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But he later broke away from this neoclassical sound to create a freer and more expressive modernist sound.
VOA: special.2010.07.12
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What happens to those resources that the great modernist writers endowed language with so powerfully earlier in the century?
本世纪早期,杰出的现代主义作家们如此给力,地赋予语言一些资源？
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What I want you to notice first of all is the kind of reader that's being invoked here for that modernist classic Ulysses.
首先希望你们注意到的是,所有开始阅读现代主义经典,《尤利西斯》的读者。
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But, Nabokov's relationship to this modernist past is not just the burlesque that he visits on Eliot, is not just this complicated attraction and dis-identification that he works on with Proust.
但是，纳博科夫和现代主义者的关系不只是,他对艾略特的滑稽模仿，也不只是和普鲁斯特,复杂的吸引和不认同。
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So Nabokov imbues that state of impersonality with certain kinds of emotion and then asks the reader to be as impersonal as that modernist artist also must be.
所以纳博科夫用某些特定的情感,来营造非个人化的境界,让读者像现代主义艺术家那样非个人化。
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It makes it into a real literary object, sort of like a modernist text.
他们让这书像个真正的文学读本，像是种现代主义读本。
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He's connected to both those strains as well as the modernist strain.
怀特同时具备两种特征,但我先不去区分。
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So, anyway. Okay. But now, that modernist tradition is something that Nabokov owes a lot to, but he always tries to distinguish himself from it. For Nabokov, the highest value is originality.
好吧，不管怎样，但现在，现代主义传统,很大程度得归功于纳博科夫，虽然他一直试图把自己,从中区别开来，对纳博科夫而言，最高尚的价值是独创性。
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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。
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His terms are very much informed by a modernist sensibility of what literature is all about-- and I'm going to say more about what that is when I lecture on Lolita--but it's very much in contrast with that Ulysses ad. " Don't identify. It's not about you.
他的方式都是通过对文学的,现代主义式鉴赏来表达的,我在讲《洛丽塔》时会再详细说明,这和《尤利西斯》的广告有很大不同“,“无须认同，那与你无关，那是关于其他事情的”
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