We all know about "Liebestod" in "Tristan and Isolde," the moments of death in literature which obviously are sexually charged.

我们都知道李斯特创作的《崔斯坦和伊索德》中“,文学中的死亡瞬间由性管控。

耶鲁公开课 - 文学理论导论课程节选

De Broglie, 1924, in his PhD thesis says if an electron has wavelike properties this would be its wavelength.

德布罗意，1924年在他的博士毕业论文中说到,如果一个电子有类似波的性质,这就是它的波长。

麻省理工公开课 - 固态化学导论课程节选

So that would probably be de Broglie's answer for why, in fact, we're not observing the wavelength behavior of material on a day-to-day life.

所以那就可能是德布罗意关于,为什么我们无法再日常生活中,观测到物质的波动行为的答案。

麻省理工公开课 - 化学原理课程节选

Edmund Spenser in the Faerie Queene does not bring Sir Guyon with his palmer through the cave of Mammon.

埃蒙德·斯潘塞在《仙后》中并没有让盖恩,带着朝圣者穿越贪婪之神的洞穴。

耶鲁公开课 - 弥尔顿课程节选

He is Lear, Romeo, Oedipus, Tiresias; he has stepped out of a play and even the woman he loves is Rosalind, Cleopatra, never The Dark Lady.

他是李尔王，罗密欧，俄狄甫斯，忒瑞西阿斯;,他从戏剧中走出，他爱的女人是,罗莎琳德，埃及艳后，而不会是黑影夫人。

耶鲁公开课 - 现代诗歌课程节选

There are no arguments in Homer's Iliad or Odyssey. You hear strong and compelling stories but no arguments.

没有辩论存在于荷马的《伊利亚德》,或《奥德赛》书中，你可以读到强烈,与令人信服的故事，但没有争辩。

耶鲁公开课 - 政治哲学导论课程节选

Stephen Jay Gould has a wonderful essay where he discussed this, looking at the evolution of Mickey Mouse from the Walt Disney character.

史蒂芬·杰·古尔德,在一篇很棒的论文中讨论，从沃尔特，迪斯尼公司米老鼠角色,看进化论。

耶鲁公开课 - 心理学导论课程节选

In the eighteenth century, a poet named Mark Akenside wrote a long poem called The Pleasures of the Imagination, and in this poem there is the line "The great creator raised his plastic arm."

在十八世纪，一位名叫马克？阿肯赛德的诗人写了一首长诗,叫《想象的快乐》,诗中有一句是,伟大的造物主举起了他的plastic的手臂“

耶鲁公开课 - 文学理论导论课程节选

If de Broglie is correct, we could then model the electron in its orbit not moving as a particle, but let's model it as a wave.

如果德布罗意是对的，那么我们可以在电子轨道中建立电子模型,不是像粒子一样运动，而是像波一样运动。

麻省理工公开课 - 固态化学导论课程节选

I have shown that by taking Avogadro's number of individual ion pairs and putting them all together in a line, the system's energy became more negative.

我推导出了,从每一个离子对中抽出阿伏加德罗常数,再把它们放在一起在一列中，这个系统的能量就变得更负。

麻省理工公开课 - 固态化学导论课程节选

The language of Homer and of Virgil and of Pindar and of Ovid had become an inextricable part of his literary imagination and of his consciousness in general.

荷马，维吉尔，品达尔和奥维德的语言,成为弥尔顿文学想象还有文学觉悟中,无法摆脱的一部分。

耶鲁公开课 - 弥尔顿课程节选

And so Chudleigh attempts to demonstrate - and this is the passage at the top of the handout - Chudleigh attempts to demonstrate that the Genesis story of Adam and Eve establishes no such thing.

因此恰德莱试图说明,-这是讲义中最上面的一段,-恰德莱试图说明,上帝创造亚当夏娃的故事并不能证明性别地位一说。

耶鲁公开课 - 弥尔顿课程节选

Milton, in fact, soon goes on in Paradise Lost - right after this very passage that she cites, Milton the narrator berates Adam for his overvaluation of his wife through the character of the Archangel Raphael.

实际上，弥尔顿紧接着就在《失乐园》中,-紧接着恰德莱引用的这一段后面，米尔顿这个叙事者通过大天使拉斐尔这个角色,批评了亚当，批评他高估了他妻子的地位。

耶鲁公开课 - 弥尔顿课程节选

It has three nouns, "Fred," "Barney" and "Wilma," and two verbs, "Thinks" and "Likes."

这个例子中有三个名词,"弗雷德","巴尼","威尔玛",两个动词,"觉得"和"喜欢"

耶鲁公开课 - 心理学导论课程节选