艺术与政治的互动：论兰斯顿·休斯的诗歌
摘要
本文主要从艺术与政治互动关系的视角探讨美国黑人作家兰斯顿·休斯的诗歌。休斯在长达四十余年的文学生涯中表现出了持久的强烈的政治意识,其政治意识的核心价值观表现在两个层次,即种族自由平等的民主理想和人类友善和谐的道德理想。在这种持久的政治意识的驱动下,休斯在不同的时期从不同的角度孜孜不倦地探寻实现理想的道路、去丰富理想的内涵。他从种族伦理关系出发,根据不同的社会政治形势不断调整、扩展着社会视角,将阶级关系的视角、文化视角、性属/种族问题视角、道德视角等多重角度去探寻通向理想之路。在这一过程中,他关于种族平等自由理想的内涵也在不断拓展和深化,强调的侧重点也不时调整,时而强调具体可行的理想层面,时而强调抽象远大的目标。休斯的政治理想内涵的拓展和侧重点的变化,以及他关注社会的视角变化都直接反映在诗歌之中,不仅影响了休斯诗歌的主题、题材、艺术视角,而且影响着诗歌的艺术形式。另一方面,诗歌艺术并不只是休斯传达政治的工具,而且在外部政治压力过大时成为休斯政治意识的一部分。由此,政治与艺术之间形成一种互渗互补的关系。本文将具体从休斯在不同时期的政治观与艺术观、主题、艺术题材与视角、艺术表现手段之间的关系来探讨政治与艺术的互动关系。
鉴于休斯的诗歌在不同的文学时期表现出较为明显的差异性,以及他的政治意识与诗歌艺术之间的关系呈现的不同形态,本文将休斯的诗歌创作生涯分为四个时期进行探讨:哈莱姆文艺复兴时期、30年代的激进时期、40年代二战期间和冷战时期最初几年、麦卡锡主义之后的50-60年代。这种时间划分大体兼顾了美国的社会和政治背景和休斯自身的政治意识与艺术特点,便于两者相互参照。
本文由六个部分组成。
前言:简要介绍休斯在美国黑人文学和整个美国文学中的地位,回顾休斯的文学生涯及其政治意识的大致轨迹;粗略梳理国内外休斯研究的历史发展与现状,指出本文研究的意义和研究方向;提出本文研究的思路、方法。
第一章主要探讨哈莱姆文艺复兴时期休斯诗歌体现出来的政治与艺术互动关系。文章认为。休斯在这一阶段的政治意识突出地表现为英雄主义的种族意识,即毫不羞怯地认同黑人种族身份、毫不畏缩地追求美国民族身份、宽容乐观地表达种族自由平等的民主信念。这种英雄主义的种族意识塑造了休斯在这一时期狂放不羁的唯美主义种族艺术观,即黑人艺术家应该勇于从黑人民族的生活中发现美、毫不羞涩地表现民族的真实的美,以此反抗殖民主义文化对美国黑人民族形象的贬损,还原黑人民族的真实形象。在探寻黑人的美和民族真实的生活的过程中,休斯的艺术视角发生了三种转变,即空间维度上由外而内的转变、时间维度上由历史想象到现实关注的转变、精神维度上由主观向主客一体的转变,这种转变反映了休斯的逐渐转向客观视角。休斯强烈的种族意识和社会责任感还从根本上决定了20年代诗歌的基本艺术特征,即诗歌艺术成为他强烈的和社会责任感的载体。他的诗歌艺术通过对惠特曼诗歌传统的接受与黑人文化元素的融合,既体现了时代特征和诗人个性,又体现了种族政治与艺术实践的互动与融合,形成一种波西米亚式的种族书写特征。
第二章则主要讨论休斯在30年代激进左倾年代的诗歌艺术与政治之间的互动关系。休斯在30年代对马克思主义的接受使他能够从阶级层面、世界层面来理解和思考种族问题,从而使他的种族思想和社会观更加深广和激进。这种激进的左倾思想和全新的社会观渗透了休斯30年代诗歌的内在精神和外在形式,不仅改变了休斯诗歌原有的艺术视角和主题,而且促使休斯在诗歌艺术方面作出了新的探索。这一时期宣传激进的暴力革命思想成为休斯诗歌的主题,诗歌显示出极为明显的政治宣传意图、激进的政治意识和直白的思想表达方式。同时,他也力求吸收和运用大众文化的、精英文化的艺术手段来进行政治表达,30年代中后期的人民阵线美学为休斯的诗歌艺术提供了新的契机,在这一基础上,他开始重新调整政治与艺术的关系。他的人民阵线诗歌对后期的诗歌艺术创作和政治表达形式产生了持久的影响。
第三章主要讨论30年代末期至50年代初期休斯诗歌的政治与艺术的关系。这一时期跨越了二战和冷战前期,种族仍然是诗歌关注的核心对象,但是激进直白的革命声音已经被一种温和而躲闪的声音代替,表现出他政治意识上的矛盾性。他在30年代末期到50年代初期创作的诗歌,诗歌的艺术视角再次回到现实生活本身,因此他在艺术中把现实生活细节作为传达意义的载体,注重对现实生活进行艺术阐释。诗歌艺术视角向现实的回归是一种疏离30年代激进政治的体现,也是自30年代末期以来美国日趋紧张的政治环境压抑的结果。通过强调对现实生活的表现和阐释,休斯的政治意图和政治理想更加隐含地表现出来,诗歌中的政治话语成分从显性走向隐性,而艺术话语由弱到强,这样既躲避了严格的政治审查,同时也增强了诗歌的艺术性。黑人方言、民间文化和大众文化形式再一次渗透到诗歌的表层结构上来,人民阵线美学持续影响着他的诗歌,最终形成了一种大众现代主义诗歌艺术形式。
第四章重点分析在麦卡锡时期之后的50-60年代,休斯诗歌在政治与艺术之间的新的对话。在40年代末期到50年代初期,经历了以麦卡锡主义为极端代表的美国冷战政治思维的严酷压制和40年代以来美国黑人问题上的些许进步之后,休斯逐渐认识到美国社会有瑕疵但可以挽救,因而对美国黑人问题抱有更加乐观的态度。此后,休斯更加强调种族之间的和谐,认为黑人争取民主自由的斗争应该采取有利于和谐的手段。具体而言,他主张以两种手段来实现种族之间的和谐和平等:一是在道德和理性的约束下对社会进行批评,即休斯强调的“幽默”手段,一是以自己踏实的工作赢得社会认同。在这一意义上,休斯在50—60年代时期的社会理想表现得最为温和、实际。在这一时期,休斯的诗歌更注重描写黑人的正面形象,描写黑人的精神面貌。休斯诗歌任务的重心转向记录,而不是宣传或鼓动。他在诗歌艺术形式上也有与时俱进的发展,将惠特曼的大众现代主义艺术与大众文化和民间文化结合,形成一种大众主义先锋诗歌,既表现了他在这一时期的平和实用的政治理想,又使他备受时代和环境压抑的政治意识得到补偿,形成了艺术与政治之间既互动又互补的关系。
结语对全文讨论的观点做了总结,全盘梳理了休斯在不同时期在政治与艺术关系上所做的探索和实验,认为休斯通过毕生的诗学实验展示了一种艺术领先政治的政治诗学,同时简要论述了休斯的诗歌在艺术与政治互动中形成的独特的美学品质,即大众主义的先锋艺术、黑人文化特色的表意模式、真实。
This dissertation explores the interplay of politics and artistry embodied in the poetry of Langston Hughes, the great African American poet in the 20~(th) century. In his over-40-year literary career, Hughes carries a strong and lasting political consciousness, the core value of which consists of two aspects, the democratic ideal of racial freedom and equality, and the moral ideal of harmony and friendliness among all human beings. In his pursuit of this ideals, Hughes employs various viewpoints from the racial ethical to the class, the cultural, the gender/racial, and to the moral. These viewpoints help enrich the content of his ideals, with emphasis sometimes on the loftiness of the ideas and sometimes on the practical aspects. All this is reflected in Hughes's poetry from the theme to the subject matters and the artistic points of view. Also the artistic form of Hughes's poetry is influenced deeply. Furthermore, in case Hughes is exposed to political threats out of the social reality, the artistic form serves as a second voice of his political ideas. Thus this dissertation will focus on the relationships between Hughes's political consciousness and the theme, the subject matters, the artistic point of view, and the artistic form to explore the interplay between politics and art.
Considering the obvious difference in Hughes's poetry in different periods and considering the different modes of the relationship between politics and art in different decades, this dissertation will make exploration by dividing Hughes's literary career into four periods: Harlem Renaissance period, the radical 1930s, the 1940s form the WWII to the first years of the Cold War, and the 1950s-1960s after McCarthyism. This dissertation is composed of 6 parts:
The Introduction part gives a brief introduction to the literary role of Langston Hughes in African American Literature and American Literature. A short biography is also offered to Hughes to show how his political consciousness was formed and developed. A literature review is made to show the historical development and the status quo of Langston Hughes study in both abroad and in China, based on which the major task, plan, methods and significance of this dissertation are presented.
Chapter I makes a n exploration to the relationship between politics and art embodied in Hughes's poetry of Harlem Renaissance period. Hughes demonstrates a heroic style racial consciousness—shameless reaffirmation of the racial identity, fearless pursuit of the national identity of the USA, and tolerant and optimistic ideal of racial freedom and equality. This heroic consciousness helps shape the bohemian aesthetic view of Hughes in this period. According it, Hughes believes a negro artist should be brave enough to discover and express the beauty of American black people in order to show rebellion against racialism which has been twisting and dwarfing the image of the black people. His artistic points of view show a change in this period from the outside to the inside, from the subjective to the subjective/objective, and from historical imagination to his concern with reality. This change shows that Hughes is turning to an objective point of view in view of catching the objective and real beauty of the race and the status quo. Hughes's social consciousness also determines the basic artistic features of his poetry, which serve as the efficient vehicle of his political consciousness. By assimilating Whitmanese tradition and cultural elements of African American people, Hughes develops a bohemian writing feature in his poetry.
Chapter II places its emphasis on the relationship between politics and art in the 1930s poetry of Hughes. In this period, Hughes makes a sharp turn to the leftism and radical socialism, which allows him to understand the social reality from the standing point of the class and the world. These radical points of view are reflected in Hughes's social ideas and racial consciousness, and thus penetrate in the spirit and the artistic form of his poetry, which helps make his artistic viewpoints and themes of poetry awry from those of 1920s. Political propaganda becomes the overwhelming task of his poetry which costs the artistry to a great extent. But by the influence of the Popular Front aesthetics, Hughes readjusts the relationship between politics and art. His Popular Front poetry has a far-reaching influence upon his poetic art and political expression in the following decades.
