• In her debut novel,"Try to Remember," poet Iris Gomez explores the challenges young Latinas struggle with to stay loyal to their families, while becoming independent women in modern American society.

    VOA: standard.2010.07.22

  • How should we integrate that kind of novel with novels that have more formal ambitions?

    我们如何整合这种小说和那些,在形式目标上更明确的小说?

    耶鲁公开课 - 1945年后的美国小说课程节选

  • There are more things, which I won't reveal, that happen at the end of the novel to do with this.

    与此相关的还有其他的事,不过我现在不会和你们说,因为它们在小说的最后才会出现。

    耶鲁公开课 - 1945年后的美国小说课程节选

  • There is a little anecdote from that teach-in that I want to share with you that I think embodies some of the tensions in this novel.

    关于那次讨论会我觉得没有什么好说的,能够体现出小说中的焦虑。

    耶鲁公开课 - 1945年后的美国小说课程节选

  • Would you ever want to sit down to dinner with any of the people in this novel?

    你会不会想和书中的,任何一个人物共进晚餐?

    耶鲁公开课 - 1945年后的美国小说课程节选

  • That's why she produced story after story after story that can be read in these formal ways with these symbols that accrue meaning and deepen and change over the course of the novel or the story.

    这就是为什么她写了一个又一个故事,有着象征意义的形式正式的文章,自然而然地形成某种意义,深刻并改变着小说或故事的发展。

    耶鲁公开课 - 1945年后的美国小说课程节选

  • So this novel, this autobiography, begins with the sense that this boy is in danger from practically the moment he comes into the world, the moment he comes into consciousness.

    这小说,这自传,让人一开始,就觉得这孩子,一生下来,就浸泡在苦水里。

    耶鲁公开课 - 1945年后的美国小说课程节选

  • And for me it's fun because I may not know the novel that you end up picking, and so it is a kind of challenge for me to take a novel that you've chosen and come to grips with it myself It may be one that I know.

    我也觉得很好玩,因为我可能不知道你们最后选择的小说,所以对我来说,认真对待你们选的一本书很有挑战性,可能是一本我知道的书。

    耶鲁公开课 - 1945年后的美国小说课程节选

  • So, with these questions in mind, I want you think about how we can see the novel and how we can think about it in the face of the interpretation that's already layered on to it.

    所以,带着这些问题,我想让你们想一下,在已经有解释的情况下,我们应该如何去看,如何去思考这部小说?

    耶鲁公开课 - 1945年后的美国小说课程节选

  • 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。

    耶鲁公开课 - 1945年后的美国小说课程节选

  • Throbs" is a word that Nabokov brings out over and over again, in multiple contexts, always connected somehow with this novel.

    悸动这个词,Nabokov经常使用,在很多的文章中似乎总与这本小说有关。

    耶鲁公开课 - 1945年后的美国小说课程节选

  • So, I think this is what Pynchon brings to the string of meditations on what language can do, and what the novel is for, that I began my lecture today with, just recapping for you.

    我认为这就是Pynchon带来的对语言,能够做什么和这本书是为了什么的思考,我在今天的开始就说过,现在再提一下。

    耶鲁公开课 - 1945年后的美国小说课程节选

  • Whether that would ever happen, if Pynchon had decided to let us in on the secret, I don't know. Pynchon, instead, chooses to end the novel before that moment, and so we're left with a kind of emptiness.

    如果说Pynchon是想要,让这成为一个谜题的话,那我也不知道,究竟出现了,没有取而代之的是Pynchon选择了,在那一幕之前让小说戛然而止,让我们陷入了,一片空白之中。

    耶鲁公开课 - 1945年后的美国小说课程节选

$firstVoiceSent
- 来自原声例句
小调查
请问您想要如何调整此模块?

感谢您的反馈,我们会尽快进行适当修改!
进来说说原因吧 确定
小调查
请问您想要如何调整此模块?

感谢您的反馈,我们会尽快进行适当修改!
进来说说原因吧 确定