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So, it has a quality that is different from Humbert's elaborate world view through which we see or don't see Lolita.
所以它有一种不同于亨伯特的精制世界观的特质,这在洛丽塔里也许出现过。
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We'll have another version of this when we think about Lolita, which in your edition has an essay at the end called "On a Novel Entitled Lolita."
当我们思考《洛丽塔》时,会有另一个版本，在你们手头的书后有篇短文,“一本名为《洛丽塔的小说》“
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It doesn't really mitigate against the confinement he has perpetrated on Lolita.
它没能减少,亨伯特对洛丽塔的限制。
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Never go back. Find another. Leave at once. Go for a long trip again, but this time we'll go wherever I want, won't we?" I nodded. My Lolita.
绝不会去，另找一所学校，马上走，再去长途旅行，不过这次去我想去的地方，好吗？“我点头，我的洛丽塔。
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A little later of course she, this nouvelle, this Lolita, my Lolita, was to eclipse completely her prototype.
当然片刻之后她，这个洛丽塔，我的洛丽塔，便要彻底遮蔽她天体的原色。
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In section please bring Lolita. I think you're going to spend most of your time talking about Lolita.
下次课上请带好洛丽塔,我想你们可能得花大部分时间讨论洛丽塔。
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So, here are at least three examples of canceled children, and you can use that phrase, I think, to characterize Lolita. She is a canceled child.
那么，这里至少有三个被忽视的孩子的形象，我想你们,也会用这个词去描述洛丽塔，她也是一个被忽视的孩子。
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In Lolita the vision of America is minute; it's detailed; it's concrete.
洛丽塔》中美国的景象是微小细腻，然后有混凝土的感觉。
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This is one thing I find striking about those memoirs, but it's an interesting thing to ponder as we think about Lolita.
我觉得这非常有趣，就像lolita一样值得我们思考。
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Now, I want to look at page 231, 232. This is one of those passages that Nabokov points out as being special to him. This is Lolita playing tennis.
现在让我们跳到231，232页，这是纳博科夫提到的,对于他有特殊意义的一段，它描述了洛丽塔打网球的场景。
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How is that structured? So, think about that as you start to read Lolita.
它的架构是怎样的？当你开始读洛丽塔时，想想这些问题。
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Lolita, light of my life, fire of my loins. My sin, my soul.
我生命之光，我欲念之火，我的罪恶，我的灵魂。
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that after Lolita.) But what I mean is that the reader must know when and where to contribute his imagination, and this he does by trying to get clear the specific world the author places at his disposal.
有些人可能就会那样想）,但我的意思是,读者必须知道何时何地需要发挥想像力,这样以看清作者所设置的特定的世界,在这篇小品文中。
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Look out!" Some ten paces away Lolita through a glass at a telephone booth, membranous god still with us, cupping the tube confidentially, hunched over it, slit her eyes at me, turned away with her treasure, hurriedly hang up and walked out with a flourish.
注意！“十步开外洛丽塔透过电话间的玻璃正用手,握着话筒，万分信赖的说着什么，她的目光扫到我，拿着她的宝贝转过身去，急忙挂上，一个戏剧性的夸张动作，走了出来。
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And what does it mean to be an American in this novel? So, that's the question I'd like to take up today first. Coming from Lolita, the vision of America in On the Road looks quite different.
这对于小说里你是一个美国人又意味着什么？,这是我今天想让你们思考的第一个问题，《洛丽塔》里，描写的美国景象非常不同于《在路上》之中的景象。
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And the butterfly does appear in just one moment, and it's during the tennis scene. As Humbert and Lolita play, there is one butterfly that flits between them. It's a mark of their equality as artists in that moment.
那蝴蝶曾经在短短的一瞬出现过，那是,在那个打网球的场景里，当亨伯特和洛丽塔打球的时候，一只,蝴蝶从他们中间飞过，它标志着他们在那个时刻是艺术家。
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On 223 we find out that Mona, Lolita's friend from the play, her baby sibling--we're not told whether it's a boy or girl--dies, and we see it in one of those parentheticals, 223. This is Mona's letter.
