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Derrida famously, notoriously, said "there is nothing outside the text," right? What he meant by that, of course, is that there's nothing but text.
德里达著名地，恶名昭彰地，说道，文本之外什么都没有“,是吧，当然，他意思就是说，需要考虑的只有文本。
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Could I have a show of hands of people who are planning to buy the text but haven't done so yet?
你们能举下手吗，那些,正打算买书，但还没有买的同学？
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In other words, the text is what makes the ascertainment of meaning possible and available to us, but meaning is not in the text.
换言之,作品才是使含义得以传达的必要条件，但含义又并不在文本里。
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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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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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I'm going to use my own special program that will color code things for me in class, but the idea is the same; it's a text editor.
我将用我自己专门的程序,那个会分类为我标出代码的颜色，但是那个思想是一样的，这是一个文本编辑器。
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But we're going to basically not rely on any specific text.
但是我们基本上不会依赖课本上的,任何具体段落。
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But the roles are reversed in the following passage, and this is where the text blows hot and cold.
但是在接下来的文章中角色互调了，这是文中描述冷热无常的情景。
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There's still a lot more of the text and so that first fragment a part, but I immediately begin to form an opinion about this part with respect to an imagined or supposed whole.
文本中的很多还没有读，但是那第一个片段成为了一个局部，但是我立即对这个局部有了自己的想法,并且开始设想全文。
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But if you have the first edition of the text, 02 go to Fall Term '02 and it will show you the earlier translations.
但是，如果你有这本书的第一版，去秋季学期2,它会向你们展示早期的翻译。
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nd this convergence can never be precisely pinpointed, but must always remain virtual, as is not to be identified either with the reality of the text or with the individual disposition of the reader."
而我们永远无法指出，“…,这种会合的确切位置，这个空间会一直以虚拟形式存在,不论是客观的文本,还是带有个人特征的读者都无法辨别它“
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I'm going to say, "Ah, this is just what the text means," but at the same time, I'll be finding ways, without realizing it, of affirming certain kinds of meaning and discrediting certain other kinds of meaning -all the while saying, "Oh, it's just meaning. I'm not doing that."
我将会说，“啊哈，这就是作品的意思“,但同时，不必实现它，我会找到方法，来肯定一些意思,并怀疑另一些意思,同时说，“哦，这只是意思而已，我不会做那样做“
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And then at the words you can see-- well, maybe you can't see -but the text is "On that terrible sorrowful day" -we have the words--where is it?
然后大家在歌词部分能看到,这个,可能大家看不到,但歌词是"在可怕,悲哀的那一天",我们有歌词的,它在那里呢
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In Genesis 6--I mean, the text you pointed out is a good one but even better, go look at Genesis 6 where you have these nephilim, these divine beings who descend to earth and they mate with female humans.
在《创世纪》的第六章，也就是你们指出来的很好的一章,去看，你们会看到这些伟大的神灵，这些神灵降临凡间，与人类女子结合。
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But at times the result of their effort is a deeply conflicted, deeply ambiguous text.
但有时，他们的成果,在深处是矛盾的，模糊不清。
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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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It's neither in the text nor in the reader but the result of the negotiation back and forth between the text and the reader, he says, that sort of brings the literary work into existence in a virtual space.
它不在文本中，也不在读者的视域中,而在反复阅读文本和读者的视域之中，他说，那样会把文学作品,放到一个虚拟的空间中去。
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Wow. What a run, but it's all kind of text depiction here.
多棒的跑句啊,不过它像是对歌词的解读
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So Mozart may have had this image in mind of the damned and the left, but he sure was able to set it--this text-- through music by using a couple of devices.
因此莫扎特脑海中可能记住了,左侧受诅咒的人的画面,但他肯定通过若干乐曲技巧,用音乐表现出了文本内容
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