求Joan Didion的《Why I write》译文
Joan Didion列表：(一共 7 个作品)作为导演 Joan Didion的作品 (数量：0) 作员 Joan Didion的作品 (数量：1) New York in the 50's 作为编剧 Joan Didion的作品 (数量：6) 毒鸯 Panic in Needle Park, The 一个明星的诞生 Star Is Born, A 打不开的锁\\\/真正的忏悔 True Confessions Women and Men: Stories of Seduction 背信 Broken Trust 因为你爱过我 Up Close & Personal 就是没有Why I write
勇于负责的名言警句
Responsibilities gravitate to the person who can shoulder them. -- Elbert Hubbard 责任趋向於有能力担当的人。
－艾尔伯?哈柏德，美国思想家及作家（1856-1915） The willingness to accept responsibility for one's own life is the source from which self-respect springs. -- Joan Didion (1934- ) 承受个人生命责任的意愿即是自尊自重的泉源。
－珍?迪迪安，美国作家（1934- ） With every civil right there has to be a corresponding civil obligation. -- Edison Haines 每一项公民权都对应著一项公民责任。
爱迪森?海因斯，美国作家 A man does what he must — in spite of personal consequences, in spite of obstacles and dangers and pressures — and that is the basis of all human morality. -- John F. Kennedy, the 35th president of America 一个人做他所要做的－－无论任何所要承受的结果，无论任何阻难、危险与压力－－这即是人类道德之本。
－约翰?甘乃迪，美国第35任总统 我睡着时梦见生活是美人,我醒来时发现生活是责任. ----------胡适 用什么料,充什么菜.假如是一个萝卜,就里求做个水多肉脆的萝卜;假如是棵白菜,就力求做一颗瓷瓷实实的包心好白菜. ----------杨绛 责任就是对自己要去做的事情有一种爱. ----------歌德 每天务必要做一点你所不愿意做的事情.这是一条宝贵的准则,他可以使你养成认真尽责的习惯. ----------马克.吐温 一切责任的第一条:不要成为懦夫. ----------罗曼.罗兰 人一旦受到责任感的驱使,就能创造出奇迹来. ----------门肯 责任感常常会纠正人的狭隘性.当我马徘徊于迷途的时候,他会成为可靠的向导. ----------普列姆昌德 The first requisite of a good citizen in this republic of ours is that he shall be able and willing to pull his own weight. -- Theodore Roosevelt, the 26th president of America 在我们这个国家作为一个好国民，第一条件是他要能够并愿意凡事尽责，全力以赴。
－西奥多?罗斯福，美国第26任总统 No man was ever endowed with a right without being at the same time saddled with a responsibility. -- Gerald W. Johnson 上天从没有赋予一个人任何权力，若非同时让他肩负相对的责任。
－赭罗德?约翰逊，美国作家（1890-1980） Responsibilities gravitate to the person who can shoulder them. -- Elbert Hubbard 责任趋向於有能力担当的人。
－艾尔伯?哈柏德，美国思想家及作家（1856-1915） The willingness to accept responsibility for one's own life is the source from which self-respect springs. -- Joan Didion (1934- ) 承受个人生命责任的意愿即是自尊自重的泉源。
－珍?迪迪安，美国作家（1934- ） With every civil right there has to be a corresponding civil obligation. -- Edison Haines 每一项公民权都对应著一项公民责任。
爱迪森?海因斯，美国作家 A man does what he must — in spite of personal consequences, in spite of obstacles and dangers and pressures — and that is the basis of all human morality. -- John F. Kennedy, the 35th president of America 一个人做他所要做的－－无论任何所要承受的结果，无论任何阻难、危险与压力－－这即是人类道德之本。
－约翰?甘乃迪，美国第35任总统 Ask not what your country can do for you, ask what you can do for your country. -- John F. Kennedy, the 35th president of America 不要问你的国家能为你做甚麼，要问你能为你的国家做甚麼。
－约翰?甘乃迪，美国第35任总统
Joan Didion 的《On Self-Respect》，谁能给我个中文翻译版
这是中译的网址。
这章确实难懂，作者做了大量引用和修辞。
很有美国文化的老外是看她想表达的意思的。
我在美国念大学，最近正在就这篇文章写Paper，头痛死了。
有问题欢迎一起商量。
希望对你有所帮助
求助英语大神
没有上下文……猜着翻译我阅读过很多Joan Didion的书，她的书对处于低谷的人很有帮助，在她的书中悲伤并不是一件什么坏事。
写一个片段议论文
名人名言 The first requisite of a good citizen in this republic of ours is that he shall be able and willing to pull his own weight. -- Theodore Roosevelt, the 26th president of America 在我们这个国家作为一个好国民，第一条件是他要能够并愿意凡事尽责，全力以赴。
－西奥多??罗斯福，美国第26任总统No man was ever endowed with a right without being at the same time saddled with a responsibility. -- Gerald W. Johnson 上天从没有赋予一个人任何权力，若非同时让他肩负相对的责任。
－赭罗德??约翰逊，美国作家（1890-1980）Responsibilities gravitate to the person who can shoulder them. -- Elbert Hubbard责任趋向於有能力担当的人。
－艾尔伯??哈柏德，美国思想家及作家（1856-1915）The willingness to accept responsibility for one's own life is the source from which self-respect springs. -- Joan Didion (1934- ) 承受个人生命责任的意愿即是自尊自重的泉源。
－珍??迪迪安，美国作家（1934- ）With every civil right there has to be a corresponding civil obligation. -- Edison Haines 每一项公民权都对应著一项公民责任。
爱迪森??海因斯，美国作家A man does what he must — in spite of personal consequences, in spite of obstacles and dangers and pressures — and that is the basis of all human morality. -- John F. Kennedy, the 35th president of America 一个人做他所要做的－－无论任何所要承受的结果，无论任何阻难、危险与压力－－这即是人类道德之本。
－约翰??甘乃迪，美国第35任总统Ask not what your country can do for you, ask what you can do for your country. -- John F. Kennedy, the 35th president of America 不要问你的国家能为你做甚麼，要问你能为你的国家做甚麼。
－约翰??甘乃迪，美国第35任总统责任就像水、空气、食物一样重要——洪能翔 责任是什么
责任就像你身体的质量，没有它必将会飘飘然起来，放浪自由，却没有前进的目标——章文珍 责任心：一种发自内心的，敢于面对生活的勇气。
