你们阅读的内容,出自课本第一章,那些内容是关于,三首著名古典曲目的开始部分
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We're continually being prevented from reading the text to get to the end.
我们总是觉得想快些读到结尾。
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Nothing follows from this observation about the actual meaning of the text.
没有关注,文本的实际含义。
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We'll say a little bit about Beyond the Pleasure Principle, ; which is the crucial text for our purposes; but plainly apart from the influence of and the ideas borrowed from Freud, you'll find Brooks writing on what for you is pretty familiar turf.
我想花一点点时间说说《超越快乐原则》,这篇文章对于我们今天理解主题至关重要;,但是如果不看从弗洛伊德那里借来的思想和影响外，布鲁克斯所写的对于你们来说应该会很熟悉。
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