×

我們使用cookies幫助改善LingQ。通過流覽本網站,表示你同意我們的 cookie policy.


image

Crash Course: English Literature, 100 Years of Solitude Part 2: Crash Course Literature 307 - YouTube (2)

100 Years of Solitude Part 2: Crash Course Literature 307 - YouTube (2)

He then melts them, remakes them, and melts them again.

This might be a peaceful thing to do, but it's pretty useless.

So how do we strike a productive balance between remembering and forgetting?

Well, if the form of the novel is any indication, one possibility is to adopt a sort of speculative approach to history.

This means combining the facts that we acquire from documentary sources with an understanding that springs from more creative works.

And it also means including more voices in the "true story" of what "happened."

Knowing that 300 or 3,000 people died in a massacre doesn't really mean anything.

Numbers don't really penetrate our defenses and often neither does language.

But for me, at least, this novel's combination of realism and myth gets through my defenses.

It is a story, to paraphrase William Faulkner, concerned not so much with the facts as with the truth.

Lastly, I just wanna turn to the consolations and risks of solitude.

So reading 100 Years of Solitude is a solitary act.

Like the enormous Spanish galleon that José Aracadio Buendia discovers in the jungle, this novel seems,

"to occupy its own space, one of solitude and oblivion, protected from the vices of time and the habits of birds."

But you emerge from that reading experience exposed to voices that you never heard before and you never would have heard otherwise.

That makes you less alone, or, more precisely, more aware that you were never alone.

In fact, you are deeply connected to the people, both past and present, who experience various forms of violence and exploitation on behalf of your interests.

It is difficult and rare to hear those muted voices, especially those from the past, and that awareness is García Márquez's gift to you.

What you do with it is your choice.

Thanks for watching. I'll see you next week.

Crash Course is filmed in the Chad and Stacey Emigholz Studio here in Indianapolis and it's made by all of these lovely people.

It's made possible by you and your support at Patreon, a voluntary subscription service that allows you to support Crash Course directly.

You can also get lots of great perks so please check out the Patreon at patreon.com/crashcourse.

Thank you again for watching, and as we say in my hometown, don't forget to be awesome.

100 Years of Solitude Part 2: Crash Course Literature 307 - YouTube (2) 100 años de soledad - Parte 2: Curso intensivo de literatura 307 - YouTube (2) 100 років самотності, частина 2: Експрес-курс Література 307 - YouTube (2)

He then melts them, remakes them, and melts them again. بعدها أذابها ثم أعاد صنعها ثم أذابها مرة اخرى. לאחר מכן הוא מתיך אותם, יוצר אותם מחדש ואז מתיך אותם שוב. refaz-los, e derrete-os novamente.

This might be a peaceful thing to do, but it's pretty useless. لربما كان هذا الفعل فعلًا مطمئنًا ولكنه غير مفيد وبلا قيمة. זה אולי דבר שליו לעשות, אבל די חסר תועלת. Isso pode ser uma coisa pacífica para se fazer, mas bastante inútil.

So how do we strike a productive balance between remembering and forgetting? إذًا كيف نوازن توازنًا مثمرًا بين النسيان والتذكر؟ אז איך אנחנו מוצאים איזון פרודוקטיבי, בין שיכרון ושיכחה? Então, como é que vamos encontrar um equilíbrio produtivo, entre lembrar e esquecer?

Well, if the form of the novel is any indication, one possibility is to adopt a sort of speculative approach to history. حسنًا إذا كانت الرواية تشكل أي إشارة فإن أحد الاحتمالات هو أن تتبنى نوع من الطرق التأملية للتاريخ. ובכן, אם סגנון הרומן הוא סימן כלשהו, אפשרות אחת היא לאמץ סוג של גישה ספקולטיבית להיסטוריה. Bem, se a forma do livro é alguma indicação, uma possibilidade é adotar o tipo de abordagem especulativa para a história.

This means combining the facts that we acquire from documentary sources with an understanding that springs from more creative works. وهذا يعني أن نجمع بين الحقائق التي نكتسبها من المصادر الوثائقية بالفهم الذي ينبثق من أعمال أكثر إبداعية. משמעות הדבר היא שילוב העובדות שאנו רוכשים ממקורות תיעודיים, ביחד עם הבנה הנובעת מעבודות יצירתיות יותר. Isso significa combinar os fatos que adquirimos a partir de fontes documentais, com o entendimento que brota de obras criativas.

And it also means including more voices in the "true story" of what "happened." كما يعني أيضًا ضم أصوات أكثر في "القصة الحقيقية لما حدث". וזה גם אומר לכלול יותר קולות ב"סיפור האמיתי" של מה ש"קרה'" E isso também significa a inclusão de mais vozes na, "verdadeira história" do que "aconteceu".

Knowing that 300 or 3,000 people died in a massacre doesn't really mean anything. فمعرفة أن 300 أو 3000 شخص قُتلوا في مجزرة لا يعني في واقع الامر شيئًا. בידיעה כי שלוש מאות או שלושת אלפים בני אדם נהרגו בטבח לא ממש אומר כלום. Sabendo que trezentas ou três mil pessoas morreram em um massacre realmente não significa nada.

Numbers don't really penetrate our defenses and often neither does language. فالأرقام لا تستحوذ على دفاعاتنا ولا حتى اللغة. מספרים באמת לא לחדור את ההגנות שלנו, ולעתים קרובות גם לא שפה. Números não penetram realmente nossas defesas, e muitas vezes nem o idioma.

