That is to say, what we're taking up this week, is as much really the history of criticism as literary theory.

也就是说，我们这周要讲的，与其说是文学理论，不如说是文学评论的历史。

耶鲁公开课 - 文学理论导论课程节选

And wilderness experience allows us to step back, and say were we really or not in control of all this as much as we think we are.

野外的体验让我们缓慢了脚步，来看一看我们是否真的控制着一切,如同我们所想的一样。

普林斯顿公开课 - 人性课程节选

He was want to say that if he had read as much as other men, " he should have known no more than other men."

他曾经说,如果他和别人读的书一样多，他就应该知道得和别人一样多“

耶鲁公开课 - 政治哲学导论课程节选

As I say, the common picture is pretty much mistaken from start to end.

就像我说的，那个普遍观点从头到尾都是错的。

耶鲁公开课 - 死亡课程节选

All right, that's as much as I'm going to say for preview right now.

好了 暂时就先介绍这么多

耶鲁公开课 - 博弈论课程节选

He's interested in the way in which a reader can come to terms with a meaning conveyed by a text, and that much, as I say, despite the profoundly different nature of their projects, Wimsatt and Gadamer have in common.

他只关注读者如何明白,文章的意思，而这也就是，我所说的，文萨特和葛达玛的共同之处，即是他俩在某些领域有本质上的差别。

耶鲁公开课 - 文学理论导论课程节选

That's because to suggest -- just think of it - to suggest that Milton is relying on his memory as he composes so allusively and so dependently, in a lot of ways, so much of Paradise Lost - to say that is simply to say that the poem has been generated by Milton and not by God.

让我们来设想一下其中的原因吧,假设弥尔顿全靠着他的记忆,正如他隐晦而连续地在《失乐园》中引经据典，并将这些以多种方式组合，这在《失乐园》中随处可见,以至于人们可以简单地说这部诗,是出自弥尔顿而非上帝的创作。

耶鲁公开课 - 弥尔顿课程节选

He has much the same function and to some degree much of the same personality as what we would call a modern day CEO, that is to say there is a kind of anonymity and impersonality about the sovereign.

在一定程度上讲,他有着我们今天所谓的CEO的,一些义务和特性，也就是说,君主兼有一种非人格化的特性。

耶鲁公开课 - 政治哲学导论课程节选