在223页我们发现莫娜，洛丽塔在演出中认识的朋友，她未出世的,我们不知道是弟弟还是妹妹,死去了，我们在一句附言中,发现了这一点，223页。
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In our hallway, ablaze with welcoming lights, my Lolita peeled off her sweater, shook her gemmed hair, stretched towards me two bare arms, raised one knee. "Carry me upstairs, please. I feel sort of romantic tonight."
在自家的门厅里，欢迎的灯光大亮，洛丽塔脱下,套衫，摇摇晶光闪亮的头发，向我伸出两只裸露的胳膊，抬起一直膝盖：“请抱我上楼去，我觉得今晚有些,浪漫，“
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So O'Connor is giving us a version of the road, and I want you to keep this in mind because of course we're going to read On the Road, and we are going to see a major road trip in Lolita, actually two of them. So the iconography of the American road is something that is going to come back to us.
奥康纳让我们看到了一种版本的路，我希望你们将它在心里,因为我们肯定要读《在路上》,也会在《洛丽塔》里,看到一次重要的公路旅行，事实上，是两次,之后我们还会看到。
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His terms are very much informed by a modernist sensibility of what literature is all about-- and I'm going to say more about what that is when I lecture on Lolita--but it's very much in contrast with that Ulysses ad. " Don't identify. It's not about you.
他的方式都是通过对文学的,现代主义式鉴赏来表达的,我在讲《洛丽塔》时会再详细说明,这和《尤利西斯》的广告有很大不同“,“无须认同，那与你无关，那是关于其他事情的”
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The question of the relationship between the person and the aesthetic in Lolita is going to be at the heart of my overarching argument about the novel.
而这个男人和《Lolita》的美二者关系,将成为我们探讨这部小说的,主要核心。
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This is going to be an important question for us as we think about what happens to Lolita over the course of the novel.
这将是除了《Lolita》的内容外,在我们分析Lolita的际遇时的很重要的问题。
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This is another thing to notice. He's not just making us experience Lolita's name the way he does; he's assuming that there are certain kinds of questions that we will ask. "Did she have a precursor?"
这也值得注意，他不仅让我们体会,他感知到的Lolita的名字，他想象出了,我们可能会提出的问题，在她之前还有别人吗“
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So, I'm going to ask you to read the afterword, " On a Book Entitled Lolita." When you read that, you'll notice that the word "throbs" comes back.
所以，我希望你们去读一读序言“,在那本叫Lolita的书上，当你们读的时候，你们对再看到悸动这个词。
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And as you read Lolita, try to notice how much light imagery there is.
你们读Lolita的时候，要注意用的关于光的比喻。
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Is there any way to access the subjectivity of Lolita herself?
我们能知晓Lolita她自己的主观世界吗？
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As the essays move chronologically--they were written over a period of time--as the essays that were written near Lolita come into the book, that word appears, also, describing various things.
正如随笔是按时间顺序走向的，它们也是,有时间顺序的，随笔写的时候Lolita刚刚发表，那个字出现了，描绘了很多事情。
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He is not a gentleman. But how magically his singing violin can conjure up a tendresse, a compassion for Lolita that makes us entranced with the book while abhorring its author.
他不是绅士，但神奇地他的小提琴声,能召唤出对Lolita的宠爱和同情,那让我们对这本书着迷，同时却在憎恨着作者。
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So, he combines this very attentive set of details, which are not always, and often are not at all, the aesthetic details with which Nabokov filled Lolita.
所以你可以在报纸上找到他在书中谈到的广告，他结合了这些在Nabokov的《洛丽塔》中，不怎么具有审美趣味的细节。
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And I want to show you one more example of that, in the scene where Humbert and Lolita have reached the hotel, the Enchanted Hunter. This is on page 118 near the bottom.
我想再举一个例子，就是亨伯特和洛丽塔,到达Enchanted，Hunter，饭店的那场，这在118页下面。
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