Chapter III makes an exploration to the interaction between art and politics in Hughes's poetry created from late 1930s to early 1950s. This period, witnessing the end of the WWII and the first years of the Cold War, sees Hughes still grasping his serious concern on his race, except that his voice becomes sly and gentle instead of radical as in 1930s, which shows Hughes in a great confusion and contradiction politically. In this period, Hughes returns to the realistic standing point by employing everyday life as the vehicle of his political consciousness with emphasis on the illustration of the real life. This reflects his repudiation of his radical 1930s and also a result of the more and more tense atmosphere of American politics. Hughes conveys his political ideas in a more implicit way with the formerly explicit political discourse becoming muted while the artistic discourse getting from weak to strong. This helps Hughes avoid the strict political scrutiny while enhancing the craftsmanship of his poetry. Black vernacular, folk culture and popular culture again come up to the surface of his artistic structure. With the continuing influence of the Popular Front aesthetics, Hughes gradually develops his popularist modernist artistic feature.
Chapter IV focuses on the analysis of the interplay between politics and art in Hughes's 1950s-1960s poetry. In this period, Hughes comes to understand, after the suppression of McCarthyism and slight progress in African American people's freedom cause, that America is defected but is redeemable. This makes him optimistic about the future of America and its democratic dream. Hughes shows a greater emphasis on racial harmony. He believes that all means to be taken to realize democracy should be in compliance with the goal of harmony. And he strongly believes that humor and practical work of the black people will help themselves to be accepted. Thus he devotes himself to the depiction of the positive image of the black people based on the art-for-recording poetics. The altering of acceptable artistic form and radical poetic form, as shown in Ask Your Mama, demonstrates Hughes's philosophy for struggle for democracy in this period. The focus of his poetry is on recording instead of propaganda. In terms of poetic art, he makes innovations by following the cultural traits of his times. By combining Whitmanian popularist modernism with popular culture and folk culture, he created a genre of popularist avant-garde poetry. This genre helps to express his mild and pragmatic political ideals, and at the same time contributes to a compensation for his political consciousness oppressed by the Cold War era American political culture, which forms an interactive and mutually compensatory relationship between art and politics.
The Conclusion part makes a summary of the ideas discussed in the previous parts, and believes that Hughes, by his life-time experiments, draws a art-first political poetics. This part also makes a brief analysis of the aesthetic features—popularist avant-garde poetry, expressive modes of African American culture, and truism—as the result of Hughes experiments and exploration in the interplay between art and politics.
鉴于休斯的诗歌在不同的文学时期表现出较为明显的差异性,以及他的政治意识与诗歌艺术之间的关系呈现的不同形态,本文将休斯的诗歌创作生涯分为四个时期进行探讨:哈莱姆文艺复兴时期、30年代的激进时期、40年代二战期间和冷战时期最初几年、麦卡锡主义之后的50-60年代。这种时间划分大体兼顾了美国的社会和政治背景和休斯自身的政治意识与艺术特点,便于两者相互参照。
本文由六个部分组成。
前言:简要介绍休斯在美国黑人文学和整个美国文学中的地位,回顾休斯的文学生涯及其政治意识的大致轨迹;粗略梳理国内外休斯研究的历史发展与现状,指出本文研究的意义和研究方向;提出本文研究的思路、方法。
第一章主要探讨哈莱姆文艺复兴时期休斯诗歌体现出来的政治与艺术互动关系。文章认为。休斯在这一阶段的政治意识突出地表现为英雄主义的种族意识,即毫不羞怯地认同黑人种族身份、毫不畏缩地追求美国民族身份、宽容乐观地表达种族自由平等的民主信念。这种英雄主义的种族意识塑造了休斯在这一时期狂放不羁的唯美主义种族艺术观,即黑人艺术家应该勇于从黑人民族的生活中发现美、毫不羞涩地表现民族的真实的美,以此反抗殖民主义文化对美国黑人民族形象的贬损,还原黑人民族的真实形象。在探寻黑人的美和民族真实的生活的过程中,休斯的艺术视角发生了三种转变,即空间维度上由外而内的转变、时间维度上由历史想象到现实关注的转变、精神维度上由主观向主客一体的转变,这种转变反映了休斯的逐渐转向客观视角。休斯强烈的种族意识和社会责任感还从根本上决定了20年代诗歌的基本艺术特征,即诗歌艺术成为他强烈的和社会责任感的载体。他的诗歌艺术通过对惠特曼诗歌传统的接受与黑人文化元素的融合,既体现了时代特征和诗人个性,又体现了种族政治与艺术实践的互动与融合,形成一种波西米亚式的种族书写特征。
第二章则主要讨论休斯在30年代激进左倾年代的诗歌艺术与政治之间的互动关系。休斯在30年代对马克思主义的接受使他能够从阶级层面、世界层面来理解和思考种族问题,从而使他的种族思想和社会观更加深广和激进。这种激进的左倾思想和全新的社会观渗透了休斯30年代诗歌的内在精神和外在形式,不仅改变了休斯诗歌原有的艺术视角和主题,而且促使休斯在诗歌艺术方面作出了新的探索。这一时期宣传激进的暴力革命思想成为休斯诗歌的主题,诗歌显示出极为明显的政治宣传意图、激进的政治意识和直白的思想表达方式。同时,他也力求吸收和运用大众文化的、精英文化的艺术手段来进行政治表达,30年代中后期的人民阵线美学为休斯的诗歌艺术提供了新的契机,在这一基础上,他开始重新调整政治与艺术的关系。他的人民阵线诗歌对后期的诗歌艺术创作和政治表达形式产生了持久的影响。
第三章主要讨论30年代末期至50年代初期休斯诗歌的政治与艺术的关系。这一时期跨越了二战和冷战前期,种族仍然是诗歌关注的核心对象,但是激进直白的革命声音已经被一种温和而躲闪的声音代替,表现出他政治意识上的矛盾性。他在30年代末期到50年代初期创作的诗歌,诗歌的艺术视角再次回到现实生活本身,因此他在艺术中把现实生活细节作为传达意义的载体,注重对现实生活进行艺术阐释。诗歌艺术视角向现实的回归是一种疏离30年代激进政治的体现,也是自30年代末期以来美国日趋紧张的政治环境压抑的结果。通过强调对现实生活的表现和阐释,休斯的政治意图和政治理想更加隐含地表现出来,诗歌中的政治话语成分从显性走向隐性,而艺术话语由弱到强,这样既躲避了严格的政治审查,同时也增强了诗歌的艺术性。黑人方言、民间文化和大众文化形式再一次渗透到诗歌的表层结构上来,人民阵线美学持续影响着他的诗歌,最终形成了一种大众现代主义诗歌艺术形式。
第四章重点分析在麦卡锡时期之后的50-60年代,休斯诗歌在政治与艺术之间的新的对话。在40年代末期到50年代初期,经历了以麦卡锡主义为极端代表的美国冷战政治思维的严酷压制和40年代以来美国黑人问题上的些许进步之后,休斯逐渐认识到美国社会有瑕疵但可以挽救,因而对美国黑人问题抱有更加乐观的态度。此后,休斯更加强调种族之间的和谐,认为黑人争取民主自由的斗争应该采取有利于和谐的手段。具体而言,他主张以两种手段来实现种族之间的和谐和平等:一是在道德和理性的约束下对社会进行批评,即休斯强调的“幽默”手段,一是以自己踏实的工作赢得社会认同。在这一意义上,休斯在50—60年代时期的社会理想表现得最为温和、实际。在这一时期,休斯的诗歌更注重描写黑人的正面形象,描写黑人的精神面貌。休斯诗歌任务的重心转向记录,而不是宣传或鼓动。他在诗歌艺术形式上也有与时俱进的发展,将惠特曼的大众现代主义艺术与大众文化和民间文化结合,形成一种大众主义先锋诗歌,既表现了他在这一时期的平和实用的政治理想,又使他备受时代和环境压抑的政治意识得到补偿,形成了艺术与政治之间既互动又互补的关系。
结语对全文讨论的观点做了总结,全盘梳理了休斯在不同时期在政治与艺术关系上所做的探索和实验,认为休斯通过毕生的诗学实验展示了一种艺术领先政治的政治诗学,同时简要论述了休斯的诗歌在艺术与政治互动中形成的独特的美学品质,即大众主义的先锋艺术、黑人文化特色的表意模式、真实。
This dissertation explores the interplay of politics and artistry embodied in the poetry of Langston Hughes, the great African American poet in the 20~(th) century. In his over-40-year literary career, Hughes carries a strong and lasting political consciousness, the core value of which consists of two aspects, the democratic ideal of racial freedom and equality, and the moral ideal of harmony and friendliness among all human beings. In his pursuit of this ideals, Hughes employs various viewpoints from the racial ethical to the class, the cultural, the gender/racial, and to the moral. These viewpoints help enrich the content of his ideals, with emphasis sometimes on the loftiness of the ideas and sometimes on the practical aspects. All this is reflected in Hughes's poetry from the theme to the subject matters and the artistic points of view. Also the artistic form of Hughes's poetry is influenced deeply. Furthermore, in case Hughes is exposed to political threats out of the social reality, the artistic form serves as a second voice of his political ideas. Thus this dissertation will focus on the relationships between Hughes's political consciousness and the theme, the subject matters, the artistic point of view, and the artistic form to explore the interplay between politics and art.
Considering the obvious difference in Hughes's poetry in different periods and considering the different modes of the relationship between politics and art in different decades, this dissertation will make exploration by dividing Hughes's literary career into four periods: Harlem Renaissance period, the radical 1930s, the 1940s form the WWII to the first years of the Cold War, and the 1950s-1960s after McCarthyism. This dissertation is composed of 6 parts:
The Introduction part gives a brief introduction to the literary role of Langston Hughes in African American Literature and American Literature. A short biography is also offered to Hughes to show how his political consciousness was formed and developed. A literature review is made to show the historical development and the status quo of Langston Hughes study in both abroad and in China, based on which the major task, plan, methods and significance of this dissertation are presented.
Chapter I makes a n exploration to the relationship between politics and art embodied in Hughes's poetry of Harlem Renaissance period. Hughes demonstrates a heroic style racial consciousness—shameless reaffirmation of the racial identity, fearless pursuit of the national identity of the USA, and tolerant and optimistic ideal of racial freedom and equality. This heroic consciousness helps shape the bohemian aesthetic view of Hughes in this period. According it, Hughes believes a negro artist should be brave enough to discover and express the beauty of American black people in order to show rebellion against racialism which has been twisting and dwarfing the image of the black people. His artistic points of view show a change in this period from the outside to the inside, from the subjective to the subjective/objective, and from historical imagination to his concern with reality. This change shows that Hughes is turning to an objective point of view in view of catching the objective and real beauty of the race and the status quo. Hughes's social consciousness also determines the basic artistic features of his poetry, which serve as the efficient vehicle of his political consciousness. By assimilating Whitmanese tradition and cultural elements of African American people, Hughes develops a bohemian writing feature in his poetry.
