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That's how this advertisement represents critics, even though it also invokes critics to describe what's powerful about the novel.
这就是广告对批评的描述，尽管如此,它还引述批评家的话来衬托小说的出色之处。
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Then, when we open up the front, we see the author's note to the second edition, and this was something O'Connor added to the novel in 1962.
然后当我们打开书的前几页，会看到作者对第二版的注解，这是奥康纳在1962年加上去的。
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So this is a piece by Strauss where he's trying to resurrect the content, or mirror the content, of a philosophical novel by Friedrich Nietzsche, Thus Spoke Zarathustra, and it's about the unleashing of human capacity as it comes forth from the primordial earth here.
通过这个片段,施特劳斯正试着,重新诠释或者再现弗里德里希·尼采,的哲学著作查拉图斯特拉如是说的内容,这部作品是关于人类能力的释放,时间设定在人类从原始的世界出现之后
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Yeah. A lot of attention to physical detail and physical movement,and that's connected to this point about confined spaces. It's the movement of bodies within confined spaces that really preoccupies this novel.
嗯，很多的注意力放到了肢体上的细节和,肢体上的运动，这和限定的空间有关,就是这个在限定空间里的肢体运动,让人迷上了这部小说。
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But, to anyone paying attention to the other things that Zooey says and the other things that he does in this novel, this is kind of odd, and it's hard to square.
但是，在小说里，在意着任何,左伊说的或做的其他事情的人，有点奇怪，非常难达成一致。
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All the women in Dean's life call him to the carpet and tell him of all his sins. That's a sad moment in the novel, a moment of difficulty, a moment of specificity also.
所有在迪安生命里出现的女人都向他,斥责他所有的罪恶，这也是小说中悲伤地部分，是困难的时刻，也是专属于他的时刻。
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it's a kind of feminized, mincing approach to the novel.
是一种女性化，装腔作势地接近小说。
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Inutile loveliness" is kind of the key word of Nabokov's technique, and he says the novel has as its only purpose to provide aesthetic bliss. So, here is inutile loveliness coming just from seeing the landscape as a stranger.
无用的可爱“是纳博科夫技巧的一个,关键词，他说小说只有一个目的，那就是提供,美学狂喜，所以这里的“无用的可爱“,是把风景当做一个陌生人看待。
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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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There is a whole mystical objectification of these people that's going on, that's allied to the religious strains of this novel, which I'm going to pick up again a little bit later on in my lecture today.
在此有将这些人的神秘感对象化，客体化，这也为小说增添了一些宗教色彩,关于这一点我还会在今天课堂的后部分中提到。
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Now, on Monday you're going to hear about this novel's confrontation with the idea that art could be saving, that it could somehow be redemptive, but here I think is a hint that it's something that the novel simply laughs at hollowly.
星期一我们将会将到这部小说对,艺术已经被拯救，某种程度已经被救赎这个,观点的对质，但我想提示大家一下,那只是这部小说空洞嘲笑的观点。
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