英语翻译2 … Thus,although there exist countless differences (sta

英语翻译
2
… Thus,although there exist countless differences (starting with “stylistic” ones) among the various kinds of Bildungsroman,I shall organize this study around plot differences:the most pertinent,in my opinion,for capturing the rhetorical and ideological essence of a historico-narrative culture.Plot differences or,more exactly,differences in the ways in which plot generates meaning.Following basically Lotman’s conceptualization,we can express this difference as a variation in the weight of two principles of textual organization:the “classification” principle and the “transformation” principle.While both are always present in a narrative work,these two principles usually carry an uneven weight,and are actually inversely proportional:as we shall see,the prevalence of one rhetorical strategy over the other,especially in an extreme form,implies very different value choices and even opposite attitudes to modernity.…
Where the classification principle prevails—where it is emphasized,as in Goethe and in the English novelists,that youth “must come to an end”—youth is subordinated to the idea of “maturity”:like the story,it as meaning only insofar as it leads to a stable and “final” identity.Where the transformation principle prevails and youthful dynamism is emphasized,as in the French novelists,youth cannot or does not want to give way to maturity:the young hero senses in fact in such a “conclusion” a sort of betrayal,which would deprive his youth of its meaning rather than enrich it.…
When we remember that the Bildungsroman—the symbolic form that more than any other has portrayed and promoted modern socialization—is also the most contradictory of modern symbolic forms,we realize that in our world socialization itself consists first of all in the interiorization of contradiction.The next step being not to “solve” the contradiction,but rather to learn to live with it,and even transform it into a tool for survival.

……因此,尽管存在无数的差异（从“文体”）在各类教育小说,我应当组织本研究围绕情节差异：最相关的,在我看来,捕捉的修辞和思想精华的historico-narrative文化.情节的不同,更确切地说,不同的方式,情节的意义生成.以下主要洛特曼的概念,我们可以表达这种差异变化的重量的语篇组织原则：“分类”的原则和“转型”的原则.虽然总是在叙事作品,这些原则通常不均匀的重量,而且实际上是成反比：正如我们将要看到的,普遍的一种修辞策略的其他,尤其是一种极端形式,意味着非常不同的价值选择和对现代性的态度.…那里的分类原则prevails-where它强调的是,在歌德和英国小说家,青春”必须结束”-青年隶属于“成熟”：喜欢这个故事,它的意义仅仅是因为它导致一个稳定的和“最后”的身份.在变换原理,青春活力是强调,如在法国小说家,青春不能或不想让成熟的年轻英雄的感觉：事实上在这样一个“结论”一类的背叛,这会剥夺他的青春的意义而不是它的丰富.…当我们记得,bildungsroman-the符号形式,超过其他任何描绘和促进了现代socialization-is也最矛盾的现代符号形式,我们认识到,在我们的世界社会化本身是首先在内化的矛盾.下一步是不“解决”的矛盾,而是学会忍受它,甚至把它变成一个生存工具.