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。

耶鲁公开课 - 1945年后的美国小说课程节选

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。

耶鲁公开课 - 1945年后的美国小说课程节选

They usually talk about it as the "lost decade," where Japanese banks were not liquidated but they were not really in business.

他们在谈论它的时候称之为“垮掉的十年“,在这十年里，日本银行并没有破产,但是他们也没有真正在做生意。

耶鲁公开课 - 金融市场课程节选

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。

耶鲁公开课 - 1945年后的美国小说课程节选

Embarrassment is something that the Beats value.

难堪正是垮掉的一代所重视的东西。

耶鲁公开课 - 1945年后的美国小说课程节选

You're not going to get that in the Beats.

这你是不会在垮掉的一代里看到的。

耶鲁公开课 - 1945年后的美国小说课程节选

If you read Walt Whitman, you will see much of the same ethos So, Ginsberg is not the first to do this in the American tradition, for sure, but it's a very important part of what the Beats revive.

如果你读过沃尔特惠特曼，你会发现类似的思潮,所以金斯堡肯定不是第一个在美国传统上这么做的，但它是使垮掉的一代复兴的重要部分。

耶鲁公开课 - 1945年后的美国小说课程节选

So, that is something these writers share with modernism, but there is one big difference and I want to exemplify that for you just by reading to you two parallel texts, one from the modernist canon and one from the Beat canon.

所以，这就是这些作者和现代主义的相似之处，但其中有个很大的区别，我想通过举例来说明,我给你们读两段类似的文字，分别是标准的现代主义风格和垮掉的一代的风格。

耶鲁公开课 - 1945年后的美国小说课程节选