Chapter II places its emphasis on the relationship between politics and art in the 1930s poetry of Hughes. In this period, Hughes makes a sharp turn to the leftism and radical socialism, which allows him to understand the social reality from the standing point of the class and the world. These radical points of view are reflected in Hughes's social ideas and racial consciousness, and thus penetrate in the spirit and the artistic form of his poetry, which helps make his artistic viewpoints and themes of poetry awry from those of 1920s. Political propaganda becomes the overwhelming task of his poetry which costs the artistry to a great extent. But by the influence of the Popular Front aesthetics, Hughes readjusts the relationship between politics and art. His Popular Front poetry has a far-reaching influence upon his poetic art and political expression in the following decades.
Chapter III makes an exploration to the interaction between art and politics in Hughes's poetry created from late 1930s to early 1950s. This period, witnessing the end of the WWII and the first years of the Cold War, sees Hughes still grasping his serious concern on his race, except that his voice becomes sly and gentle instead of radical as in 1930s, which shows Hughes in a great confusion and contradiction politically. In this period, Hughes returns to the realistic standing point by employing everyday life as the vehicle of his political consciousness with emphasis on the illustration of the real life. This reflects his repudiation of his radical 1930s and also a result of the more and more tense atmosphere of American politics. Hughes conveys his political ideas in a more implicit way with the formerly explicit political discourse becoming muted while the artistic discourse getting from weak to strong. This helps Hughes avoid the strict political scrutiny while enhancing the craftsmanship of his poetry. Black vernacular, folk culture and popular culture again come up to the surface of his artistic structure. With the continuing influence of the Popular Front aesthetics, Hughes gradually develops his popularist modernist artistic feature.
Chapter IV focuses on the analysis of the interplay between politics and art in Hughes's 1950s-1960s poetry. In this period, Hughes comes to understand, after the suppression of McCarthyism and slight progress in African American people's freedom cause, that America is defected but is redeemable. This makes him optimistic about the future of America and its democratic dream. Hughes shows a greater emphasis on racial harmony. He believes that all means to be taken to realize democracy should be in compliance with the goal of harmony. And he strongly believes that humor and practical work of the black people will help themselves to be accepted. Thus he devotes himself to the depiction of the positive image of the black people based on the art-for-recording poetics. The altering of acceptable artistic form and radical poetic form, as shown in Ask Your Mama, demonstrates Hughes's philosophy for struggle for democracy in this period. The focus of his poetry is on recording instead of propaganda. In terms of poetic art, he makes innovations by following the cultural traits of his times. By combining Whitmanian popularist modernism with popular culture and folk culture, he created a genre of popularist avant-garde poetry. This genre helps to express his mild and pragmatic political ideals, and at the same time contributes to a compensation for his political consciousness oppressed by the Cold War era American political culture, which forms an interactive and mutually compensatory relationship between art and politics.
The Conclusion part makes a summary of the ideas discussed in the previous parts, and believes that Hughes, by his life-time experiments, draws a art-first political poetics. This part also makes a brief analysis of the aesthetic features—popularist avant-garde poetry, expressive modes of African American culture, and truism—as the result of Hughes experiments and exploration in the interplay between art and politics.
引文
[1]参见Richard Wright,“Forerunnetr and Ambassador,”New Republic 103(July-December):600-601.
[2]参见James A.Emanuel,“The Literary Expcriments of Langston Hughcs,”College Language Association Journal 1(1968):335-344.
[1]Rampersad,Arnold.Life of Langston Hughes.Vol 2.You Are the World.New York:Oxford UP,1988.p.6.
[1]参见Langston Hughes,"The Negro Artist and the Racial Mountain," African American Literary Criticism,1773-2000,ed.Hazel Arnett Ervin(New York:Twayne Publishers,1999):44-48.
[2]Hughes,Langston."Writers,Words and the World." African American Literary Criticism,1773-2000.Ed.Hazel Arnett Ervin.New York:Twayne Publishers,1999.p.198.
[3]Hughes,Langston."Black Writers in the Troubled World."African American Literary Criticism,1773-2000.Ed.Hazel Arnett Ervin.New York:Twayne Publishers,1999.p.478.
[4]Hughes,Langston."Writers,Words and the World."African American Literary Criticism,1773-2000.Ed.Hazel Arnett Ervin.New York:Twayne Publishers,1999.p.198.
[5]Hughes,Langston."Children and Poetry." African American Literary Criticism,1773-2000.Ed.Hazel Arnett Ervin.New York:Twayne Publishers,1999.p.363.
[6]Hughes,Langston."Writers,Words and the World."African American Literary Criticism,1773-2000.Ed.Hazel Arnett Ervin.New York:Twayne Publishers,1999.p.198.
[1]Hayden,Robert."Preface to the Atheneum Edition." The New Negro.New York:Atheneum Macmillan Publishing Company,1968.ⅸ.
[2]Hayden,Robert."Preface to the Atheneum Edition." The New Negro.New York:Atheneum Macmillan Publishing Company,1968.ⅸ.
[1]参见Early Gerald,"Review of the Collected Poems of Langston Hughes," September 10,2005.
[2]Hughes,Langston."The Negro Artist and the Racial Mountain," African American Literary Criticism,1773-2000.Ed.Hazel Arnett Ervin.New York:Twayne Publishers,1999.pp.47-48.
[1]Hughes.Langston."My People," The Collected Poems of Langston Hughes.Ed.Arnold Rampersad and David Rocssel.New York:vinrage,1994.p.36.本文中以“诗集”指代这部作品.文中引用诗歌均为本文作者翻译。
[2]Baker,Houston A.,Jr.Afro-American Poetics:Revision of Harlem andthe Black Aesthetic.Madison:U of Wisconsin P,1988.p.13.
[3]同上p.166。
[1]Williams,Mary E.ed.Interracial America:Opposing Viewpoints.San Diego:Greenhaven,Inc.,2001.p.16.
[2]Hughes,Langston.The Big Sea:An Autobiography.New York:Hill and Wang,1981.pp.28-30.
[1]参见Lawrence W.Levine,Chapter I,Black Culture and Black Consciousness:Afro-American Folk Thought from Slavery to Freedom(New York:Oxford UP,1977).
[2]Hughes,Langston."The Negro Artist and the Racial Mountain," African American Literary Criticism,1773-2000.Ed.Hazel Arnett Ervin.New York:Twayne Publishers,1999.p.45.
[3]Hughes,Langston."The Negro Artist and the Racial Mountain," African American Literary Criticism,1773-2000.Ed.Hazel Arnett Ervin.New York:Twayne Publishers,1999.p.45,
[1]Hayden,Robert."Preface to the Atheneum Edition." The New Negro.New York:Atheneum Macmillan Publishing Company,1968.xi
[1]McKay,Claude."If We Must Die." The Norton Anthology of African American Literature.Ed.Henry Louis Gates Jr.and Nellie Y.Mckay.New York:W.W.Norton & Company,1997.p.355.
[1]Du Bois,W.E.B."Criteria of Negro Art"(1926).African American Literary Criticism,1773-2000.Ed.Hazel Arnett Ervin.New York:Twayne Publishers,1999.pp.39-43.
[2]Hughes,Langston.The Collected Poems of Langston Hughes.Ed.Arnold Rampersad and David Roessel.New York:Vintage Books,1995.该诗在1930年《机会》杂志上首次发表,在1967年诗集《豹与鞭》中有改动,参见第131、638页。本处引用的诗句出自1930年版。
[1]Du Bois,W.E.B."Criteria of Negro Art"(1926).African American Literary Criticism,1773-2000.Ed.Hazel Arnett Ervin.New York:Twayne Publishers,1999.pp.39-43.
[1]参见Lawrence W.Levine,Black Culture and Black Consciousness:Afro American Folk Thought from Slavery to Freedom(New York:Oxford UP,1977)pp.1-30.
[1]Rampersad,Arnold.The Life of Langston Hughes,Vol 1.New York:Oxford UP,1988.p.40.
[1]De Unamuno,Miguel.The Tragic Sere of Life.New York:Dover Books,1954.p.315.
[1]De Santis,Christopher C..Introduction.The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Chritopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.3.
[2]Schuyler,George S."The Negro-Art Hokum," Nation 122(June 16,1936):662-663.
[3]Schuyler,George S."The Negro-Art Hokum," Nation 122(June 16,1936):662-663.
[4]Hughes,Langston."American Art or Negro Art?" The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World,Affairs.Ed.Chritopher C.De Santis.Columbia and London:U of Missonri P.,2002.p.552.
[5]转引自John Tidwell and Cheryl R.Ragar,"Langston Hughes Revisited and Revised." Montage of a Dream:The Art and Life of Langston Hughes.Ed.John Tidwell and Cheryl R.Ragar(Columbia,Missouri:U of Missouri P,2007)5.
[6]Hughes,Langston."The Negro Artist and the Racial Mountain(1926)." African American Literary Criticism,1773-2000.Ed.Hazel Amett Ervin.New York:Twayne Publishers,1999.pp.47-48.
[1]Rampersad,Arnold.The Life of Langston Hughes.Vol.1.1 Too Sing America.New York:Oxford UP,1986.p.119.
[2]Hughes,Langston."The Negro Artist and the Racial Mountain(1926)." African American Literary Criticism,1773-2000.Ed.Hazel Arnett Ervin.New York:Twayne Publishers,1999.p.47.
[1]Locke,Alan."The New Negro." The New Negro.New York:Atheneum Macmillan Publishing Company,1968.p.8.
[1]Tidwell,John and Cheryl R.Ragar."Langston Hughes Revisited and Revised." Montage of a Dream." The Art and Life of Langston Hughes.Ed.John Tidwell and Cheryl R.Ragar.Columbia,Missouri:U of Missouri P,2007.p.3.
[1]参见Langston Hughes,The Big Sea(New York:Hill and Wang,1963)52.
[1]Hughes,Langston.The Big Sea.New York:Hill and Wang,1963.p.54.
[2]Hughes,Langston.The Big Sea.New York:Hill and Wang,1963.p.54.
[1]Hughes,Langston.The Big Sea.New York:Hill end Wang,1963.p.92.
[1]Dekle,Bernard."Langston Hughes:Dedicated Negro Poet." Profiles of Modern American Authors.Ed.Charles E.Turtle,1969.p.130.
[1]转引自Linda Metzger,"James Langston Hughes," Contemporary Authors.New Revision Series.Vol.1,ed.Ann Evory(New York:Gale Research Company,1981)287.
[1]Beavers,Herman."Dead Rocks and Sleeping Men:Aurality in the Aesthetic of Langston Hughes." The Langston Hughes Review 11:1(Spring 1992):4.
[2]转引自Linda Metzger,"James Langston Hughes," Contemporary Authors.New Revision Series.Vol.1.Ed.Ann Evory.New York:Gale Research Company,1981.p.288.
[3]Rampersad,Ranold.The Life of Langston Hughes.Vol Ⅰ.Ⅰ Too Sing America.New York:Oxford UP,1986.pp.64-65.
