Name: 文學經典－麥田捕手的背後含義 （Language, Voice, and Holden Caulfield: The Catcher in the Rye Part 1）
Uploaded: 2013-01-11T08:51:10.000Z
Duration: 10 min 52 s

Hi, I’m John Green and this is Crash Course Literature

嗨，我是約翰-格林，這裡是文學速成班。

and today we’re going to talk about The Catcher in the Rye,

今天我們要討論的是《麥田守望者》。

the bestselling book never to be adapted into a film.

but there’s a religious injunction there.

The reason this has never been made into a movie is of course

之所以一直沒有被拍成電影，當然是由於

because Salinger and his estate won’t allow it.

因為塞林格和他的遺產不允許。

[spoilsporting FTL or Litigation as sport FTW?]

[寵辱不驚的超光速飛行還是把訴訟當作運動？]

I mean, even most of Salinger’s covers are imageless—

我的意思是，即使是塞林格的大部分封面都是無形象的--。

has managed to remain relevant without a movie adaptation

在沒有電影改編的情況下，仍然能夠保持其相關性

in our image-saturated and image-driven culture is a very interesting question.

在我們這個影像飽和和影像驅動的文化中，這是一個非常有趣的問題。

[but not one to subject TFIOS to, if you please]

And so today we’re gonna take a look at the pure and unadulterated text of

所以今天我們就來看看純正的、不摻雜任何雜質的文字。

Now there are many ways to read a novel critically,

現在，批判性閱讀小說的方法有很多。

and next week we’ll take a very different approach:

而下週我們將採取非常不同的方法。

We’ll infuriate J.D Salinger’s ghost by reading this novel in a historical

我們將通過閱讀這部歷史小說來激怒J.D.塞林格的鬼魂。

But today, let’s appease Salinger’s ghost by pretending

但今天，讓我們來安撫塞林格的鬼魂，裝作

These days our artistic landscape is so deeply defined by visual narratives

如今我們的藝術格局被視覺敘事深深地定義了

on TV and in the movies that we can hardly imagine a world without images.

在電視和電影中，我們很難想象一個沒有影像的世界。

In fact, I’d argue that we have a bad habit

事實上，我認為我們有一個壞習慣。

of seeing books as sort of cheaply-made movies

where the words do nothing but create visual narratives in our heads.

在那裡，文字什麼都不做，只是在我們的腦海中創造視覺敘事。

So too often what passes for literary criticism is

所以，很多時候，文學批評的內容往往是

“I couldn’t picture that guy” or “I liked that part”

"我無法想象那個人 "或 "我喜歡那個部分"

or “This part shouldn’t have happened;”

that is, we’ve left language so far behind that sometimes

也就是說，我們已經把語言遠遠地甩在了後面，以至於有時候... ...

we judge quality solely based on a story’s actions.

我們只根據一個故事的行動來判斷品質。

So we can appreciate a novel that constructs its conflicts

所以，我們可以欣賞一部小說，它的衝突的構建

the layered ambiguity of a fatal car accident caused

by a vehicle owned by Gatsby but driven by someone else, for instance.

由蓋茨比擁有的車輛，但由其他人駕駛，例如。

But in this image-drenched world, sometimes we struggle to appreciate

但在這個充滿想象力的世界裡，有時我們卻很難體會到。

and celebrate books where the quality arises not exclusively from plot

頌揚那些品質不完全來自於情節的書。

but also from the language itself. [did things just get a bit personal?]

但也從語言本身。[事情只是變得有點個人化？]

was aware of this because he too lived in an image-driven world.

是意識到了這一點，因為他也生活在一個形象驅動的世界裡。

on the very first page of the book, Holden calls his brother a prostitute

在書的第一頁，霍爾登稱他的兄弟為妓女。

for abandoning bookwriting for Hollywoodband says,

“If there’s one thing I hate, it’s the movies.”

"如果有一件事我討厭，那就是電影。"

And the novel frequently identifies itself in direct opposition to film,

而小說經常將自己的身份與電影直接對立起來。

“I don’t remember if he knocked me out or not, but I don’t think so.

