来自《耶鲁大学开放课程：1945年后的美国小说 第19集 第19集》

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  He does a whole history, which I can't produce here,
  他分析了整个历史 我无法在此陈述
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  of how Artie Shaw and various players played Gershwin,
  有亚提萧和众多乐手如何演奏格什温
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  and used black musicians in their ensembles, and how this very
  在乐队里穿插黑人音乐家 还有这段
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  dance, when Steena, here, we're told,
  非凡的舞蹈 当斯蒂娜 书中告知
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  in a way, inhabits most fully her whiteness, she does that by
  某种意义上完全进入到她的纯洁中
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  performing to a music that is radically hybrid,
  在极度混搭的音乐中表演出来
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  black and Jewish.
  黑人和犹太人
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  So, Freedman argues that in this passage we get identity as a vision
  弗里德曼认为本段中所表达的身份
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  of absolute fluidity, absolute performance and fluidity,
  是纯粹流动性的 纯粹表演性和流动性
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  and that the whole history of American jazz stands behind
  这就是那个假想国背后
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  that imagined state.
  美国爵士乐的全部历史
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  It's the very difference between the hybrid music and the pure whiteness
  混搭风的音乐和斯蒂娜纯白色的身体之间