[4]Beavers,Herman."Dead Rocks and Sleeping Men:Aurality in the Aesthetic of Langston Hughes." The Langston Hughes Review 11:1(Spring 1992):2-3.
[1]Locke,Alan."The New Negro." The New Negro.New York:Atheneum Macmillan Publishing Company,1968.pp.3-4.
[2]张立新,美国文学和文化中自色的象征意义.《外国文学评论》1(2002):116。
[3]Rubinsteino Annette T.American Literature Root and Flower.Beijing Foreign Language Teaching and Research Press,1988.p.676.
[1]Hughes,Langston."The Negro Artist and the Racial Mountain(1926)." African American Literary Criticism,1773-2000.Ed.Hazel Arnett Ervin.New York:Twayne Publishers,1999.p.47.
[2]Hughes,Langston."The Bad New Negroes:A Critique on Critics(1927)." The Collected Works of Langston Hughes Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Chritopher C.De Santis.Columbia,Missouri:U of Missouri P,2002.p.38.
[3]Hughes,Langston."The Bad New Negroes:A Critique on Critics(1927)." The Collected Works of Langston Hughes. Vol.9.Essays on Art,Race,Politics,and World Affairs,Ed.Chritopher C.De Santis.Columbia,Missouri:U of Missouri P,2002.pp.37-38.
[1]Hughes,Langston."The Bad New Negroes:A Critique on Critics(1927)." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Chritopher C.De Santis.Columbia,Missouri:U of Missouri P,2002.p.39.
[1]诗集第78页。
[1]参见Lawrence W.Levine,"The Quest of Certainty:.Slave Spirituals," Black Culture and Black Consciousness:Afro-American Folk Thought from Slavery to Freedom(New York:Oxford UP,1977):31-54.
[2]Levine,Lawrence W."The Quest of Certainty:Slave Spirituals." Black Culture and Black Consciousness:Afro-American Folk Thought from Slavery to Freedom.New York:Oxford UP,1977.p.33.
[1]Rampersad,Arnold.The Life of Langston Hughes.Vol.Ⅰ.Ⅰ Too Sing America.New York:Oxford UP,1986.p.28.
[2]Rampersad,Arnold.The Life of Langston Hughes.Vol.Ⅰ.Ⅰ Too Sing America.New York:Oxford UP,1986.pp.28-29.
[3]Rampersad,Arnold.The Life of Langston Hughes.Vol.Ⅰ.Ⅰ Too Sing America.New York:Oxford UP,1986.p.72.
[4]参见Lamgston Hughes,"These Bad New Negroes:A Critique on Critics(1927)," The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs,ed.Christopher C.Santis(Columbia,Missouri:U of Missouri P,2002)40.
[5]Hughes,Langston.The Big Sea:An Autobiography.New York:Hill and Wang,1981.pp.28-30.
[6]Rampersad,Arnold.Introduction.The Collected Poems of Langston Hughes.Ed.Arnold Rampersasd and David Roessel.New York:Vintage Books,1995.p.4.
[1]参见Arnold Rampersad,The Life of Langston Hughes.Vol.Ⅰ.Ⅰ Too Sing America(New York:Oxford UP,1986)146.
[1]Hughes,Langston.The Big Sea:An Autobiography.吴克明、石勤译。上海译文出版社,1986。第33页。
[2]Hughes,Langston.The Big Sea:An Autobiography.吴克明、石勤译。上海译文出版社,1986。第36-37页.
[3]Rmpersad,Arnold.The Life of Langston Hughes.Vol.Ⅰ,Ⅰ Too SingAmerica.New York:Oxford UP,1986.p.29.
[4]Hughes,Langston.The Big Sea:An Autobiography.吴克明、石勤译。上海译文出版社,1986。第33页。
[1]Hughes,Langston."These Bad New Negroes:A Critique on Critics(1927)." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politica,and World Affairs.Ed.Christopher C.Santis.Columbia,Missouri:U of Missouri P,2002.p.40.
[2]Whitman,Walt.Leaves of Grass.Ed.Emory Holloway.London:The Nonesuch Press,1938.The head page.
[1]Rampersad,Arnold.The Life of Langston Hughes.Vol.Ⅰ.Ⅰ Too Sing America.New York:Oxford UP,1986.p.146.
[1]参见Walt Whitman,Leaves of Grass.Ed.Emory Holloway.London:The Nonesuch Press,1938.p.12.诗中热情描写了木工、砖瓦匠、船工等美国社会各行各业的劳动者对美国的歌唱,表现了强烈的美国民族意识和民主意识。
[2]参见Arnold Rampersad的注解。Arnold Rampersad.The Life of Langston Hughes.Vol.Ⅰ.Ⅰ Too Sing America.New York:Oxford UP,1986.p.625.
[3]Early,Gerald."So Will My Page Be Colored That I Write?" Boston Book Review.May 2003.
[4]Henderson,Stephen.Understanding the New Black Poetry.New York:William Moral Press,1973.pp.30-31.
[5]Henderson,Stephen.Understanding the New Black Poetry.New York:William Moral Press,1973.p.33.
[1]Henderson,Stephen.Understanding the New Black Poetry.New York:William Moral Press,1973.p.33.
[2]Melhem,D.H."Sonia Sanchez:the Will and the Spirit," Heroism in the New Black Poetry:Introductions and Interviews.Lexington,Kentucky:UP of Kentucky,1990.p.153.
[3]Henderson,Stephen.Understanding the New Black Poetry.New York:William Moral Press,1973.p.33.
[4]Cook,Michael G.Afro-American Literature in the Twentieth Century:The Achievement of Intimacy.New Haven:Yale UP,1984,p.16.转引自王晓路:《差异的表述:黑人美学与贝克的批评理论》,《国外文学》,2000年第2期。
[5]Hughes,Langston."The Black Artist and the Racial Mountain(1926)," African American Literary Criticism,1773-2000.Ed.Hazel Arnett Ervin.New York:Twayne Publishers,1999.p.47.
[6]Rubinstein,Annette T.American Literature Root and Flower.Beijing Foreign Language Teaching and Research Press,1988.p.693.
[1]Hoffman,Daniel,ed.Harvard Guide to Contemporary American Writing,USA:Harvard UP,1979。《世界文学》编辑部译,中国文艺联合出版公司,1984年,第454页。
[2]Ferris,Jean.Americas Musical Landscape,USA:Wm.C.Brow n Publishers,1990.p.176.
[3]王晓路:《差异的表述——黑人美学与贝克的批评理论》,《国外文学》,2000年第2期。
[4]Ferris,Jean.Americas Musical Landscape.New York:Wm.C.Brown Publishers,1990.p.175.
[5]Jackson,Blyden."Hughes,Langston." Encyclopedia of World Literature in the 20th Century Vol.2.New York: Ungar,1982.p.405.
[1]Rubinstein,Annette T.American Literature Root and Flower.Beijing Foreign Language Teaching and Research Press,1988.p.644.
[2]Hoffman,Danniel,ed.Harvard Guide to Contemporary American Writing,USA:Harvard UP,1979。《世界文学》编辑部译,中国文艺联合出版公司,1984年。第453页。
[1]参见James Smethurst,“Langston Hughcs in the 1930s,”The New Red Negro:The Literary Left and African American Poetry,1930-1946(New York:Oxford UP,1999).
[2]《新民众》杂志办公地点与美国共产党控制下的“约翰·里德俱乐部”分别设在纽约西15街63号二楼和一楼,在1931年前后实际上充当了该俱乐部机关刊物的角色。“约翰里德俱乐部”成立于1929年秋天,成为激进作家与艺术家活动中心,到1931年,已在美国各地建立起10余个分部。《圣诞快乐》不是休斯第一首发表在《新民众》上的诗.但次年1月他在该杂志发表了系列诗作,使这份杂志成为30年代休斯发表作品的主要刊物。
[1]Hughes,Langston."My Poems and Myself," The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race.Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia,Missouri:U of Missouri P,2002.p.255.
[1]参见Langston Hughes,"People without Shoes(1931)," The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race.Politics,and World Affairs,ed.Christopher C.De Santis(Columbia,Missouri:U of Missouri P,2002)46-49.
[1]Hughes,Langston." Open Letter to the South."The Collected Poems of Langston Hughes.Ed.Arnold Rampersad and David Roessel.New York:Vintage Books,1994.pp.160-161.
[1]诗集第190页.
[2]参见Langston Hughes,"People without Shoes(1931)." The Collected Works of Langston Hughes.Vol.9.Essays on Art.Race,Politics,and World Affairso ed.Christopher C.De Santis(Columbia,Missouri:U of Missouri P,2002)46-49.
[3]Hughes,Langston."Swords over Asia(1934)." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs,ed.Christopher C.De Santis.Columbia,Missouri:U of Missouri P,2002.p.104.
[4]Hughes,Langston."Swords over Asia(1934)." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs,ed.Christopher C.De Santis.Columbia,Missouri:U of Missouri P,2002.p.104.
[1]参见Langston Hughes,“Always the Same,”诗集第165-166页。
[2]Hughes,Langston."Negros Speak of War(1933)."The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia,Missouri:U of Missouri P,2002.p.64.
[1]Rampersad,Arnold.The Life of Langston Hughes.Vol.Ⅰ.Ⅰ Too Sing America.New York:Oxford UP,1986.p.215.
[1]Hughes,Langston."Moscow and Me(1933)." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia,Missouri:U of Missouri P,2002.p.57.
[2]Hughes,Langston."Negroes in Moscow:In a Land Where There is No Jim Crow(1933)." 同上,第65-71页。
[3]Hughes,Langston."Moscow and Me(1933)."同上,第60页。
[4]Hughes,Langston."Moscow and Me(1933)." 第60页。
[1]Hughes,Langston."Letter to the Academy." 诗集第169页.
[2]Smethurst,James."Langston Hughes in the 1930s." The New Red Negro:The Literary Left and,African,American Poetry,1930-1946.New York:Oxford UP,1999.
[3]Hughes,Langston."The Negro Artist and the Racial Mountain(1926)." African,American Literary Criticism,1773-2000.Ed.Hazel Amett Ervin.New York:Twayne Publishers,1999.p.48.
[1]Hughes,Langston."Writers,Words and the World." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Chritopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.198.
[2]DeSantis,Christopher C.Introduction.The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Chritopher C.De Santis.Columbia and London:U of Missouri P.,2002.pp.6-7.
[3]Hughes,Langston."Writers,Words and the World." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.199.
[1]参见Langston Hughes,"To Negro Writers."同上,pp.131-133.
[2]Hughes,Langston."To Negro Writers." 同上,第198页.
[3]Hughes,Langston."To Negro Writers." 同上,第199页.
[4]参见Langston Hughes,"A Negro Looks at Soviet Central Asia,"同上,pp.71-102.
[1]Hughes,Langston."Writers,Words and the World." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Chritopher C.De Santis.Columbia and London:U of Missouri P,2002.p.198.