——陈芳菲 有一种力量是从你那个跳动的心中发出的，它会指引你去做你认为重要的事，并且一定会竭尽全力，这就是责任心。
——朱明然 责任心不是蓝天上的白云，潇洒，飘逸，片刻消失，而是万物生存必不可少的甘露。
——柳赛平 责任通常分两种：一种如清茶，倒一杯是一杯，永远是被动；一种如啤酒，刚倒半杯，便已泡沫翻腾，永远是主动。
——张瑜 责任心就是保质保量的完成自己该做的事。
——金璐 责任心使我们约束自己，完善自己所必需的，它将伴你成长。
——胡缨 自律在心中，生活有责任心——夏韶东 责任心犹如大海中的定海神针，人类一旦失去责任心，世界就会像大海一样波涛汹涌，失去控制——邱征兵 如果一个人有了责任心，那么他会努力把每一件事做得完美——周姿延 力量越大，责任也就越大。
——金龙升 自律靠自己——潘潇 每个人都希望有一瓶高雅的法国香水，它让你飘逸着芳香；每个人更应该有一颗责任心，它能铸造你坚毅的灵魂——陈婷 责任心使一切的一切，因为由它所以世界才完美——吴翰 责任就是对别人和自己负责——李增阳 人不能没有责任心，就像小鸟不能没有翅膀，地球不能没有太阳——孙盼 人要有责任心，真的——邵恒斌 流星划过天际，责任心就在黑暗中闪烁。
——吴堃 一种力量让我不断前行，那就是责任心——李承皓 责任在于心，自律亦在于心——陈思聪 一人做事一人当，男子汉应该有的就是责任——朱成伟 做好每一件该做的事就是责任——王爱珍 责任是与生俱来的，不可推卸的——张丽丽 责任心就是做任何事所需的一种平常而力求完美的心态——龚靖赟 每个人都应该担负起应尽的责任——徐磊刚 责任心是现代人素质的标志——吴玉妍 责任心的表现——自律；自律的前提——责任心。
——严甄 快乐成长，责任自我——郑鹏飞 责任不是过眼烟云，风吹即散——胡华晶 责任心，简言之，即是益人益己的诚信行为——宋晓晨 有无责任心，是一种境界——胡志娟 生命拽在自己手里，责任展现自己能力——郭志燕 责任心就像是一艘大船在迷失方向时的指明灯——金琪 雄鹰看到蓝天的广阔，便振翅高翔，自由而高傲；飞瀑看到峭崖的险绝，便一泻千仞，流银泻玉，灵动如龙；海燕看到巨浪的汹涌，偏引吭高歌，乘风破浪，大气巍然。
我们如果没有责任心，就如那墙头的浮草，轻浮浅陋。
爱护班级，人人有责。
——倪蕾 在这个世界上责任是一种弥足珍贵的东西，取得它来自一个人的灵魂深处，它可以拯救灵魂，让心灵充满纯洁和自由——苏慧 拥有责任心就拥有了善良，它需要觉悟，就像泥土中的种子需要阳光雨露的滋润一般——朱小茜 拥有责任心前途一片光明——绍圣 一个人的责任重于荣誉——丁博 我们在享受权利的同时，对我们的义务要有责任心——柳倩钰 既然来到这个世界，我们就应该负担其作为这个世界的人所应该的担负的责任——叶志凯 责任如比一把琴，那当微风拂过的瞬间，我们听到的将是永恒——于易可 责任和权利是双生儿，想要享受权利，那么就勇于承担责任吧——洪敏丽 责任并不是你的负担，而是一种你应具有的信念，做一个有责任心的人吧——范华芳 不要把责任当作负担，要当作自己至高无上的荣耀——章顺杰 责任是我们应尽的义务——陈静 一个人如果有了责任感，那么他走遍世界都不怕——王俊翔 要有多大的权力，必须先承担多大的责任——楼骏 责任心在我心中已生根发芽——盛衡
谁能帮忙找一下这篇文章的背景知识、解释和译文
急
谢谢
Didion, Joan (1934-) Printer Format Novelist, Film Writer, Journalist, Essayist. Active 1956- in USA, North AmericaJoan Didion's name recognition as an American writer is such that her frequent byline in the New York Review of Books reads simply Joan Didion's most recent book is Slouching Toward Bethlehem (1968), a study in the new journalism of the 1960s, remains the single best “period piece on the California counterculture of that era. Play It As It Lays, her second novel, set in 1960s Los Angeles, was nominated for a National Book Award in 1971. Didion has written five other novels and her essays have been collected four times as books. She also has collaborated with writer\\\/husband John Gregory Dunne to write numerous screenplays for Hollywood feature films. If Joan Didion persists as something of an enigma to readers and literary critics Bher characters have been denounced as morose and her politics elitist Bit is not because her biography is a public mystery. In venues as different as Saturday Evening Post, Esquire, Vogue, American Scholar, Mademoiselle, National Review, Holiday, The New York Times Magazine, and The New York Times Book Review, Didion has written about herself, her marriage, her family history, her impatience with women's liberation and feminist art, all of these topics against the backdrop of her ongoing engagement with American politics, media, and popular culture. It is well known that Didion comes from a line of families who settled the Sacramento Valley in the 1850s. As a great - great granddaughter of people who saw themselves as wagon train pioneers, Didion grew up understanding herself as California's “native daughter ” (her term), an understanding furthered by her education at the University of California at Berkeley. Didion's literary persona and interests evidence deep attachments to the cultures of particular places, especially to California and the American West. Even so, she left California for New York City immediately after college graduation in 1956 to accept the prestigious Prix de Paris Award sponsored by Vogue Magazine. For the next ten years, under the tutelage of various Vogue editors and amidst the larger community of New York literati, Didion honed what would become her signature spare style as well her recurrently western subject matter. The tensions between Didion's western roots, her embrace of “high cultural” trends which historically have emanated from the northeast but her rejection of northeastern liberalism, underlay her life's work and impart to her literary voice its distinctive, stylized character. Equally important to Didion's evolution as a writer is the fact that she was raised during the years when Sacramento resembled more of a back - river Central Valley farm town than a