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He's going to try to give us a living prose, but this is the end against which it finds itself pressed.
试图给我们一部活生生的作品，但是这中留白成了,他最终努力的结果。
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And in that class, we study great works of western philosophy, like going back as far as Plato through Aristotle,
在这门课上，我们学习西方哲学的伟大作品，比如说通过亚里士多德讲到年代久远的柏拉图，
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What did we lose in our understanding of it as a literary object when the second half was not published?
将它置于文学作品之列来理解时,我们失去了什么？,书的后半部分没出版时？
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no surprise] as we refer to the objects they are meant to present - a defect in a literary text."
当我们讲到它们所想要表现的东西时,但这正是文学作品的一个缺点“
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And this confusion, I think, has everything to do with the fact that this is no ordinary moral that we have in this work of literature.
我认为这种惶惑，是跟一个事实有关的,就是在这部文学作品中没有我们的普通道德。
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The presumption is that they all reward and demand a certain amount of close reading.
我认为这些诗人及其作品是值得,我们去细细品味并进行深入的阅读研究。
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I really, really need you to read that before the next class, and I want you to read it critically.Kaufman's ideas are important, but they are also overstated, and so they're going to be interesting for us.
我非常非常需要你们在下一次课前读完，要带有批判性的去读，考夫曼的思想是很重要的，但也有夸张的成分在里面，所以阅读他的作品对我们来说是很有趣的。
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We can often better understand the dialogues by seeing Socrates as putting forward certain positions that he does not think are altogether adequate.
通过了解那些由苏格拉底提出,但他自己也觉得不充分的观点,我们可以更好地理解这些对话作品
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In Ekman's work, he presents us with instructions on how to make different faces and identify faces.
在艾克曼的作品中，他给我们指导,怎样做不同面部表情并去区分他们。
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We had to be taught how to read him, how to understand him.
我们得通过学习才能理解他的作品。
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Okay. So here's a waltz by Richard Strauss not to be confused-- no, excuse me, by Johann Strauss not to be confused with Richard Strauss whom we heard last time.
这是理查·施特劳斯的一首圆舞曲,别搞错了,不对,不好意思,是约翰·斯特劳斯,别和理查·斯特劳斯的搞混了,我们上次听过他的作品
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In this final moment, are there, in your work, a few names of people who we should be looking at or books that we should be reading that you wanna recommend outside your own work?
在节目的最后，您作品中有没有提到一些人物,我们应该关注？,或者是我们应该读的一些书,您想在您除过自己的书之外推荐给我们的？
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That's not what Welles wanted He wanted to examine the myth of the past, even the rest of being a little nostalgic about the whole stuff, and to build the work of art, so we can live with that.
这不是威尔斯想要做的,他想检验过去之谜，甚至对这一切,和创作艺术作品，有一点怀念,所以我们可以生活在他的艺术里。
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Could you tell us about your favorite author? Which works do you like the most?
能跟我们说说你最喜欢的作家吗？你最喜欢哪部作品？
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You want to think about how much attention and primacy we should give to an author's statements about what her work mean--as readers.
对于作者对自己作品的阐述和说明,我们怎么注意,怎么给予优先度也不为过。
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Meaning is in the intention of the author, and that is what we need to arrive at as we work through the text.
含义在作者的意图之中，也是我们在读这个作品时需要领会到的。
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It's a misnomer, but the historical transmutation of Milton's title we have to take as instructive.
这是一个误称，但弥尔顿作品标题的历史变化,对于我们来说是有教育性的。
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So, therefore, we must take up, he suggests, an ascetic path,engaging only, as he says, in "those works" that are fit "for such men as come proud, open-eyed" and laughing to the tomb.
因此我们必须采取，如他所说，一条美学的道路，这些作品只适合于,对那些骄傲的、睁着眼笑嘻嘻“,走向坟墓的人。
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and we'll have to do this next week -- to how this release actually works.
下周我们会这样做，作品中是怎么写的。
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in his great depiction of hell in Books One and Two) to avoid the standard epic scenes of the torture of the damned, for example, with which we're familiar if we've read Homer or Virgil or, of course, Dante much later.
在他第一和第二册书对地狱的精彩描述）,去避免提及传统史诗中关于恶者被折磨的场景，例如我们所熟悉的那些场景,如果我们读过荷马的，维吉尔的，当然还有但丁的作品。
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We'll revert especially to the notion of "pushing" in other contexts later in the course, but for the moment you can see the way in which there is a tension between that which pulls and that which pushes which is one of the motive forces of the story.
以后我们会在,其他作品中回归“推“的本意，但是现在我们能看得出来,在推和拉之间有一种张力,这也是整个故事发展的动力之一。
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Okay. So that's a duple meter piece and what we're trying to do here is just hear if we've got one strong and one weak beat or one strong and two weak beats.
好的,刚才是一段二拍子的作品,我们在这里做的,就是去听,是不是有一强一弱,或者一强两弱的拍子
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I can only imagine though, at this point in the semester, what will become Milton's eventual championing of marriage is pretty hard to imagine, in part because we're just devoting our second class to a literary work given almost entirely to the virtue of chastity.
然而我只能认为，在学期的这个时候，什么将成为弥尔顿婚姻的最终捍卫者,一定难以想象，一部分是因为,我们的第二节课一直在讨论,关于贞洁的美德的作品。
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Milton will only use the word career once in his poetic oeuvre and it comes -- it will come pretty soon, actually, in Sonnet Number Seven.
弥尔顿在他的全部诗歌作品中只用过一次事业这个词,我们马上就会看到，在十四行诗的第七行。
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We have to read--poor Lynda has to take this kind of stuff— reading Aristoxenus and things like this.
我们必须去阅读,比如我们可怜的琳达,亚里士多塞诺斯之类的作品
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Next time, we're turning to a very different kind of writing, a writing equally preoccupied with its relationship to the world, to life, but very differently approaching that problem.
下次，我们将关注一部完全不同的,作品，一部同样让人着迷的，与生活和世界以完全不同的,方式产生关联的作品。
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By the same token, there is the work of Roland Barthes and some of his contemporaries--Poulet, whom I mentioned, - Jean Starobinski and others-- that was called in the French press La Nouvelle Critique.
同样的，罗兰巴特的一些作品,还有很多和他同时期的人，比如我们提到过的乔治普莱，让·斯塔罗宾斯基，还有其他人的作品-,也都被当时的法国媒体称为“新批评“
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It was probably produced there in the eighth century, and that is supported by the fact that Deuteronomy has affinities with the writings of some prophets we'll be looking at later from the Northern Kingdom of the eighth century, such as the prophet Hosea, and we'll see this when we look at Hosea's writings.
它也许是在八世纪产生的，这被,申命记与一些先知的作品的紧密联系,这个事实所支持我们稍后会从八世纪的北部王国,开始仔细的讲，例如何西阿先知,我们会在学习何西阿的作品时学习它。
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That's a very common practice in later Israelite historiography, and he says it's happening here already. And I'll be referring quite a bit to Weinfeld's work as we talk about Deuteronomy.
这在以色列人的历史编纂中是很常见的，而他认为这里就正在使用这种方式我们将在讨论申命记,时一直提到Weinfeld的作品。
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