"我不記得他有沒有把我打暈，但我想應該沒有。

It’s pretty hard to knock a guy out, except in the goddam movies.”

要想把一個人打倒是挺難的，除了在神馬電影裡。"

it is okay to say “Charlotte Bronte” if you are quoting the book in question.

如果你引用的是有關的書，說 "夏洛蒂-勃朗特 "是可以的。

But, now, outside of the text, I have to use “Charlotte Bronte.”

但是，現在，在文本之外，我必須使用 "夏洛特-勃朗特"。

Stan, I know we have to do it for the schools,

斯坦，我知道我們必須為學校做這件事。

but this prohibition on cursing is so Emily Bronte annoying.

但這種禁止罵人的規定太讓艾米麗-勃朗特討厭了。

Okay so if you’ll just allow me one biographical note here,

好吧，所以如果你能讓我在這裡寫一篇傳記的話。

“‘The Catcher in the Rye’ is a very novelistic novel.

"《麥田裡的守望者》是一部非常新穎的小說。

There are readymade ‘scenes’— only a fool would deny that—

有現成的 "場景"--只有傻瓜才會否認這一點--。

but, for me, the weight of the book is in the narrator’s voice,

但是，對我來說，這本書的重量是在敘述者的聲音。

his personal, extremely discriminating attitude to his reader-listener.

他個人對讀者聽眾極為挑剔的態度。

He can’t legitimately be separated from his own first-person technique.”

他不能合法地與自己的第一人稱技術分開。"

Alright, but before we examine that first-person technique,

好吧，但在我們研究第一人稱技術之前。

let’s go to the image-tastic Thought Bubble.

讓我們一起去看看形象逼真的思想保麗龍。

Catcher in the Rye is the story of Holden Caulfield’s expulsion from Pencey Prep

麥田守望者》講述的是霍爾登-考菲爾德被彭西預科學校開除的故事。

and his journey back home to New York City,

where he bums around for a few days trying to get someone to listen to him

在那裡，他四處流浪了幾天，試圖讓別人聽他的。

and meaningfully respond to his fears about becoming an adult—

並有意義地迴應他對成為一個成年人的恐懼，

Holden has grown six inches in the past year

霍爾登在過去的一年裡長了6英寸。

and one side of his head is full of gray hair,

both symbols of impending, inevitable adulthood

and its accompanying adulteration of innocence.

以及隨之而來的對無辜的摻雜。

He’s so obsessed with and protective of innocence

他是那麼的執著，那麼的保護純真。

that he can’t even throw a snowball at a car because the car quote

他甚至不能向汽車扔雪球，因為汽車報價。

Over and over again, Holden tries to reach out to people

霍爾登一次又一次地嘗試著去接觸人們

who might tell him that adulthood will be okay—

誰會告訴他，成年後會好起來的，

friends, old teachers, a prostitute, a nun, cab drivers--

朋友，老教師，妓女，修女，計程車司機... ...

but he can never quite find a way to ask these questions directly,

但他始終找不到直接問這些問題的方法。

There are no explosions or car chases and certainly no skoodilypooping,

沒有爆炸和汽車追逐，當然也沒有skoodilypooping。

as Holden Caulfield is perhaps the first human in history

霍爾登-考爾菲爾德也許是歷史上第一個人類。

ever to pay a prostitute not to have sex with him.

曾付給妓女錢讓她不要和他發生關係。

sex or money or power or any of the dramatic stuff in Hollywood movies:

性或金錢或權力或任何好萊塢電影中的戲劇性的東西。

As he famously says when thinking about the Natural History Museum,

正如他在思考自然歷史博物館時的名言。

in that museum was that everything always stayed right where it was.”

在那座博物館裡，所有的東西總是呆在正確的地方。"

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文學經典－麥田捕手的背後含義（Language, Voice, and Holden Caulfield: The Catcher in the Rye Part 1）

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文學經典－麥田捕手的背後含義 （Language, Voice, and Holden Caulfield: The Catcher in the Rye Part 1）

hair

catcher

adult

listen

文學經典－麥田捕手的背後含義（Language, Voice, and Holden Caulfield: The Catcher in the Rye Part 1）