sophisticated capital city in the making. At the very moment that Joan Didion comes of age as a thinker, a young woman, and a writer, the place her family has claimed as their birthright for a over century undergoes a thorough transformation. From an insular, nineteenth century river town dominated by the local agricultural gentry, the new Sacramento emerged after World War II. Run by Cadillac dealers and aerospace engineers Bpeople who do not know enough to care when they have not been asked to join the Sutter Club Bthe new Sacramento embodies for Didion a host of social dilemmas and questions that will drive her work for the rest of her life. Didion's first novel Run River (1963) chronicles this watershed moment of social transformation. Both a lament but also a text which refuses nostalgia, Run River tells the story of Lily Knight McClellan, a young Sacramento wife and mother whose husband in the opening gambit has just shot himself after killing her lover. Lily comes from the landed Knight family, her father has once run for the Governorship. Lily's husband Everett comes from the landed McClennans. But in spite of wealth, education, leisure and social position, Run River suggests, this generation of westerners has lost the fortitude and national purpose of their pioneer forebearers. They fritter away their lives, bring ruin upon themselves with inexplicable infidelities and evenings spent in careless, drunken conversation. One sees dramatized in Didion's first novel a particular anxiety she remarks upon later: “My childhood was suffused with the conviction that we had long outlived our finest hour. ” This remark represents a broader fearBarticulated by many twentieth century western writers Bthat the “real ” and “rigorous ” West lay in the nineteenth century, and everything after it constitutes cultural decline. Yet lest the reader conclude Didion valorizes legendary western history, consider the novel's ultimate conclusion: that western history is but a history of accidents, of moving on and accidents. If the running out of tradition troubles Didion, so too does an innocent belief in the tradition itself. After Run River, Didion rejects narrative forms and strategies that readily overlap with western optimism and innocence, forging in the process new and unusual directions for her work and for western literary history. Very few “native sons” (like Wallace Stegner, A.B. Guthrie, Frank Waters, or later, Ivan Doig, N. Scott Momaday, Richard Rodriguez or Frank Chin) will locate themselves in Los Angeles, as does Didion after a decade in New York City, or in L.A.'s particular brand of literary and film noir. Through the noir form and its emphasis on “darkness ” or the gritty underside of things, Didion wrestles with all of the issues she cares about: the advent of the new West and its impact on the old, her affinity for strong women characters and their particularly female challenges, the role of sexuality in human relationships, the power of western mythology in American national memory, and the changing status of language and representation in American letters and political affairs. The noir influence operates most obviously in Didion's second novel, Play It As It Lays (1970), made also into a “thriller ” movie of the same name. Set in a Los Angeles populated by movie people, dirty deals, sexual and drug escapade, and intrigue, Play It As It Lays cemented Didion's reputation as a writer, a stylist, and a biting social critic. Coming two years after the appearance of her critically acclaimed essay collection Slouching Towards Bethlehem (1968), the two texts proved Didion an exceptionally perceptive witness to the social confusion attending the sexual revolution and the California counterculture. With ever the eye for detail, and a perfect ear, Didion chronicles in both books what she sees as defining features of both the new West and also postwar America: that the center is not holding. In the title essay of Slouching Towards Bethlehem, she writes: A[The hippies] are less in rebellion against the society than ignorant of it, able only to feed back certain of its most publicized self - doubts, Vietnam, Saran - Wrap, diet pills, the