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What Levi-Strauss is saying here is that his approach to myth is itself only a version of the myth.
列维这里想说的是,研究神话的方法本身只是神话的一个版本。
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It was a thorough examination of that problematic leading to the conclusion that that's what the myth was about.
他的解读是对这个问题的彻底考察,最终得出这个神话是关于什么。
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Yeats sees the Second Coming as an image, as a myth, an idea, a metaphor, a certain stylistic arrangement of experience.
叶芝把第二次降临看成一个意向，一个神话，一个意识，一个比喻，一种诗意的安排和感受。
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Standing in the Lethe of Milton's hell is none other than the classical figure, the figure from classical mythology, Medusa.
站在弥尔顿笔下的忘川河畔正是,那个源自神话的经典人物美杜莎。
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Like the storm gods in the myths of Israel's neighbors, Yahweh heaps up the waters with a blast of wind.
就像犹太人邻居的神话，耶和华用狂风卷起巨浪。
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We will plan at the end of the two weeks of reading stories about Japan, true and mostly folk, a lot of folk tales.
我们打算在两周末,读关于日本的故事，有真实的，大部分是神话传说。
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So these Greeks would say, "Well, we have another Goddess of the Hunt," and you'd find other Goddesses of the Hunt.
于是这些希腊人会说，“我们也有狩猎女神“,其他神话中也有狩猎女神。
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The meaning of Welles is that the past is simply dead what we do in present is creating myth about it.
威尔斯想要表达的就是过去已经逝去了,而我们今天做的仅是创造神话。
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And this is based on the story, the mythical story of a king who killed his father and married his mother.
名字来自于一个故事，一则国王弑父娶母的希腊神话。
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But, as you've seen, the mythic quality of America has pushed Komfee Kabins all of that aside.So,it's not just the Komfee Kabins that we don't see; it's the whole history of slavery.
但就像你们看到的，美国的神话这一要素将,那些都推到了一旁，所以这不是我们看不见;,这涉及整个奴隶制的历史。
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Well, of course,the most famous Greek case,I think of these things, is in Sophocles' play Oedipus the King, which illustrates it perfectly well.
尼弥西斯:希腊神话中司复仇的三女神的总称 关于这种情况,最著名的希腊案例,我想是,索福克勒斯的《俄狄浦斯王》,它对其进行了完美的阐述
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So in the myth the wilderness is a very harsh environment.
所以在神话中，荒野是很恶劣的环境。
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It uses what in the Structural Anthropology essay he calls "mythemes" or "gross constituent units" of thought.
它用到了在《结构人类学》中,所说的思想的，“神话素“或者，“大构成单位“
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Yeats takes on self-consciously staged identities, requiring costumes, and he sees other people in similarly theatrical and mythic terms.
叶芝扮演这些舞台身份时,觉得不自然，总需要乔装一番，他看待别人也是用同样的,戏剧和神话的术语。
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One of the versions that I have made use of to arrive at this scientific conclusion is, for example, Freud's version of the Oedipus myth.
为了得出这个科学性结论,我所用的一个版本是，比如说，弗洛伊德的俄狄浦斯神话版本。
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Mythology is used to describe stories that deal with The birth, the life events of gods and demi-gods, sometimes legendary heroes, but narrating a sequence of events.
神话是指一些这样的故事,它们有关神或者半人半神的诞生及生平，也有时候是一些传奇英雄，讲述他们的一系列事迹。
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He's almost a mythological figure who can sanction, who can authorize this revolution in women's writing that Virginia Woolf is beginning to prophesy here early in the twentieth century.
他是神话般的人物，可以批准，可以授权这场女性文学的革命，这场革命佛吉尼亚·伍尔夫,在20世纪早期就预言到了。
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Onto the scene then comes the goddess Ate, which might be translated moral blindness.
在这种情况下就该女神阿忒登场了,希腊神话中引诱人或神失去理智而发狂的女神 我们也可以称之为道德无视
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Whereas he, Welles, wanted to examine them that's the big difference.
而威尔斯却是要论证神话,这正是他们最大的区别。
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Now, why the Fat Lady? It's this mythical, incredibly humanly embodied-- whenever you see a fat lady in a novel, one of the first things you want to ask is: why does that person need to be excessively embodied?
现在，为什么是胖太太，这是个神话，人们呈现了，无论你什么时候看到一个胖太太,在小说里，你首先会想问：,为什么那个人需要被这样过多的描写呢？
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The myth that Yeats takes up is of Zeus's rape of the maiden, Leda, whom he attacks as a swan.
叶芝此诗的神话原型是,宙斯强暴了一个美女，丽达，宙斯变成天鹅侵犯了她。
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So, the wind over the face of deep, now it's demythologized, So it's as if they're invoking the story That would have been familiar and yet changing it.
现在，掠过混沌表面的气流是没有神话色彩的，它似乎是从故事中引用的,它看来熟悉却又稍有改动。
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What's interesting about the Song of the Sea, this poetic fragment in Exodus 15, is that here the Hebrews adopt the language of Canaanite myth and apply it to Yahweh.
关于海之歌那首出现在《出埃及记》15中的残诗,有趣的是，犹太人改编了迦南人的神话,套用在耶和华的身上。
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So returning to Genesis 1, We have an absence of theology and mythology in the sense of a biography of God in this opening chapter And that means the absence of a meta-divine realm.
好，现在回到《创世纪》的第一章，这里并没有宗教信仰也没有神话传说,在开篇中也没有上帝的传记,这也就意味着没有一个无量的国度。
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The fact that they're put on the same plane here suggests that both perhaps are either truths or both perhaps are myths.
他们被放在同一个地方的事实说明,这两个中或许有一个是真理，或者两个都是神话。
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If you've read L'Allegro and Il Penseroso, you know that the image of the great mythological poet Orpheus is always a loaded one for Milton.
如果你们读过《快乐的人》和《沉思的人》，就会知道,伟大的神话诗人俄耳甫斯对弥尔顿来说一直是个沉重的形象。
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Levi-Strauss is repudiating the father and, in repudiating the father, showing himself to fall into the very mythic pattern that Freud had been the first to analyze.
列维否认了父亲，在否认父亲的同时，也掉入了,弗洛伊德首创的神话分析模式。
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It is an uncontrollable mystery "on the bestial floor": on the floor, on the bottom, on the ground, where the animals dwell.
这是个不可控制的神话,发生在兽性的地面上：,在地上，最低处，地面上，那儿是动物栖息的地方。
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And this is also a good time for us to draw a distinction between mythology and myth.
现在正好让我们做一个区分,弄清楚神话和杜撰故事的区别。
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