这些小说对于美国和美国人的观点是极其矛盾的,美国通常被描写成一个粗笨的怪物——并不十分邪恶,却带有一种愚昧的危险性。
These novels’ view of America, and Americans, is deeply conflicted; often the United States is portrayed as a blundering monster — not evil so much as dangerously ignorant.
文奇在他的多本科幻小说里也都探究了这个观点。
Vinge has also explored the idea in a number of science fiction novels.
我没有拜读过这部小说,但是我知道她是从哪里得到这个观点的。
I didn't read it, but I can understand where she might have gotten the idea.
One way to put it, especially in nineteenth-century realism which particularly interests Brooks, is all these characters are just madly making bad object choices.
一种解释的方式,用19世纪现实主义的观点来看,也就是布鲁克斯感兴趣的观点来看,就是小说中的人物在疯狂地做着错误的决定。
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。
Well, now maybe the important thing is to allow Brooks to comment on that so that you can see how he makes use of Freud's idea and move us a little bit closer to the application of these ideas to the structure of a literary plot or of a fictional plot.
现在最重要的事是允许布鲁克斯对此加以评论,这样一来你们就能看到他是怎样运用弗洛伊德的观点,并且进一步将其运用于,文学情节或小说情节的结构中去。
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