Bomb.” In a gesture rare when criticisms of youth culture are delivered, Didion holds older people responsible for the generational impasse. “At some point between 1945 and 1967 we had somehow neglected to tell these children the rules of the game we happened to be playing. Maybe we had stopped believing in the rules ourselves, maybe we were having a failure of nerve about the game. Maybe there were just too few people around to do the telling ” (127). To Didion, one index of the severity of national upset is young people's distance from established traditions of civic discourse. Didion applauds the inventive anarchism of many 1960s activists, appreciating their awareness, well in advance of the press, that something important was happening Byoung people trying to create new forms of community in a social vacuum. But for Didion, this trend away from reliable forms of public debate and community organization brings with it a dangerous sloppiness of thinking, in fact, a refusal to take language seriously at all, because words, one of her countercultural interviewees states, are just another ego trip. “As it happens,” Didion counters, “I am still committed to the idea that the ability to think for one's self depends upon one's mastery of the language.” Didion sees the flower children of San Francisco's Height - Ashbury district as an army of fourteen and fifteen and sixteen year old runaways waiting to be “given the words.” And this kind of army in the wings cannot perform the job of a citizen in a democracy: namely, to discriminate between the lesser evils of the new social order. As Didion puts it, children who settle for other people's words do not inspire optimism. A decade later, careworn by social upheaval, Didion herself succumbs to uncertainty about all the stories she has ever believed. In the collected essays, The White Album (1979) which features on the jacket cover, among other images, that of the resigning President Nixon making his infamous double peace signBDidion muses that she was “supposed to have [had] a script [. . .] to hear cues [ . . .] to know the plot ” (13). As someone who came of age during World War II, her life education insisted the “production was never meant to be improvised.” Unlike Slouching Towards Bethlehem, this set of essays emphasizes the culture of sometimes harmless\\\/sometimes heinous, kooky, beautiful southern California. In the context of 1960s - 1970s America, these “LA stories ” are grist for the mill examples of stories with no discernable narrative. Instead Didion perceives only “flash pictures in variable sequence, images with no 'meaning' beyond their temporary arrangement.” She asserts, “I wanted still to believe in the narrative and in the narrative's intelligibility, ” but the temporary status of all word\\\/images suggest to her that narrative “sense ” has become less like a coherent movie than a cutting - room experience. By the collection's final essay, however, Didion has recentered her fragmented self by affirming her membership in the Silent Generation. Philosophically, Didion feels most at home in a world that comes down to the personal, to the battle with self and with “man's” own (Didion's phrase) heart of darkness. During the 1980s, Didion's role as principle national spokesperson for California and for “quirky western Americana ” begins to decline. A new literary movement focused on the American West attracts national attention, led by such visible public figures as Leslie Marmon Silko, Maxine Hong Kingston, Terry Tempest Williams, Gretel Ehrlich, Bill Kittredge, Cormac McCarthy, and James Welch. Its left\\\/liberal political edge, as well as its generational debts to the civil rights, environmental and women's movement, creates a new market, readership, and sense of literary culture in the West. Given Didion's different political and generational sensibility, especially alongside the larger political climate of the 1980s and the Reagan\\\/Bush administrations which the newer regionalists wrote adamantly against, Didion and the newer writers did not seem to be bred on the same western landscape. In part because the primacy as well as the terms of her cultural