[1]参见Lawrence W.Levine,Black Culture and Black Consciousness:Afro American Folk Thought from Slaveey to Freeedom(New York:Oxford UP,1977)31-53.
[2]参见Arnold Rampersad,The Life of Langston Hughes.Vol.Ⅰ.Ⅰ Too Sing America(New York:Oxford UP,1986)351.
[1]参见Langston Hughes,"To Negro Writers." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race.Politics,and World Affairs,ed.Christopher C.De Santis(Columbia and London:U of Missouri P.,2002)131-133.
[1]参见Langston Hughes,"To Negro Writers." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs(ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002)131-133.
[2]Hughes,Langston."To Negro Writers." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P,2002.p.133.
[1]参见Christopher C.De Santis,"Rage,Revolution,and Endurance:Langston Hughes's Radical Writings."The Langston Hughes Review(1993).
[2]Cullen,Countee."Heritage." The Norton Anthology of African American Literature.Ed.Henry Louis Gates Jr.and Nellie Y.McKay.New York:W.W.Norton &Company,1997.p.1311-1314.引文出自1133页.
[1]Onwucheka,Jemie.Langston Hughes:An Introduction to the Poetry.New York:Columbia UP,1976.
[2]参见Michael Thurston,"Black Christ,Red Flag:Langston Hughes on Scottsboro," College Literature 22:3(Oct.,1995):30-49.
[1]参见Arnold Rampersad,The Life of Langston Hughes.Vol Ⅰ.Ⅰ Too Sing America(New York:Oxford UP,1986):220-221.
[2]参见James Smethurst,"Langston Hughes in the 1930s," The New Red Negro:The Literary Left and African American Poetry,1930-1946(New York:Oxford UP,1999):"Adventures of a Social Poet,"A Historical Guide to Langston Hughes,ed.Steven C.Tracy(New York:Oxford UP,2004):141-168.
[3]参见James Smethurst,The New RedNegro:The Literary Left and African American Poetry,1930-1946(New York:Oxford UP,1999).
[1]参见Arnold Rampersad,The Life of Langston Hughes.Vol Ⅰ.Ⅰ Too Sing America(New York:Oxford UP,1986)221.
[2]参见Arnold Rampersad,The Life of Langston Hughes.Vol Ⅰ.Ⅰ Too Sing America(New York:Oxford UP,1986)221.
[1]参见Arnold Rampersad,The Life of Langston Hughes.Vol Ⅰ.Ⅰ Too Sing America,p.221.
[2]休斯在1931年10月写给Prentiss Taylor的信.转引自Arnold Rampersad,Life of Langston Hughes.Vol Ⅰ.Ⅰ Too Sing America(New York:Oxford UP,1986)221.
[3]Rampersad,Arnold.Life of Langston Hughes.Vol Ⅰ.Ⅰ Too Sing America.New York:Oxford UP,1986.p.221.
[1]Hughes,Langston."The Alliance of Antifascist Intellectuals,Madrid." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World,Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P,2002.p.152.
[1]参见James Smethurst,James Smethurst,The New Red Negro:The Literary Left and African American Poetry.1930-1946(New York:Oxford UP,1999).
[1]参见 Langston Hughes,The Big Sea(New York:Hill and Wang,1981):320-321.
[2]参见 James Smethurst,James Smethurst,The New Red Negro:The Literary Left and African American Poetry,1930-1946(New York:Oxford UP,1999).
[1]Smethurst,James."Adventures of a Social Poet." A Historical Guide to Langston Hughes.Ed.Steven C.Tracy.New York:Oxford UP,2004.p.145.
[2]参考 James Smethurst,The New Red Negro:The Literary Left and African American Poetry,1930-1946(New York:Oxford UP,1999)中关于休斯30年代诗歌的论述.
[3]Jill,Jonathan."Ezra Pound and Langston Hughes:The ANC of Po'try," Ezra Pound and African American Modernism.Ed.Michael Coyle.Hanover and London:UP of New England,2001.p.79.
[1]Roessel,David."A Racial Act':The Letters of Langston Hughes and Ezra Pound." Ezra Pound and African American Modernism.Ed.Michael Coyle.Hanover and London:UP of New England,2001.p.221.引文中提到的《鲁碧·布明》是休斯20年代的诗作,庞德信中涉及到的诗行为:“And the sinister shuttered house of the bottoms”(Collected Poems73)。
[2]Jill,Jonathan."Ezra Pound and Langston Hughes:The ANC of Po'try." Ezra Pound and African American Modernism.Ed.Michael Coyle.Hanover and London:UP of New England,2001.p.86.
[1]参见注释204,诗集第647页.
[1]Young,Robert."Red Poetics and the Practice of'Disalienation.'" Montage of a Dream." The,Art and Life of Langston Hughes.Ed.John Edgar Tidwell and Cheryl R.Ragar.Columbia,Missouri:U of Missouri P,2007.p.143.
[1]Youns,Robert."Red Poetics and the Practice of 'Disalienation.'" Montage of a Dream." The Art and Lift of Langston Hughes.Ed.John Edgar Tidwell and Cheryl R.Ragar.Columbia,Missouri:U of Missouri P,2007.p.144.
[1]参见 G.Lewis Chandler,"Selfsameness and a Promise," Phylon,10(Summer,1949):189-191.
[2]Hughes,Langston."Democracy,Negroes and Writers(1941)." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.211.
[1]Hughes,Langston."Democsacy and Me." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.203-206.引用文字出自第206页.
[2]Hughes,Langston."Concerning 'Goodbye,Christ'(1941)." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Sanfis.Columbia and London:U of Missouri P.,2002.p.209.
[1]Hughes,Langston."The Future of Black America." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Sanfis.Columbia and London:U ofMissouri P.,2002.p.231.
[2]Hughes,Langston."Negro Writers and the War." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.216.
[1]Hughes,Langston."Negro Writers and the War." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and Worid Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.217.
[2]参见 Langston Hughes,"The Future of Black America." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Aggairs.Ed.Christopher C.De Sanfis.Columbia and London:U of Missouri P.,2002.pp 229-232.
[3]Hughes,Langston."My America." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,.and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.234.
[4]Hughes,Langston."My America." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.232.
[1]参见诗集第347页.
[1]休斯在1940年1月19日写给黑人作家Louise Thompson的信中如是说,转引自Arnold Rampersad,Life of Langston Hughes.Vol Ⅰ.1902-1941(New York:Oxford up,1986)375.
[2]参见 Arnold Rampersad,Life of Langston Hughes.Vol Ⅰ.1902-1941(New York:Oxford UP,1986)375.
[3]参考 Langston Hughes,"My Adventures as a Social Poet," The Collected Works of Langston Hughes,Vol.9.Essays on Art,Race,Politics,and WorldA.Affairs,ed.Christopher C.De Santis(Columbia and London:U of Missouri P,2002)269-277.
[4]Langston Hughes,"Ten Ways to Use Poetry in Teaching." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Sentis.Columbia and London:U of Missouri P,2002.p.319.
[5]Langston Hughes,"Democracy,Negroes,and Me." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.pp.211-212.
[1]Smethurst,James."Adventures of a Social Poet." A Historical Guide to Langston Hughes.Ed.Steven C.Tracy.New York:Oxford UP,2004.p.147.
[2]参见《现在是时候了,狄克西》,诗集第291页。
[1]参见 Calvin Hernton,"The Poetic Consciousness of Langston Hughes from Affirmation to Revolution." Langston Hughes Review.12:1(Spring 1993)2-9.
[2]参见 Langston Hughes,"Some Practical Observations:A Colloquy." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.309.
[3]Hughes,Langston."My Adventures as a Social Poet." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Sanfis.Columbia and London:U of Missouri P.,2002.p.270.
[1]Hughes,Langston."Democracy,Negroes,and Writers." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.210.
[1]Fremon,David K.The Jim Crow Laws and Racism in American History.Berkeley Heights,NJ:Enslow Publishers,Inc.,2000.p.27.
[1]Hughes,Langston."Democracy,Negroes,and Writers." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.pp.210-211.
[2]Hughes,Langston."Democracy,Negroes,and Writers." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.211.
[1]Fremon,David K.The Jim Crow Laws and Racism in.American History.Berkeley Heights,NJ:Enslow Publishers,Inc.,2000.p.37.
[2]同上,p.39.
[1]参见Langston Hughes,“Call to Creation.”诗集第135页。
[1]Arnold Rampersad,"Introduction."诗集第5页.
[1]参见 Langston Hughes,"Is Hollywood Fair to Negroes?" The Collected Works of Langston Hughes.Vol.9.Essays on.Art,Race,Politics,and World,Affairs,ed.Christopher C.De Sanfis(Columbia and London:U of Missouri P,2002):226-228.
[1]Hayden,Robert."Preface to the Atheneum Edition." The New Negro.New York:Atheneum Macmillan Publishing Company,1968.ⅹ-ⅹⅰ.
[1]Jonathan Gill,"Ezra Pound and Langston Hughes:The ABC of Po'try." Ezra Pound and African American Modernism.Oronto,Maine:The National Poetry Foundation,U of Maine,2001.p.80.
[2]Henderson,Stephen."Introduction:The Forms of Things Unknown." Understanding the New Black Poetry:Black Speech & Black Music as Poetic References.Ed.Stephen Henderson.New York:William Morrow & Company,Inc.,1973.p.29-30.
[3]参见David Roessel,"A Raciai Act:The Letters of Langston Hughes and Ezra Pound," Ezra Pound and African American Modernism,ed.by Michael Coyle(Oronto,Maine:The National Poetry Foundation,U of Maine,2001)207-242.
[4]参见 Langston Hughes,"Songs Called the Blues," The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs,ed.Christopher C.De Sanfis(Columbia and London:U of Missouri P,2002)212-215.
[1]Hughes,Langston.Good Morning Revolution:Uncollected Writings of Social Protest by Langston Hughes.Ed.Faith Berry.New York:Lawrence Hill,1973.p.80.
[1]Hughes,Langston."Some Practical Observations:A Colloquy." The Collected Works of Langston Hugh,.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P,2002.p.309.
[2]参见 Edna Lou Walton,"Nothing NBew Under the Sun," New Masses.43(Jun,1942)23:Rolphe Humphries,"Verse Chronical," The Nation,168(Jan 15,1949)80.
[3]参见 Rabette Deutsch,"Waste Land of Harlern," New York Herald Tribune Book Review(May 6)23.
[4]参见 John W.Parker,"Tomorrow in the Writing of Langston Hughes," College English 10(May,1949):438-441.
[1]Hughes,Langston."Songs Called the Blues," The Collected Worlds of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and WorldA.Affairs.Ed.Christopher C.De Sanfis.Columbia and London:U of Missouri P.,2002.p.213.
[1]休斯从一开始就认为这应该是一部由许多独立的片段形成的长诗,该诗于1948年既已基本完成,1951年出版.许多学者和读者仍然习惯于将诗中的每一个片段看作足独立的诗。
[2]Rampersad,Arnold.Life of Langston Hughes,Vol.2.I Dream a World.New York:Oxford UP,1988.p.151.
