这里和在别处，《转吧，这伟大的世界》感觉成书先于另一部碰撞文化小说——《虚荣的篝火》”，（作者汤姆沃尔夫，是描述1980年代纽约的经典之作。）

Here and elsewhere, “Let the Great World Spin” can feel like a precursor to another novel of colliding cultures: “The Bonfire of the Vanities,” Tom Wolfe's classic portrait of New York in the 1980s.

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作者陀思妥耶夫斯基，这两部经典之作都因对艰险条件下人们内心灵魂的探索而引人注目。

By Dostoyevsky. These two classics are fascinating for their explorations of the human psyche under extreme conditions.

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作者陀思妥耶夫斯基，这两部经典之作都因对艰险条件下人们内心灵魂的探索而引人注目。陀思妥耶夫斯基超越了他所处的时代，是一位了不起的作家。

By Dostoyevsky. These two classics are fascinating for their explorations of the human psyche under extreme conditions. Anexistentialist before his time, Dostoyevsky is a powerful writer.

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I want to quote from the beginning of Roland Barthes' essay, which I know I only suggested, but I'm simply going to quote the passage so you don't have to have read it, The Death of the Author.

我想引用罗兰，巴特文章开头的几句话，我只是推荐这篇文章，从中引用几句,所以你们不用事先读，这篇文章就是《作者之死》

耶鲁公开课 - 文学理论导论课程节选

So, that is something these writers share with modernism, but there is one big difference and I want to exemplify that for you just by reading to you two parallel texts, one from the modernist canon and one from the Beat canon.

所以，这就是这些作者和现代主义的相似之处，但其中有个很大的区别，我想通过举例来说明,我给你们读两段类似的文字，分别是标准的现代主义风格和垮掉的一代的风格。

耶鲁公开课 - 1945年后的美国小说课程节选

This much, by the way, Wimsatt has in common with Gadamer, because Gadamer doesn't talk much about authors either, and Gadamer is interested in what he calls meaning, the subject matter, die Sache. Right? He's not interested in your sort of expression of that meaning or my expression of that meaning.

顺便说一句，文萨特和葛达玛很大相同之处就在于，葛达玛也不太强调作者的作用，而是对文章的含义，主题感兴趣，不是吗？，他不关注作品在用,你的还是我的表达方式来表现内涵。

耶鲁公开课 - 文学理论导论课程节选