Question

求高手帮忙翻译，英译汉

Part 2, "Authors and Issues," presents quite a variegated, sometimes dissonant array of essays on Native writers. Here I consider Kimberly Blaeser's 'The Multiple Traditions of Gerald Vizenor's Haiku Poetry." Blaeser effectively de- scribes how Vizenor, "a mixed blood of Ojibway and French ancestry... having served in Japan in the military in 1954 and 1955," became familiar with the form of haiku poetry and used that form as a medium to express both traditional Ojibway dream songs and his own original song compositions. Blaeser discusses the act and art of translation, of expressing the meaning so intimately held in a language and its cultural understanding. She notes that Vizenor has found in the haiku method a way of writing that approximates the "essence" of the oral tradition, the spiritual tradition. She adroitly intersperses samples of Vizenor's haiku in English, and explicates how he uses haiku as the trickster, to "thrust us212 Anthropology and Humanism Volume 21, Number 2 into 'the current of life' where we can find for ourselves a moment of under- standing—of enlightenment" (p. 366).
Part 3, "Ethnocritiques," begins with the book's three Native/mixed-blood authors: Greg Sarris's "Hearing the Old Ones Talk" also appears in his first book Keeping Slug Woman Alive, reviewed below. Here we will consider Kathleen Danker's "Because of This I Am Called the Foolish One: Felix White, Sr.'s Interpretations of the Winnebago Trickster." Danker presents the translation of a Winnebago elder's commentary on the trickster stories in careful form. First he
provides a sample of the carefully marked Winnebago text, then the blank verse translation, and then the elder's telling of a story. I read the story twice before I caught it; it took Danker's pointing out the meaning of several elements, the sumac tree colors taken for people, the drumbeat for Wakjaankaga's/coyote's own heartbeat, before I tumbled to how Wakjaankaga had tricked himself: it was an experience like those Blaeser described in Vizenor's haiku poetry, where the meaning triggers remembrances provoking circles and ripples of understanding. We need the old and the new translations, the new interpretations of the old texts, and the new understandings that this thick volume provides.
不要机器翻译，做论文用的这个

Answer 1

第2部分，“作者和问题”，提出了不少斑，有时不和谐的一系列的论文为母语的作家。在这里，我认为金佰利Blaeser的'的杰拉德Vizenor的俳句诗多个传统。“Blaeser有效地去文士如何Vizenor，”一个奥吉布韦和法国血统混血儿...担任过日本军队在1954年和1955年，“成为熟悉俳句诗的形式，用这种形式作为一种媒介来表达传统奥吉布韦梦想歌曲和自己的原创歌曲作品。Blaeser行为，并讨论了翻译的艺术表达如此密切举行的语言和文化的理解的意义。她指出，Vizenor公司在俳句的方法发现了书面接近“本质的口头传说”的方式，精神传统。她巧妙地点缀样本Vizenor的俳句英文，并explicates他如何使用它作为恶作剧俳句，以“推力us212人类学与人文第21卷，第2号到'目前的生活'，我们可以找到自己的时刻，一贯的启示” （第366页）。
第3部分，“Ethnocritiques，”开始/混血作者：格雷格萨里斯的“听旧的对话”，同时在他的第一本书似乎保持弹头女人活着，下文审查这本书的三个母语。在这里，我们会考虑凯瑟琳Danker的“因为这样我的名字是愚蠢的一个：费利克斯白色，老氏温尼贝戈恶作剧的解释。” Danker介绍了一项关于认真形式的骗子的故事纳贝戈老的评论翻译。首先，他
提供了详细的文本标记纳贝戈样本，则空白诗翻译，然后老讲述的一个故事。我读了两次故事之前，我抓住它，它采取Danker的指出了几个要素的意义，黄栌树人民采取的色彩，为鼓声Wakjaankaga的/狼自己的心跳，在我大跌了如何Wakjaankaga骗自己：这是像那些Blaeser经验介绍Vizenor的俳句诗，其中的含义触发忆引发各界和理解涟漪。我们需要的新旧翻译，旧文本的新的诠释，新的认识，这本厚厚的规定。