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So, this is Nabokov's beautiful evocation of how writer and reader meet at the summit of this misty mountain of the imagination.
那么，这就是纳博科夫的美好呼唤，是关于读者和作者,如何在想像的巅峰相遇。
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Until you're a proficient reader of a language, writing in our language is a fool's errand.
你只有成为一个熟练的读者，才有可能成为一个好的作者。
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This doesn't happen, but at the same time it's a world of illusion in which the reader lives all too comfortably. Right?
这些不会发生，但是同时这是一个幻境,读者太舒适地生活于其中，对吧？
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What I want you to notice first of all is the kind of reader that's being invoked here for that modernist classic Ulysses.
首先希望你们注意到的是,所有开始阅读现代主义经典,《尤利西斯》的读者。
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Fish imagines Milton as always on some level slapping the reader's wrist, reminding the reader of his or her fallen-ness, that there's a constant pedagogical correction going on.
费什想象弥尔顿总是在某种程度上斥责着读者们，提醒他们自身的堕落，并且诗中有一种持续的教育性的纠正在重复出现。
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If you have a Text-to-Speech Reader, and it comes across a website that has graphics Most likely it`s not gonna be or would like to read the graphics.
当你使用文字阅读器，遇到网页中的图片时,很可能阅读器,没办法读出图片来。
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In general, good programming style says you put in comments that are going to be valuable in helping you as a reader understand what's going on inside of the code.
通常来说，优秀的编码风格意味着,你要放进去的注释,在帮助代码阅读者,理解代码内部,是怎么工作的。
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It's just fascinating as a reader and an interviewer to be taken into other communities.
做个读者或者采访者确实很有吸引力,因为你能进入别的群体当中。
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Maybe it's an invitation to the reader to recognize that there is a better argument here than even the characters in the drama have noticed.
也许是要邀请读者,来辨别出,还有更好的论证,甚至连剧本里的人都注意到了。
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I should note that last time I taught the course I used the Marcus Reader, and when Professor Marvin Chun taught his course last semester he used Peter Gray's 5th edition textbook.
告诉大家一个小秘密,上一期课我用了,我指定的教材是马库斯的读本,上学期马文·春教授指定的是,彼得·格雷的第五版教材
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Now if this is the case, it seems to me that one has found a loophole in Gadamer's conservatism about what the reader can do.
如果是这样的话，我认为大家在葛达玛对,读者理解能力的保守主义论中,能找到一个漏洞。
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She's not just a reader; she's someone who actually performs research.
她不仅仅是一个读者，也是真正做研究的人。
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He's introducing the reader to a mode of vision different from the vision typically permitted him from within the poem's more or less straightforward, linear, narrative boundaries.
他在向读者介绍一种不同于这首诗里,直白的线状叙述的界限,或多或少已经容许他，显露出的设想有所不同的先见之明。
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We have to image the relation of the female Osiris with the implicitly male reader's search for his lost lover, which is the feminine Truth.
我们不得不想象到这段关系，女性的欧西里斯和,男性读者对他失去的爱人，女性真理的含蓄地追寻。
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Milton wants the reader to know that she's fallen, we are all fallen, and any problem that we have in understanding the theology of heaven and hell is our problem as fallen readers.
弥尔顿希望读者认识到她在堕落，我们也在堕落，以及我们在理解天堂中遇到的任何问题,以及地狱式我们这些堕落了的读者们的心魔。
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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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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。
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What's the relationship between the writer and the reader?
作者和读者的关系是什么？
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It's this line, "And with forc'd fingers rude" - this is called a broken line or a half-line, and this broken line has been read, I think, rightly as Milton's indication to his reader that he's not even up to the task of writing a sonnet at this point.
是这句，“我不得已伸出我这粗鲁的手指“,-这叫做断裂句，或者半句，将这句理解为,弥尔顿向读者暗示他此时甚至,还不能写好十四行诗是正确的。
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When Milton opens Lycidas with that phrase, "Yet once more," one of the things that he's telling the reader is that ; yet once more he'll be making the same argument for unreadiness; the same argument for nervous anticipation that he'd made a number of times before.
当弥尔顿用那句“然而再一次的“开始的篇章时“,他要告诉读者的是,他会再一次的对诗中的迟疑作出相同的论述;,和他之前无数次作出的,关于不安的预知的，一成不变的论述。
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I'm convinced that it's the reader's job to apply the same degree of critical scrutiny, a kind of Galilean critical scrutiny, to the image of Providence that will be elaborated, as you will see, at extraordinary length in Book Three of Paradise Lost.
我相信，把同等程度的细致的挑剔的观察,一种伽利略式的吹毛求疵的观察精神，运用到对将要被详细说明的天命的形象上去，是读者该做的事，你们往后会发现，卷三里洋洋洒洒写了很多。
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Iser's understanding of gapping the spark plug is a much more bold affirmative of the imaginative powers of the reader, a much more bold process than the hesitant conservative process suggested by Gadamer.
伊瑟尔火花塞间隙的见解,更加肯定读者的能力，比葛达玛倡导的保守程序,更加大胆。
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First of all, Empson doesn't really kind of settle into - a sense that it's all about the reader-- that is to say, that it's all about the reader's experience of the literary.
首先，Empson并没有真正,从读者角度考虑问题-,也就是说,没有从读者的文学经历上考虑。
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One of the labors of reading Paradise Lost is the reader's obligation to supply the analog for the X, and this poem is filled with such X's.
读的一个麻烦就是,读者需要自行类比出X究竟是什么，偏偏诗中又充满了这种不确定物。
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