But for me, at least, this novel's combination of realism and myth gets through my defenses. ولكن بالنسبة لي على الأقل فإن جمع الرواية للحقيقة والأسطورة اخترق دفاعاتي. אבל בשבילי לפחות, שילוב של הרומן הזה של ריאליזם ומיתוס עובר דרך ההגנות שלי. a combinação neste romance de realismo e mito passa por minhas defesas.

It is a story, to paraphrase William Faulkner, concerned not so much with the facts as with the truth. إنها قصة على الأرجح بالنسبة (لوليام فولكنر) لم تهتم كثيرًا بالحقائق بقدر ما كان اهتمامها بالحقيقية. הסיפור הזה , בפרפראזה לוויליאם פוקנר: לא מתעסק כל כך הרבה עם העובדות, אלא עם האמת. É uma história, parafraseando William Faulkner, que não se preocupa tanto com os fatos, mas com a verdade.

Lastly, I just wanna turn to the consolations and risks of solitude. أخيرًا أود أن أتحول إلى التعازي والمخاطر في الوحدة. לבסוף אני רק רוצה לפנות לנחמות והסיכונים של בדידויות. Por fim, eu só quero voltar para as consolações e riscos de solidões.

So reading 100 Years of Solitude is a solitary act. فقراءة هذه الرواية هُو تصرف انعزالي. مثل الغليون الأسباني الضخم الذي وجده (خوسيه أركاديو بوينديا) في الغابة، بدت هذه الرواية אז קריאת 100 שנים של בדידות, הוא מעשה בודד. Assim, a leitura de Cem Anos de Solidão, é um ato solitário.

Like the enormous Spanish galleon that José Aracadio Buendia discovers in the jungle, this novel seems,

"to occupy its own space, one of solitude and oblivion, protected from the vices of time and the habits of birds." מרחב של בדידות ונשיה, מוגן מפגעי הזמן ומהרגליהן של ציפורים" vícios do tempo e os hábitos dos pássaros".

But you emerge from that reading experience exposed to voices that you never heard before and you never would have heard otherwise. אבל יוצאים מחווית הקריאה הזו חשופים לקולות שלא שמעתם קודם ושאחרת לא הייתם שומעים Mas você sai daquela experiência de leitura exposto a vozes que você nunca ouviu antes, e que você nunca ouviria de outra forma.

That makes you less alone, or, more precisely, more aware that you were never alone. וזה גורם לכם להרגיש פחות לבד, או ליתר דיוק, יותר מודעים שאף פעם לא הייתם לבד E isso faz de que você menos sozinho, ou, mais precisamente, mais consciente de que você nunca esteve sozinho.

In fact, you are deeply connected to the people, both past and present, who experience various forms of violence and exploitation on behalf of your interests. למעשה, אתם מחוברים מאוד לאנשים בעבר ובהווה שחווה צורות של אלימות וניצול שונות מטעם האינטרסים שלך. Na verdade, você está profundamente ligado às pessoas do passado e do presente que experienciaram diversas formas de violência e exploração em nome de seus interesses.

It is difficult and rare to hear those muted voices, especially those from the past, and that awareness is García Márquez's gift to you. קשה ונדיר לשמוע אותם קולות עמומים, במיוחד אלה מן העבר, ומודעות זו היא המתנה של גרסיה מארקס לכם, É difícil e raro ouvir aquelas vozes silenciadas, especialmente aquelas do passado, e que a consciência disso é um presente de García Márquez para você,

What you do with it is your choice. מה שאתם עושים איתה, זו הבחירה שלך. é sua escolha.

Thanks for watching. I'll see you next week. شكرًا للمتابعة أراكم الأسبوع المقبل. תודה שצפיתם. נתראה בשבוע הבא. Obrigado por assistir.

Crash Course is filmed in the Chad and Stacey Emigholz Studio here in Indianapolis and it's made by all of these lovely people. קורס מזורז מצולמת בסטודיו צ'אד & סטייסי אמיגהולץ כאן באינדיאנפוליס וזה נעשה על ידי כל האנשים הנהדרים האלה. Crash Course é filmado no Chad & Stacey Emigholz Studio aqui em Indianapolis, e é feito por todas essas pessoas maravilhosas.

It's made possible by you and your support at Patreon, a voluntary subscription service that allows you to support Crash Course directly. זה אפשרי בזכותכם ובזכות התמיכה שלכם ב-Patreon שירות מנוי מרצון המאפשר לכם לתמוך בקורס מזורז ישירות. É possível graças a você, e seu apoio no Patreon, um serviço de subscrição voluntária que lhe permite apoiar o Crash Course diretamente.

You can also get lots of great perks so please check out the Patreon at patreon.com/crashcourse. גם אתה יכול לקבל המון הטבות נהדרות, אז בבקשה לבדוק את Patreon: Patreon.com/crashcourse Você também pode obter várias grandes vantagens, Então confira o Patreon: Patreon.com/crashcourse

Thank you again for watching, and as we say in my hometown, don't forget to be awesome. תודה שוב על שצפיתם וכפי שאנו אומרים בעיר הולדתי, אל תשכחו להיות מדהימים. obrigado novamente para assistir, e como se diz na minha cidade natal, não se esqueça de ser incrível.