authority had called into question by the new regionalists, Didion moved during the late 1970s and the 1980s toward projects that, while still place - inspired, take up new nonwestern locations. A Book of Common Prayer (1979), Salvador (1983), Democracy (1984), and Miami (1987), deal respectively with the fictional Boca Grande, El Salvador, Vietnam, and Cuban Miami. In each instance, these books combine Didion's journalistic and novelistic skills. They permit her a broad international landscape on which to imagine the North American woman (the recurrent protagonist) in various relationships to foreign national governments, banks, diplomatic corps, and leading families. They repeatedly evoke, with the exception of Democracy, a general political landscape and Spanish speaking culture closely reminiscent of Mexico. Many questions might be raised here about the politics of representing North American women at the center of tales which emphasize other nation's dramas, but the argument urged presently concerns understanding these ostensibly non - American tales as more within the Didion tradition of writing about California and “points south ” than one might at first glance surmise, and less as entirely new imaginative ventures. The “western tale ” Didion has always told leaves room for exactly the kinds of forays into tropical airports, international scheming and female character development that appear above as standard motifs. within these texts. In keeping with Didion's gift for recognizing that which is new, these texts anticipate current trends towards transnational representations of the West. Returning her from what might be judged a literary exile to landscapes more plainly “American, ” Didion's most recent works during the 1990s include essay collections After Henry (1993) and the forthcoming Political Fictions (2001), as well as The Last Thing He Wanted (1996), a novel. Dedicated to her longtime editor Henry Robbins at Farrar, Straus & Giroux, After Henry splits her literary emphases between New York and California (as is true of previous collections) Bwith the balance tipping decidedly west (also true previously). What changes in the 1990s, making official what previously has been unofficial, is a “Washington ” section leading the way. Setting the stage for Didion's efforts throughout the 1990s, After Henry begins with a subject she treated twenty years earlier in its California incarnation: Ronald Reagan. But, Didion will take on and sustain with far more deliberate intention what we might call the “new ” politics of the post - Cold War moment. Didion investigates presidential campaigns and conventions, the culture of particular administrations, its speechwriters and everyday habits, as well as the new around the clock media industry, which comes in for her most pointed criticisms. Didion finishes out the century more unambiguously journalistic than ever, at the same ever interested in formal innovation, Didion's The Last Thing He Wanted, experiments with collapsing authorial self revelation with the fiction of a third person narrator. If the West's prominent younger writers today have not found Joan Didion's legacy immediately enabling, it nonetheless is true that she has always forged new formal ground, experimented with narrative strategy, sought out western “truths ” well beyond western mythology, and maintained an active engagement with American political life. If she has derided feminists as too centered on victim stories, she also has written a dozen or so books in which female characters refuse to accept the limits gender roles and social mores attempt to impose on women. She is not a simple figureBeither as a woman, a writer, a westerner, an Anglo, a Californian, a member of the Silent Generation, or a Republican. Critical responses to her so far have failed to reckon satisfactorily with these competing, complex factors. Meanwhile, ever on the edge of the curve, Didion continues as one of most accomplished critics of contemporary times. Krista Comer, Rice UniversityFirst published 24 January 2002 Found this profile useful? Keep us online and help us grow by becoming a Member. JOIN NOW for $9.95 (approx £5.80 \\\/