[3]Hokanson,Robert O'Brien."Jazzing It Up:The Be-Bop Modernism of Langston Hughes." Mosaic 31.4(1998):61-82.p.63.
[1]转引自 Jean-Phillipe Marcoux,"Blues Connotation:Bebop Jazz and Free Jazz as Idioms Expressive of African American Culture in Montage of a Dream Deferred and Ask Your Mama." Langston Hughes Review 21(Fall 2007):12-29.p.13.
[2]Hughes,Langston."Bop." Best of Simple.New York:Hill and Wang,1957.pp.117-119.
[1]Rampersad,Arnold.Life of Langston Hughes,Vol.2,I Dream a World.New York:Oxford UP,1988.p.153.
[2]Onwuchekwa,Jemie.Langston Hughes." An Introduction to the Poetry.New York:Columbia UP,1976.p.63.
[3]参见范农,《黑皮肤白面具》,万冰译(南京:译林出版社,2005)第98-100页.
[1]参见路易·阿尔都塞,意识形态和意识形态国家机器,见《文学批评理论:从柏拉图到现在》。拉曼·塞尔登编,刘象愚、陈永国等译(北京:北京大学出版社,2006)第466-470页。
[1]Levine,Lawrence W.Black Culture andBlack Consciousness.New York:Oxford UP,1977.p.299.
[2]Freud,Sigmund,Collected Paper(Vol.Ⅴ),ed.James Stmchey.New York:Basic Books,1966.p.217.
[3]Freud,Sigmund.Jokes and Their Relation to the Unconscious.New York:W.W.Norton & Company,1989.p.284.
[4]Freud,Sigmund,Collected Paper(Vol.Ⅴ),ed.James Strachev.New York:Basic Books.1966.n.216.
[5]参见范农,《黑皮肤白面具》,万冰译(南京:译林出版社,2005)第99页。
[1]Smethurst,James."The Adventures of a Social Poet." A Historical Guide to Langston Hughes.Ed.Steven C.Tracy.New York:Oxford UP,2004.p.161.
[1]路易·阿尔都塞;意识形态和意识形态国家机器,见《文学批评理论:从柏拉图到现在》。拉曼·塞尔登编,刘象愚、陈永国等译。北京:北京大学出版社,2006.第466页。
[1]Hughes,Langston."Langston Hughes Speaks." Good Morning Revolution:Uncollected Social Protest Writings by Langston Hughes.Ed.Faith Berry.New York:Lawrence Hill & Company,1973.p.143.
[1]Rampersad,Arnold.Life of Langston Hughes,Vol Ⅱ,You Are the World.New York:Oxford UP,1988.p.219.
[2]Hughes,Langston."Draft Ideas." The Collected Works of Langston Hughes.Vol,9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.408.
[1]参见 Linda Metzger,"James Langston Hughes," Contemporary Authors.New Revision Series.Vol.Ⅰ,ed.Ann Evory (New York:Gale Research Company,1981)288.
[2]参见 Donna Akiba Sullivan Harper,"End of Deferment:Use of Dreams in Langston Hughes's Poetry of the 1960s,"Foreign Literature Studies 2(April 2008):12-20.
[1]参见 Arnold Rampersad,Life of Langston Hughes,Vol Ⅱ,You Are the World(New York:Oxford UP,1988)402.
[1]参见 Arnold Rampersad,Life of Langston Hughes,Vol Ⅱ,You Are the World(New York:Oxford UP,1988)387.
[2]参见 Arnold Rampersad,Life of Langston Hughes,Vol Ⅱ,You Are the World(New York:Oxford UP,1988)394-395.
[1]Rampersad,Arnold.Life of Langston Hughes,Vol Ⅱ,You Are the World.New York:Oxford UP,1988.p.368.
[2]Redding,Sanders.Foreword,Good Morning Revolution:Uncollected Social Protest Writings by Langston Hughes.Ed.Faith Berry.New York:Lawrence Hill & Company.ⅸ-ⅹ.
[1]Rampersad,,Arnold.Life of Langston Hughes,Vol Ⅱ,You Are the World.New York:Oxford UP,1988.p.286.
[2]Rampersad,Arnold.Life of Langston Hughes,Vol Ⅱ,You Are the World.New York:Oxford UP,1988.p.402.
[3]Hughes,Langston."Black Writers in a Troubled World." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of MissouriP.,2002.p.477.
[1]Hughes,Langston."Black Writers in a Troubled World." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia sad London:U of Missouri P.,2002.p.478.
[2]同上 p.476.
[3]Lsagston Hughes,"The Task of the Negro Writer as Artist." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics.and World Affairs.Ed.Christopher C.De Ssatis.Columbia and London:U of Missouri P.,2002.p.425.
[4]Langston Hughes."Writers:Black and White." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Satis.Columbia sad London:U of Missouri P.,2002.p.380.
[1]皮埃尔·马雷舍:“文学生产理论。”《文学批评理论:从柏拉图到现在》。拉曼·奏尔登编,刘象愚 陈永国等译.北京:北京大学出版社.2003.第472页。
[2]Rampersad,Arnold.Life of Langston Hughes,Vol Ⅱ,You Are the World.New York:Oxford UP,1988.p.340.
[3]Du Bois,W.E.B.."The Souls of Black Folk." My Soul Has Grown Deep:Classics of Early African-American Literature.Ed.John Edgar Wideman.Philadelphia:Running Press,2001.884-1040.pp.884.
[4]Rampersad,Arnold.Life of Langston Hughes,Vol Ⅱ,You Are the World.New York:Oxford UP,1988.p.297.
[1]参见 James Smethurst,"Kitchenette Correlatives:African American Neo-Modernism,the Popular Front,and the Emergence ofa Blsck Literary Avant-Garde in the 1940s and 1950s," Foreign Literature Studies 4(August 2007):23-35.
[2]转引自 Arnold Rampersad.Life of Langston Hughes,Vol Ⅱ,You Are the World.New York:Oxford UP,1988.p.235.
[1]休斯给一位书评者的信中如是说。转引自 Arnold Rampersad.Life of Langston Hughes,Vol Ⅱ.You Are the World (New York:Oxford UP,1988)272.
[2]Rampersad,Arnold.Life of Langston Hughes,Vol Ⅱ.You Are the World.New York:Oxford UP,1988.pp.312-313.
[1]Rampersad,Arnold.Life of Langston Hughes,Vol Ⅱ You Are the World.New York:Oxford UP,1988.p.418.
[1]Hughes,Langston."The Task of Negro Writer as Artist." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P,2002.p.425.
[2]Hughes,Langston."The Task of Negro Writer as AttiC" The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.424.
[1]Hughes,Langston."The Task of Negro Writer as Artist." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missonri P.,2002.p.425.
[2]Hughes,Langston."The Task of Negro Writer as Artist." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P,2002.p.425.
[1]Hughes,Langston."The Ceaseless Rings of Walt Whitman:Introduction to I Hear the People Singing:Selcted Poems of Walt Whitman."The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Sanfis.Columbia and London:U of Missouri P.,2002.p.483.
[2]Hughes,Langston."Wait Whitman and the Negro." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Sanfis.Columbia and London:U of Missouri P.,2002.p.348.
[3]原文见 Chicago Defender Aug 1,1953.本文引自 Arnold Rampersad,Life of Langston Hughes,Vol 11,You Are the World(New York:Oxford UP,1988)225.
[1]Hughes,Langston."The Ceaseless Rings of Walt Whitman:Introduction to I Hear the People Singing:Seicted Poems of Walt Whitman." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.2002.pp.484-485.
[2]同上,p.484。
[1]Levine,Lawrence W..Black Culture and Black Consciousness,New York:Oxford UP,1977.p.335.
[2]Legman,Gershon.Rationale of Dirty Joke:An A nalysis of Sexual Humor.New York:Grove Press,1968.p.9.
[1]Hughes,Langston."A Note on Humor." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P,2002.p.525.
[2]Rampersad,Arnold.Life of Langston Hughes,Vol Ⅱ,You Are the World.New York:Oxford UP,1988.p.263.
[3]参见 Arthur P.Davis,"Langston Hughes",From the Dark Tower(Washington:Harvard UP,1974)61-72.
[4]Levin,Lawrence W.Black Culture andBlack Consciousness,New York:Oxford UP,1977.p.301.
[1]Hughes,Langston."Jazz as Communication." The Collected Works of Langston Hughes.Vol.9.Essays on Art.Race,Polities,and World Affairs.Ed.Christopher C.De Santis.Colombia and London:U of Missouri P,2002.p.368.
[2]Hughes,Langston."Jazz as Communication." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Sanfis.Columbia and London:U of Missouri P,2002.p.369.
[1]Hughes,Langston."Gospel Songs and Gospel Singing." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P,2002.pp.392-394.
[1]Baker,Houston A.Jr.Afro-American Poetics:Revisions of Harlem and the Black Aesthetic.Madison:U of Wisconsin P,1988.p.13.
[1]参见 G Lewis Chandler,"Selfsameness and a Promise," Phylon,10(Summer,1949):189-191.
[2]Miller,R.Baxter.Art and Imagination of Langston Hughes.Lexington,Kentucky:UP of Kentucky,2006.p.69.
[1]Smethurst,James."The Adventures of a Social Poet." A Historical Guide to Langston Hughes.Ed.Steven C.Tracy.New York:Oxford UP,2004.p.166-167.
[1]Hughes,Langston."Songs Called the Blues." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.213.
[2]Sterling,Philip,ed.Laughing from the Outside:the Intelligent White Reader's Guide to Negro Tales and Humor.New York:Grosset & Dunlap,1965.p.22.
[3]参见 Richard Wright,"Forerunner and Ambassador," New Republic 103(Jul-Dec,1940):600-601。
[1]Hughes,Langston."An Essay." Chicago Defender(Oct 22,1945).转引自 Arnold Rampersad,Life of Langston Hughes.Vol 2.You Are the WorM.New York:Oxford UP,1988.pp.120-121.
[2]转引自张跃军《美国性情:威廉·卡洛斯·戚廉斯的实用主义诗学》.合肥:安徽文艺出版社,2006.第50页.
[3]参见 Early Gerald,"Review of The Collected Poems of Langston Hughes," Aug 18,2003
[1]参见小内森A司各特,“黑人文学”,《美国当代文学》,丹尼尔·霍夫曼主编(北京:中国文艺联合出版公司,1984):452.
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[2]参见James A.Emanuel,“The Literary Expcriments of Langston Hughcs,”College Language Association Journal 1(1968):335-344.
[1]Rampersad,Arnold.Life of Langston Hughes.Vol 2.You Are the World.New York:Oxford UP,1988.p.6.
[1]参见Langston Hughes,"The Negro Artist and the Racial Mountain," African American Literary Criticism,1773-2000,ed.Hazel Arnett Ervin(New York:Twayne Publishers,1999):44-48.
