Susan Sontag
Susan Sontag was one of the most noticeable figures in the world of literature.
For more than 40 years she made it morally necessary to know everything—to read every book worth reading, to see every movie worth seeing.
40多年來，她一直認(rèn)為在道德上有必要去了解一切事物——閱讀每一本值得閱讀的書，觀看每一部值得觀看的影片。
When she was still in her early 30s, publishing essays in such important magazines as Partisan Review,
30歲出頭的時候，她在《黨派評論》等重要雜志上發(fā)表文章 ,
she appeared as the symbol of American culture life, trying hard to follow every new development in literature, film and art.
成為美國文化生活的象征，她緊跟文學(xué)、電影和藝術(shù)的每一個新發(fā)展。
With great effort and serious judgment, Sontag walked at the latest edges of world culture.
桑塔格以極大的努力和嚴(yán)謹(jǐn)?shù)呐袛?，行走在世界文化的最前沿?/p>
Seriousness was one of Sontag's lifelong watchwords, but at a time when the barriers between the well-educated and the poorly-educated were obvious, she argued for a true openness to the pleasure of pop culture.
嚴(yán)謹(jǐn)是桑塔格一生的座右銘之一，但在那個時代，受過良好教育和受教育程度較低的人之間存在明顯障礙，她主張真正開放流行文化的樂趣。
In Notes on Camp, the 1964 essay that first made her name, she explained what was then a little-known set of difficult understandings, through which she could not have been more famous.
她在1964年寫的《關(guān)于坎普的札記》，是她的成名之作，文中她解釋了當(dāng)時鮮為人知的一系列難以理解的東西，這篇文章讓她名聲大噪。
"Notes on Camp", she wrote, represents "a victory of 'form' over 'content', 'beauty' over 'morals'".
她在書中寫道，“關(guān)于坎普的札記代表了‘形式’戰(zhàn)勝‘內(nèi)容’，‘美’戰(zhàn)勝‘道德’”。
By conviction she was a sensualist, but by nature she was a moralist, and in the works she published in the 1970s and 1980s, it was the latter side of her that came forward.
她被認(rèn)為是一個感性主義者，但從本質(zhì)上講，她是一個道德家，在她上世紀(jì)七八十年代出版的作品中，她作為道德家的本質(zhì)就顯現(xiàn)出來了。
In Illness as Metaphor—published in 1978, after she suffered cancer—she argued against the idea that cancer was somehow a special problem of repressed personalities, a concept that effectively blamed the victim for the disease.
得了癌癥之后，她于1978年出版了《疾病的隱喻》，文中她反駁的觀點是癌癥在某種程度上是壓抑個性而產(chǎn)生的特殊問題，這種觀點實際上是將疾病歸咎于受害者。
In fact, re-examining old positions was her lifelong habit.
事實上，重新審視舊觀點是她一生的習(xí)慣。
In America, her story of a 19th century Polish actress who set up a perfect society in California, won the National Book Award in 2000.
2000年，桑塔格的《在美國》為她贏得了國家圖書獎。小說講述的是19世紀(jì)波蘭女演員在加州建立一個烏托邦社會的故事。
But it was an all-purpose cultural view that she made her lasting fame.
但是，她以一種全能的文化觀念，使自己的名聲經(jīng)久不衰。
"Sometimes," she once said, "I feel that, in the end, all I am really defending ... is the idea of seriousness, of true seriousness."
“有時候，”她曾說道，“我覺得，我最終真正在捍衛(wèi)的是嚴(yán)謹(jǐn)、真正的嚴(yán)謹(jǐn)?！?/p>
And in the end, she made us take it seriously too.
而且最終，她讓我們也嚴(yán)謹(jǐn)起來。
