是奈保尔告诉他的传记作者French的。
第三部分是对奈保尔小说的叙事文本机制的研究。
Chapter Three focuses on textual mechanism in Naipaul's novels.
后街的一切让人想起奈保尔《米格尔街》中的人物。
People in backstreet will remind us of the characters in Naipaul's novel "Miguel street".
《幽暗国度》是奈保尔首次印度寻根之旅的真实记录。
An Area of Darkness is the record of Naipaul's first roots-seeking visit to his motherland.
论文探讨了奈保尔三篇有关西印度群岛的作品中的模仿主题。
This article discusses the "mimicry" theme in V. s. Naipaul's three works on the Caribbean islands.
这种无底线的自恋，和他不肯妥协的深刻远见，是奈保尔文学魅力的关键。
And yet this bottomless narcissism, together with the uncompromising intensity of his vision, holds the key to Naipaul's literary power.
作为被殖民者中的一员，奈保尔的精神历程是典型而又深刻的。
As one of colonized persons. Naipaul 'spiritual experience is representative and profound.
多年来，当奈保尔的文学声名伴随他暴躁的性情而增长时，他的婚姻陷入困境。
Over the years, as Naipaul's fame grew along with his irascibility, the marriage desiccated.
但在奈保尔的作品中，读者可发现这些模仿是多么可笑和不切实际。
However, in Naipaul's works, the reader can find that the mimicry is very ridiculous and impractical.
可以说没有旅行就没有奈保尔，旅行成为他人生和艺术的呈现方式。
That is to say, tours are the making of himself. Tour is his method to reproduce life and art.
当Pat得知奈保尔的出轨后，她重拾多年来断断续续写日记的习惯。
When she learned about her husband’s affair, Pat resumed a diary that she had kept intermittently over the years.
《魔种》是英籍印度裔2001年诺贝尔文学奖得主奈保尔的封笔之作。
Magic Seeds is the last powerful novel of V. S. Naipaul, a British-Indian novelist who won Nobel Prize in 2001.
奈保尔这些以往的获奖者不同，米勒女士在德国文学圈外基本不为人所知。
S. Naipaul5), Ms. Müller is a relative unknown outside of literary circles in Germany.
1970年代初，40岁、已出版了12本书的奈保尔，生活和工作一并走入死胡同。
By the early 1970s, age 40 and with a dozen books already behind him, Naipaul had reached an impasse in his life and work.
奈保尔的《米格尔街》描写的是米格尔街上的一些卑微的小人物的喜怒哀乐。
V. S. Naipaul's Miguel Street described all the emotions of humbles at Miguel Street.
和Margaret一起得到的感官释放，开启了奈保尔1970年代最富创造力的阶段。
The sensual release with Margaret opened up Naipaul's most creative period, in the 1970s.
引用的米歇尔·福柯和v.s.奈保尔关于记忆和意识的铭文，提示了该如何阅读这部小说。
The epigraph, quotes from Michel Foucault and V.S. Naipaul about memory and consciousness, suggests how the novel should be read.
这场精神危机使奈保尔堕入后来被他称为“濒临疯狂的意志消沉”中，持续了18个月。
This crisis plunged Naipaul into what he later called "a great depression verging on madness" that continued for 18 months.
但当两人一结婚、奈保尔开始出版他的早期作品后，权力的天平便迅速倒向了奈保尔一边。
Once they married and Naipaul began to publish his early books, the balance of power shifted decisively to him.
坚持记日志的奈保尔，直到这时，仿佛第一次看到他妻子的存在，“我问她：‘你幸福吗？’是的。
Naipaul, keeping a journal of his own, finally sees his wife as if for the first time: “I to her: ‘Are you content?’ Yes.
第二章分析在无家可归的“文化旅行”中，奈保尔形成了一种独特的文化人格和思维方式。
Chaper2 analyses in detail Naipaul's peculiar cultural personality formed by his homeless "cultural traveling".
在英国，奈保尔又一次感受到双重移位（印度人，特立尼达人）的痛苦，再一次成为了流亡者。
When living in England Naipaul is once again a two-displaced exile experiencing alienation and strangeness as the consequence of displacement.
用小说家v.s.奈保尔的话说，他们是“半成品社会”，纠结于不再可用的历史和还未达到的未来之间。
They are, in novelist V.S. Naipaul's expression, "half-made societies," trapped between a no-longer-usable past and a not-yet-accessible future.
奈保尔通过对景物机制和空间机制的调控与把握，深化了作品的主题意蕴，形成了独特的风格。
Naipaul deepens the theme implication of his stories and results in a particular style by regulating scenery mechanism and space mechanism.
维·苏·奈保尔最近对女性作家的评论——她们永远无法可与他匹敌，因为她们太过感性、视野狭窄——此刻被彻底否定。
V.S. Naipaul's recent comments about female authors-that they can never be his equal because of their "sentimentality, and narrow view of the world" -are debunked here.
奈保尔的出生地西印度群岛的文学文化传统赋予他文学创作的起点和立足之点，其作品也成为该传统的一部分。
Naipaul is endowed with a starting point as well as a standpoint by the cultural and literary tradition of his birthplace, West Indies, and his works also become a part of this tradition.
奈保尔的出生地西印度群岛的文学文化传统赋予他文学创作的起点和立足之点，其作品也成为该传统的一部分。
Naipaul is endowed with a starting point as well as a standpoint by the cultural and literary tradition of his birthplace, West Indies, and his works also become a part of this tradition.
应用推荐