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In fact, Gadamer even insists that if we don't have this phenomenon of being pulled up short, our reading is basically just solipsistic.
事实上，葛达玛甚至坚持,如果我们没有这种“突然停下“的经历，我们的阅读基本上仅仅是以自我为中心的。
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And this whole like, I mean the whole like traffic completely stopped when this guy got hit.
这个人被车撞了之后交通全都停下了。
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All right. So, let's pick up where we left off, first of all we're still on the hydrogen atom from Monday.
好，让我们从上次停下的地方讲起，我们还要讲周一讲的氢原子。
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So I'm going to read just parts, and I'm going to skip around a little bit and stop and start: How to enjoy James Joyce's great novel, Ulysses.
我会读其中一些部分，再读一下一些其他内容,然后再停下来讲：,“怎么欣赏詹姆斯，乔伊斯伟大的小说《尤利西斯》
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How do we know this always stops? I mean, I ran three trials here, and it did. But how would I reason about, does this always stop?
我指的是我在这儿试了三次，它都停了，那这是为什么呢？,它总是会停下么？
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I think it's wonderful because it "pulls up" just like Gadamer being "pulled up short," and there is, it seems to me, there's another crisis of expectation in this line in that especially as a toddler I need to negotiate that expression idiomatically.
我认为这非常好，因为“停下来“就像葛达玛的,“突然停下“一样，而依我看来，这里有另一个,期望危机，在这句话中，因为，特别是作为一个小孩,我需要用习惯性的表达法。
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Okay, let's stop again.
好的,让我们再次停下
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When you're walking, you just stop. It's very annoying to the people who actually live here.
你走着走着停下脚步，而对于当地人来说，这是件很烦人的事情。
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You drive your car in, it shows you by the arrows where you go, you stop at window one to make your order and pay, and then you go to window two to collect your food, and they're open twenty-four hours.
你开车进来,沿着箭头指示,直到第一个窗口停下,点单,付账,再开到第二个窗口领取食物,他们是二十四小时营业的
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I stopped at the stoplight and there was a homeless guy there, a beggar,
我停下车等红灯，然后看到一个无家可归的人在那里乞讨，
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Great work! Keep it up! Don't stop working.
做得真棒！再接再厉哦！别停下前进的脚步。
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and she stopped what she was doing.
老师就会停下手上的事。
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Okay, have to stop there--might add a word or two-- but on Thursday we turn, I'm afraid with a certain awkwardness; I wish there were an intervening weekend, to Freud and Peter Brooks.
好的，必须在此停下了，再加一两句-,到周四我们将会，恐怕有点尴尬;,我希望会有一个周末，留给弗洛伊德和彼得，布鲁克斯。
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Okay, let's stop here.
好,让我们在这里停下
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So, you might think that he would stop his experiments here, and maybe he would have, but as I mentioned, he did have Geiger a postdoc working with him by the name of Geiger. He also had an undergraduate, UROP we could say maybe even a UROP working with him, and this was by the name of Marsden Marsden was the name of this UROP.
停下他的实验了,也许他是可以，但我说过,他还有个博士后,此外他还有个本科生，或者可以说是,和他一起工作,他的名字叫。
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people are going to tell if you're a tourist because you're going to stop suddenly.
人们可以看出来你是个游客，因为你会突然停下脚步。
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There are lots of things to be said against it, on the other hand, which I don't want to pause over now because I think a course of lectures on literary theory will inevitably show the ways in which paraphrase is inadequate to the task of rigorous interpretation.
另一方面，有很多反对这个的言论，我不想在此,停下来讲,因为我觉得一门,文学理论上的课不可避免地,会包括一些释意所无法，充分解释的方面,一个严苛的评论家克林斯。
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Defamiliarization" means precisely pulling you up short or taking you by surprise, making you feel that what you thought was going to be the case or what you thought was the state of affairs is not the state of affairs.
陌生化“就是指让你“突然停下“,或者说，令你惊讶，猝不及防地，让你感觉,我以为会发生的,或者你原本以为事情处于这个状态，而事实却并非如此。
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Musical notation is a particularly Western phenomenon and when you stop and think about it only we in the West, and by West what I mean is the United States and Canada and Western Europe and Russia, parts of South America, only we use musical notation and we use it principally for our high art music.
音乐记谱法是西方所特有的,你可以停下好好想想,只有我们这些土生土长的西方人,所谓西方,我指的是美国,加拿大,还有西欧和俄罗斯,包括一部分南美国家,只有我们使用音乐记谱法,并且我们把音乐记谱法应用于高雅音乐
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But there may be ways of being pulled up short, occasions for being pulled up short, that Gadamer thinks exceed the imaginative grasp of a reader.
但葛达玛认为,有好几种“突然停下“的方法和场合，会超乎读者的想象，理解不了。
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They hailed us desperately. We stopped to see.
她们拼命向我们打招呼，我们停下车来。
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And we stop there.
我就在这里停下
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In other words, it makes us pause over what we're reading.
也就是说，它使我们在阅读的时候停下。
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Gadamer acknowledges this, even insists on it as I say, but he doesn't lay stress on it because the gap that is implied in the need to be pulled up short is not a big one.
葛达玛承认，甚至坚持这点，正如我所说的，但他并不强调这个,因为“突然停下“所暗含的缺口,并不大。
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Now this isn't the first time in this course that I've paused over a moment at a crossroads where you can't possibly take both paths but where it is obviously very, very difficult to make up one's mind.
现在是这个课程中第一次,在一个分叉路口停下,我们不可能同时走两条路,但是这也显然是非常难以决定的一个地方。
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You'll probably remember that he says early in the essay that in order to recognize that we are in the presence of something that isn't merely within our own historical horizon, we need to be "pulled up short."
你们大概记得他在论文前面就讲过,为了意识到自己不仅仅在,一些我们时期出现的东西周围，我们需要“突然停下“
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