从文化类型上看,“垮掉一代”文学更具备反文化特征,而“另类文学”则更属于青年亚文化范畴。
As the cultural type is concerned, the former has the character of counter-culture, while the latter, to some extent, belongs to subculture.
寒山成了“垮掉一代”和嬉皮士的偶像,斯奈德翻译的寒山诗成了他们的精神食量,同时也成为美国文学的经典。
Han Shan became the idol of the Beat Generation and Hippies, and his Cold Mountain poems rendered by Snyder were their spiritual food. Snyder's translation got canonized in American literature.
不满意《在路上》一书的初稿,美国“垮掉一代”的代表作家杰克·凯鲁亚克在120英尺的打字机用纸上,连续敲了20天字,没有任何分段,达到他向往的自发性写作的效果。
Unhappy with his first draft of on the Road, Jack Kerouac stuck together 12ft reels of paper and typed flat out for 20 days to achieve the spontaneous composing technique he wanted.
Embarrassment tells us we're in the presence of the excess, and that's why Beat writers court it.
难堪告诉我们自己是处在过度的状态,所以垮掉一代的作者追求难堪。
The language that the Beats tried to imagine, tried to write, takes up some of these problems that we saw in Nabokov.
垮掉的一代试图想象和写出的语言,同样是是我们在纳博科夫的书里所看到的问题。
The excess requires, for the Beats, a new kind of language.
过度这种要求垮掉的一代有一种新的语言。
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