詹姆逊自己也提醒我们这其中的危险。
实际上，在所有的译本中，詹姆逊最好的保留了瓦格纳的音调。
In fact, of all the translations, Jameson's comes closest to preserving Wagner's tone.
论文第二部分总结了詹姆逊对后现代主义文化特征的分析。
Part two summarizes Jameson's analysis of the characters of post-modernism on culture.
这正呼应了詹姆逊主张重新开辟文学研究的历史途径的思想。
This is Jameson'thoughts that he will reopen a way to study literature.
在历史和文本的联系中，论文梳理了詹姆逊文化阐释诗学的路径。
In the connection of history and text, the path of Jameson's poetics of culture and hermeneutic is generalized.
为詹姆逊甚为自得的三个同心圆阐释框架内部也存在着不少的漏隙。
There were also much leakage gap within the interpretation framework of three concentric circles which was cherished by Jameson.
这首先是詹姆逊对时代脉搏的敏锐把握，但这引发了一系列的问题。
This was the keen grasp to the pulse of the era firstly, but it triggered a series of problems.
后现代主义平面模式说是詹姆逊后现代主义文化研究思想的主要表现。
The theory on postmodernism plane is the main manifestation of Jameson's postmodernism culture study.
最后，詹姆逊打通了历史与文本，形成自己的文化阐释系统：三个同心圆。
Finally, Jameson connects history with text, and constructs himself culture and hermeneutic system: three concentric circles.
正如詹姆逊所说，第一层次的这两种危险，是结构主义的危险，和庸俗唯物主义的危险。
As Jameson says, these two dangers at the first level are the danger of structuralism and the danger of vulgar materialism.
在笔者看来，詹姆逊的文化转向理论包括三个层面：其一是视觉文化转向。
In author's view, Jameson's the culture turn theory include 3 aspects. First is the popularity of vision culture.
为了消除这种空间带给人们的悲观主义，詹姆逊引入“认知绘图”这种理想模式。
For dispelling the pessimism of the people this space causes, Jameson introduces such ideal mode of "cognitive mapping".
好，这些都展现了詹姆逊的美学，他对浪漫的重要性的认识，贯穿了，他对这三个层次的分析。
All right. So that, then, just to show how Jameson's aesthetic, his sense of the importance of romance, can be seen to pervade the way in which he understands analysis at all three of these levels.
正如詹姆逊所说，认为这些生产方式，交替出现的危险在于，每一个生产方式，都好像是同步的。
It's understood that the danger, as Jameson puts it, of thinking in terms of a succession of modes of production is that each one of those modes of production might seem like a synchronic moment.
今天，我们讲述两个女人谁帮助改变了体育界，高尔夫球和篮球教练贝蒂詹姆逊凯佑。
Today we tell about two women who helped change the world of sports, golfer Betty Jameson and basketball coach Kay Yow.
詹姆逊举了一个很好的例子，因为这些矛盾的神秘之处部分在于，它们通过共有的编码来展现自己。
Jameson gives a very good example of because part of the mystery of these clashes is that they always present themselves within a Shared code.
对于詹姆逊使用的为数不多的陈旧过时的话(很多情况下重复使用)已在每本的最后一页作了汇总。
For the handful of archaic words which Jameson USES (USES repeatedly, in many cases), a short glossary has been provided on the final page of each libretto.
詹姆逊的理论“华美”而庞杂，也有不少逻辑漏隙——对漏隙的追问在研究中普遍欠缺。
Jameson's theory is magnificent, numerous and jumbled. It also has much logical leakage gap which are seldom questioned closely in the study.
作为其中思索之一的笔者，试图在当前“文化研究”的语境中剖析詹姆逊的文化转向理论。
As author that consider among them, attempt in linguistic context on "culture study" analyze Jameson's the culture turn theory.
詹姆逊的英语不会比莎士比亚更难以理解，许多莎士比亚的读者认为詹姆逊的写作是现代式的。
Jameson's English no more incomprehensible than Shakespeare's, and few readers of Shakespeare insist that his writing be modernized.
至于饱受批评—这些批评武断而难以理解—的詹姆逊采用的文字则完全可以参考瓦格纳的德语原著中的字眼。
Most of the criticism against Jameson's text —that it sounds artificial and is hard to understand —could just as easily be (and indeed is) leveled against Wagner's original text in German.
因此詹姆逊列出了这些人物，将他们作为，现代形式下的现实主义产生的，并非按时间顺序排列的标志性人物。
It's in that context that Jameson is dropping these particular names non-chronological markers of the emergence of realism in its modern form.
詹姆逊在这篇文章中批评了这种方法，用这种方法，我们能够得出,没有事情发生在Neato和Speedy身上的结论。
Now a reified realist approach to Tony, the kind that Jameson criticizes on the sheet, would point out that nothing happens to Neato and Speedy.
最常见的批评是它旧式的表达方式，这使得它很难理解，以及它老式的风格，詹姆逊采用的是与瓦格纳的老式德语一样的风格。
The common complaint is that it is outdated and incomprehensible; yet the old-fashioned style which Jameson adopts is in conscious imitation of Wagner's equally old-fashioned German.
大家可以看出，詹姆逊的观点在这个问题上和巴赫金的观点最为相近，最清晰地反映出来自巴赫金的先入之见，我们已经提到过了。
You can see this is the point at which Jameson's work is closest to Bakhtin's and most clearly reflects some of the preoccupations of Bakhtin as we have encountered them already.
詹姆逊吸收了精神分析学的某些观点，认为“辨证的批评”应当显示文艺作品的内容，揭示被压抑的无意识和原始经验。
Absorbing some psychoanalysis points of view, Jameson thinks that dialectical criticism should demonstrate the content of literary works, suppressed unconsciousness and original experience.
通过对詹姆逊后现代主义平面模式及其同后现代主义之间关系的考察可以发现：后现代主义不仅是对深度的消解，也是对深度的超越。
From the review of relationship between Jameson's pattern of postmodernism plane and its postmodernism, postmodernism is not only the vanishing of depth but the transcendence over it.
首先，詹姆逊将历史视为其文化阐释诗学的终极视域，认为一切文学文化文本，只有放置在总体性的历史之中，才能得到更好地说明。
Firstly, Jameson regards history as ultimate context of his poetics of culture and hermeneutic, thinking all literary culture texts can be interpreted better only in the history of totality.
当布里特回到他继承的报纸公司时，他发现这个被人们称为“青蜂侠”的人的新闻充斥着整个头版。(在《蜘蛛侠》里，是乔纳·詹姆逊。)
Back at the newspaper he has inherited, Britt takes pains to ensure that the escalating antics of the newly dubbed "Green Hornet" remain front-page news. he is, in Spider-Man terms, his own J.
当布里特回到他继承的报纸公司时，他发现这个被人们称为“青蜂侠”的人的新闻充斥着整个头版。(在《蜘蛛侠》里，是乔纳·詹姆逊。)
Back at the newspaper he has inherited, Britt takes pains to ensure that the escalating antics of the newly dubbed "Green Hornet" remain front-page news. he is, in Spider-Man terms, his own J.
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