[2]Hughes,Langston."Writers,Words and the World." African American Literary Criticism,1773-2000.Ed.Hazel Arnett Ervin.New York:Twayne Publishers,1999.p.198.
[3]Hughes,Langston."Black Writers in the Troubled World."African American Literary Criticism,1773-2000.Ed.Hazel Arnett Ervin.New York:Twayne Publishers,1999.p.478.
[4]Hughes,Langston."Writers,Words and the World."African American Literary Criticism,1773-2000.Ed.Hazel Arnett Ervin.New York:Twayne Publishers,1999.p.198.
[5]Hughes,Langston."Children and Poetry." African American Literary Criticism,1773-2000.Ed.Hazel Arnett Ervin.New York:Twayne Publishers,1999.p.363.
[6]Hughes,Langston."Writers,Words and the World."African American Literary Criticism,1773-2000.Ed.Hazel Arnett Ervin.New York:Twayne Publishers,1999.p.198.
[1]Hayden,Robert."Preface to the Atheneum Edition." The New Negro.New York:Atheneum Macmillan Publishing Company,1968.ⅸ.
[2]Hayden,Robert."Preface to the Atheneum Edition." The New Negro.New York:Atheneum Macmillan Publishing Company,1968.ⅸ.
[1]参见Early Gerald,"Review of the Collected Poems of Langston Hughes," September 10,2005
[2]Hughes,Langston."The Negro Artist and the Racial Mountain," African American Literary Criticism,1773-2000.Ed.Hazel Arnett Ervin.New York:Twayne Publishers,1999.pp.47-48.
[1]Hughes.Langston."My People," The Collected Poems of Langston Hughes.Ed.Arnold Rampersad and David Rocssel.New York:vinrage,1994.p.36.本文中以“诗集”指代这部作品.文中引用诗歌均为本文作者翻译。
[2]Baker,Houston A.,Jr.Afro-American Poetics:Revision of Harlem andthe Black Aesthetic.Madison:U of Wisconsin P,1988.p.13.
[3]同上p.166。
[1]Williams,Mary E.ed.Interracial America:Opposing Viewpoints.San Diego:Greenhaven,Inc.,2001.p.16.
[2]Hughes,Langston.The Big Sea:An Autobiography.New York:Hill and Wang,1981.pp.28-30.
[1]参见Lawrence W.Levine,Chapter I,Black Culture and Black Consciousness:Afro-American Folk Thought from Slavery to Freedom(New York:Oxford UP,1977).
[2]Hughes,Langston."The Negro Artist and the Racial Mountain," African American Literary Criticism,1773-2000.Ed.Hazel Arnett Ervin.New York:Twayne Publishers,1999.p.45.
[3]Hughes,Langston."The Negro Artist and the Racial Mountain," African American Literary Criticism,1773-2000.Ed.Hazel Arnett Ervin.New York:Twayne Publishers,1999.p.45,
[1]Hayden,Robert."Preface to the Atheneum Edition." The New Negro.New York:Atheneum Macmillan Publishing Company,1968.xi
[1]McKay,Claude."If We Must Die." The Norton Anthology of African American Literature.Ed.Henry Louis Gates Jr.and Nellie Y.Mckay.New York:W.W.Norton & Company,1997.p.355.
[1]Du Bois,W.E.B."Criteria of Negro Art"(1926).African American Literary Criticism,1773-2000.Ed.Hazel Arnett Ervin.New York:Twayne Publishers,1999.pp.39-43.
[2]Hughes,Langston.The Collected Poems of Langston Hughes.Ed.Arnold Rampersad and David Roessel.New York:Vintage Books,1995.该诗在1930年《机会》杂志上首次发表,在1967年诗集《豹与鞭》中有改动,参见第131、638页。本处引用的诗句出自1930年版。
[1]Du Bois,W.E.B."Criteria of Negro Art"(1926).African American Literary Criticism,1773-2000.Ed.Hazel Arnett Ervin.New York:Twayne Publishers,1999.pp.39-43.
[1]参见Lawrence W.Levine,Black Culture and Black Consciousness:Afro American Folk Thought from Slavery to Freedom(New York:Oxford UP,1977)pp.1-30.
[1]Rampersad,Arnold.The Life of Langston Hughes,Vol 1.New York:Oxford UP,1988.p.40.
[1]De Unamuno,Miguel.The Tragic Sere of Life.New York:Dover Books,1954.p.315.
[1]De Santis,Christopher C..Introduction.The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Chritopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.3.
[2]Schuyler,George S."The Negro-Art Hokum," Nation 122(June 16,1936):662-663.
[3]Schuyler,George S."The Negro-Art Hokum," Nation 122(June 16,1936):662-663.
[4]Hughes,Langston."American Art or Negro Art?" The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World,Affairs.Ed.Chritopher C.De Santis.Columbia and London:U of Missonri P.,2002.p.552.
[5]转引自John Tidwell and Cheryl R.Ragar,"Langston Hughes Revisited and Revised." Montage of a Dream:The Art and Life of Langston Hughes.Ed.John Tidwell and Cheryl R.Ragar(Columbia,Missouri:U of Missouri P,2007)5.
[6]Hughes,Langston."The Negro Artist and the Racial Mountain(1926)." African American Literary Criticism,1773-2000.Ed.Hazel Amett Ervin.New York:Twayne Publishers,1999.pp.47-48.
[1]Rampersad,Arnold.The Life of Langston Hughes.Vol.1.1 Too Sing America.New York:Oxford UP,1986.p.119.
[2]Hughes,Langston."The Negro Artist and the Racial Mountain(1926)." African American Literary Criticism,1773-2000.Ed.Hazel Arnett Ervin.New York:Twayne Publishers,1999.p.47.
[1]Locke,Alan."The New Negro." The New Negro.New York:Atheneum Macmillan Publishing Company,1968.p.8.
[1]Tidwell,John and Cheryl R.Ragar."Langston Hughes Revisited and Revised." Montage of a Dream." The Art and Life of Langston Hughes.Ed.John Tidwell and Cheryl R.Ragar.Columbia,Missouri:U of Missouri P,2007.p.3.
[1]参见Langston Hughes,The Big Sea(New York:Hill and Wang,1963)52.
[1]Hughes,Langston.The Big Sea.New York:Hill and Wang,1963.p.54.
[2]Hughes,Langston.The Big Sea.New York:Hill and Wang,1963.p.54.
[1]Hughes,Langston.The Big Sea.New York:Hill end Wang,1963.p.92.
[1]Dekle,Bernard."Langston Hughes:Dedicated Negro Poet." Profiles of Modern American Authors.Ed.Charles E.Turtle,1969.p.130.
[1]转引自Linda Metzger,"James Langston Hughes," Contemporary Authors.New Revision Series.Vol.1,ed.Ann Evory(New York:Gale Research Company,1981)287.
[1]Beavers,Herman."Dead Rocks and Sleeping Men:Aurality in the Aesthetic of Langston Hughes." The Langston Hughes Review 11:1(Spring 1992):4.
[2]转引自Linda Metzger,"James Langston Hughes," Contemporary Authors.New Revision Series.Vol.1.Ed.Ann Evory.New York:Gale Research Company,1981.p.288.
[3]Rampersad,Ranold.The Life of Langston Hughes.Vol Ⅰ.Ⅰ Too Sing America.New York:Oxford UP,1986.pp.64-65.
[4]Beavers,Herman."Dead Rocks and Sleeping Men:Aurality in the Aesthetic of Langston Hughes." The Langston Hughes Review 11:1(Spring 1992):2-3.
[1]Locke,Alan."The New Negro." The New Negro.New York:Atheneum Macmillan Publishing Company,1968.pp.3-4.
[2]张立新,美国文学和文化中自色的象征意义.《外国文学评论》1(2002):116。
[3]Rubinsteino Annette T.American Literature Root and Flower.Beijing Foreign Language Teaching and Research Press,1988.p.676.
[1]Hughes,Langston."The Negro Artist and the Racial Mountain(1926)." African American Literary Criticism,1773-2000.Ed.Hazel Arnett Ervin.New York:Twayne Publishers,1999.p.47.
[2]Hughes,Langston."The Bad New Negroes:A Critique on Critics(1927)." The Collected Works of Langston Hughes Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Chritopher C.De Santis.Columbia,Missouri:U of Missouri P,2002.p.38.
[3]Hughes,Langston."The Bad New Negroes:A Critique on Critics(1927)." The Collected Works of Langston Hughes. Vol.9.Essays on Art,Race,Politics,and World Affairs,Ed.Chritopher C.De Santis.Columbia,Missouri:U of Missouri P,2002.pp.37-38.
[1]Hughes,Langston."The Bad New Negroes:A Critique on Critics(1927)." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Chritopher C.De Santis.Columbia,Missouri:U of Missouri P,2002.p.39.
[1]诗集第78页。
[1]参见Lawrence W.Levine,"The Quest of Certainty:.Slave Spirituals," Black Culture and Black Consciousness:Afro-American Folk Thought from Slavery to Freedom(New York:Oxford UP,1977):31-54.
[2]Levine,Lawrence W."The Quest of Certainty:Slave Spirituals." Black Culture and Black Consciousness:Afro-American Folk Thought from Slavery to Freedom.New York:Oxford UP,1977.p.33.
[1]Rampersad,Arnold.The Life of Langston Hughes.Vol.Ⅰ.Ⅰ Too Sing America.New York:Oxford UP,1986.p.28.
[2]Rampersad,Arnold.The Life of Langston Hughes.Vol.Ⅰ.Ⅰ Too Sing America.New York:Oxford UP,1986.pp.28-29.
[3]Rampersad,Arnold.The Life of Langston Hughes.Vol.Ⅰ.Ⅰ Too Sing America.New York:Oxford UP,1986.p.72.
[4]参见Lamgston Hughes,"These Bad New Negroes:A Critique on Critics(1927)," The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs,ed.Christopher C.Santis(Columbia,Missouri:U of Missouri P,2002)40.
[5]Hughes,Langston.The Big Sea:An Autobiography.New York:Hill and Wang,1981.pp.28-30.
[6]Rampersad,Arnold.Introduction.The Collected Poems of Langston Hughes.Ed.Arnold Rampersasd and David Roessel.New York:Vintage Books,1995.p.4.
[1]参见Arnold Rampersad,The Life of Langston Hughes.Vol.Ⅰ.Ⅰ Too Sing America(New York:Oxford UP,1986)146.
[1]Hughes,Langston.The Big Sea:An Autobiography.吴克明、石勤译。上海译文出版社,1986。第33页。
[2]Hughes,Langston.The Big Sea:An Autobiography.吴克明、石勤译。上海译文出版社,1986。第36-37页.
[3]Rmpersad,Arnold.The Life of Langston Hughes.Vol.Ⅰ,Ⅰ Too SingAmerica.New York:Oxford UP,1986.p.29.
[4]Hughes,Langston.The Big Sea:An Autobiography.吴克明、石勤译。上海译文出版社,1986。第33页。
[1]Hughes,Langston."These Bad New Negroes:A Critique on Critics(1927)." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politica,and World Affairs.Ed.Christopher C.Santis.Columbia,Missouri:U of Missouri P,2002.p.40.
[2]Whitman,Walt.Leaves of Grass.Ed.Emory Holloway.London:The Nonesuch Press,1938.The head page.
[1]Rampersad,Arnold.The Life of Langston Hughes.Vol.Ⅰ.Ⅰ Too Sing America.New York:Oxford UP,1986.p.146.
[1]参见Walt Whitman,Leaves of Grass.Ed.Emory Holloway.London:The Nonesuch Press,1938.p.12.诗中热情描写了木工、砖瓦匠、船工等美国社会各行各业的劳动者对美国的歌唱,表现了强烈的美国民族意识和民主意识。
[2]参见Arnold Rampersad的注解。Arnold Rampersad.The Life of Langston Hughes.Vol.Ⅰ.Ⅰ Too Sing America.New York:Oxford UP,1986.p.625.
[3]Early,Gerald."So Will My Page Be Colored That I Write?" Boston Book Review.May 2003
[4]Henderson,Stephen.Understanding the New Black Poetry.New York:William Moral Press,1973.pp.30-31.
[5]Henderson,Stephen.Understanding the New Black Poetry.New York:William Moral Press,1973.p.33.
[1]Henderson,Stephen.Understanding the New Black Poetry.New York:William Moral Press,1973.p.33.
[2]Melhem,D.H."Sonia Sanchez:the Will and the Spirit," Heroism in the New Black Poetry:Introductions and Interviews.Lexington,Kentucky:UP of Kentucky,1990.p.153.
[3]Henderson,Stephen.Understanding the New Black Poetry.New York:William Moral Press,1973.p.33.
[4]Cook,Michael G.Afro-American Literature in the Twentieth Century:The Achievement of Intimacy.New Haven:Yale UP,1984,p.16.转引自王晓路:《差异的表述:黑人美学与贝克的批评理论》,《国外文学》,2000年第2期。
[5]Hughes,Langston."The Black Artist and the Racial Mountain(1926)," African American Literary Criticism,1773-2000.Ed.Hazel Arnett Ervin.New York:Twayne Publishers,1999.p.47.
[6]Rubinstein,Annette T.American Literature Root and Flower.Beijing Foreign Language Teaching and Research Press,1988.p.693.
[1]Hoffman,Daniel,ed.Harvard Guide to Contemporary American Writing,USA:Harvard UP,1979。《世界文学》编辑部译,中国文艺联合出版公司,1984年,第454页。
[2]Ferris,Jean.Americas Musical Landscape,USA:Wm.C.Brow n Publishers,1990.p.176.
[3]王晓路:《差异的表述——黑人美学与贝克的批评理论》,《国外文学》,2000年第2期。
[4]Ferris,Jean.Americas Musical Landscape.New York:Wm.C.Brown Publishers,1990.p.175.
[5]Jackson,Blyden."Hughes,Langston." Encyclopedia of World Literature in the 20th Century Vol.2.New York: Ungar,1982.p.405.
[1]Rubinstein,Annette T.American Literature Root and Flower.Beijing Foreign Language Teaching and Research Press,1988.p.644.
[2]Hoffman,Danniel,ed.Harvard Guide to Contemporary American Writing,USA:Harvard UP,1979。《世界文学》编辑部译,中国文艺联合出版公司,1984年。第453页。
[1]参见James Smethurst,“Langston Hughcs in the 1930s,”The New Red Negro:The Literary Left and African American Poetry,1930-1946(New York:Oxford UP,1999).
[2]《新民众》杂志办公地点与美国共产党控制下的“约翰·里德俱乐部”分别设在纽约西15街63号二楼和一楼,在1931年前后实际上充当了该俱乐部机关刊物的角色。“约翰里德俱乐部”成立于1929年秋天,成为激进作家与艺术家活动中心,到1931年,已在美国各地建立起10余个分部。《圣诞快乐》不是休斯第一首发表在《新民众》上的诗.但次年1月他在该杂志发表了系列诗作,使这份杂志成为30年代休斯发表作品的主要刊物。
[1]Hughes,Langston."My Poems and Myself," The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race.Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia,Missouri:U of Missouri P,2002.p.255.
[1]参见Langston Hughes,"People without Shoes(1931)," The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race.Politics,and World Affairs,ed.Christopher C.De Santis(Columbia,Missouri:U of Missouri P,2002)46-49.
[1]Hughes,Langston." Open Letter to the South."The Collected Poems of Langston Hughes.Ed.Arnold Rampersad and David Roessel.New York:Vintage Books,1994.pp.160-161.
[1]诗集第190页.
[2]参见Langston Hughes,"People without Shoes(1931)." The Collected Works of Langston Hughes.Vol.9.Essays on Art.Race,Politics,and World Affairso ed.Christopher C.De Santis(Columbia,Missouri:U of Missouri P,2002)46-49.
[3]Hughes,Langston."Swords over Asia(1934)." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs,ed.Christopher C.De Santis.Columbia,Missouri:U of Missouri P,2002.p.104.
[4]Hughes,Langston."Swords over Asia(1934)." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs,ed.Christopher C.De Santis.Columbia,Missouri:U of Missouri P,2002.p.104.
[1]参见Langston Hughes,“Always the Same,”诗集第165-166页。
[2]Hughes,Langston."Negros Speak of War(1933)."The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia,Missouri:U of Missouri P,2002.p.64.
[1]Rampersad,Arnold.The Life of Langston Hughes.Vol.Ⅰ.Ⅰ Too Sing America.New York:Oxford UP,1986.p.215.
[1]Hughes,Langston."Moscow and Me(1933)." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia,Missouri:U of Missouri P,2002.p.57.
[2]Hughes,Langston."Negroes in Moscow:In a Land Where There is No Jim Crow(1933)." 同上,第65-71页。
[3]Hughes,Langston."Moscow and Me(1933)."同上,第60页。
[4]Hughes,Langston."Moscow and Me(1933)." 第60页。
[1]Hughes,Langston."Letter to the Academy." 诗集第169页.
[2]Smethurst,James."Langston Hughes in the 1930s." The New Red Negro:The Literary Left and,African,American Poetry,1930-1946.New York:Oxford UP,1999.
[3]Hughes,Langston."The Negro Artist and the Racial Mountain(1926)." African,American Literary Criticism,1773-2000.Ed.Hazel Amett Ervin.New York:Twayne Publishers,1999.p.48.
[1]Hughes,Langston."Writers,Words and the World." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Chritopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.198.
[2]DeSantis,Christopher C.Introduction.The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Chritopher C.De Santis.Columbia and London:U of Missouri P.,2002.pp.6-7.
[3]Hughes,Langston."Writers,Words and the World." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.199.
[1]参见Langston Hughes,"To Negro Writers."同上,pp.131-133.
[2]Hughes,Langston."To Negro Writers." 同上,第198页.
[3]Hughes,Langston."To Negro Writers." 同上,第199页.
[4]参见Langston Hughes,"A Negro Looks at Soviet Central Asia,"同上,pp.71-102.
[1]Hughes,Langston."Writers,Words and the World." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Chritopher C.De Santis.Columbia and London:U of Missouri P,2002.p.198.
[1]参见Lawrence W.Levine,Black Culture and Black Consciousness:Afro American Folk Thought from Slaveey to Freeedom(New York:Oxford UP,1977)31-53.
[2]参见Arnold Rampersad,The Life of Langston Hughes.Vol.Ⅰ.Ⅰ Too Sing America(New York:Oxford UP,1986)351.
[1]参见Langston Hughes,"To Negro Writers." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race.Politics,and World Affairs,ed.Christopher C.De Santis(Columbia and London:U of Missouri P.,2002)131-133.
[1]参见Langston Hughes,"To Negro Writers." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs(ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002)131-133.
[2]Hughes,Langston."To Negro Writers." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P,2002.p.133.
[1]参见Christopher C.De Santis,"Rage,Revolution,and Endurance:Langston Hughes's Radical Writings."The Langston Hughes Review(1993).
[2]Cullen,Countee."Heritage." The Norton Anthology of African American Literature.Ed.Henry Louis Gates Jr.and Nellie Y.McKay.New York:W.W.Norton &Company,1997.p.1311-1314.引文出自1133页.
[1]Onwucheka,Jemie.Langston Hughes:An Introduction to the Poetry.New York:Columbia UP,1976.
[2]参见Michael Thurston,"Black Christ,Red Flag:Langston Hughes on Scottsboro," College Literature 22:3(Oct.,1995):30-49.
[1]参见Arnold Rampersad,The Life of Langston Hughes.Vol Ⅰ.Ⅰ Too Sing America(New York:Oxford UP,1986):220-221.
[2]参见James Smethurst,"Langston Hughes in the 1930s," The New Red Negro:The Literary Left and African American Poetry,1930-1946(New York:Oxford UP,1999):"Adventures of a Social Poet,"A Historical Guide to Langston Hughes,ed.Steven C.Tracy(New York:Oxford UP,2004):141-168.
[3]参见James Smethurst,The New RedNegro:The Literary Left and African American Poetry,1930-1946(New York:Oxford UP,1999).
[1]参见Arnold Rampersad,The Life of Langston Hughes.Vol Ⅰ.Ⅰ Too Sing America(New York:Oxford UP,1986)221.
[2]参见Arnold Rampersad,The Life of Langston Hughes.Vol Ⅰ.Ⅰ Too Sing America(New York:Oxford UP,1986)221.
[1]参见Arnold Rampersad,The Life of Langston Hughes.Vol Ⅰ.Ⅰ Too Sing America,p.221.
[2]休斯在1931年10月写给Prentiss Taylor的信.转引自Arnold Rampersad,Life of Langston Hughes.Vol Ⅰ.Ⅰ Too Sing America(New York:Oxford UP,1986)221.
[3]Rampersad,Arnold.Life of Langston Hughes.Vol Ⅰ.Ⅰ Too Sing America.New York:Oxford UP,1986.p.221.
[1]Hughes,Langston."The Alliance of Antifascist Intellectuals,Madrid." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World,Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P,2002.p.152.
[1]参见James Smethurst,James Smethurst,The New Red Negro:The Literary Left and African American Poetry.1930-1946(New York:Oxford UP,1999).
[1]参见 Langston Hughes,The Big Sea(New York:Hill and Wang,1981):320-321.
[2]参见 James Smethurst,James Smethurst,The New Red Negro:The Literary Left and African American Poetry,1930-1946(New York:Oxford UP,1999).
[1]Smethurst,James."Adventures of a Social Poet." A Historical Guide to Langston Hughes.Ed.Steven C.Tracy.New York:Oxford UP,2004.p.145.
[2]参考 James Smethurst,The New Red Negro:The Literary Left and African American Poetry,1930-1946(New York:Oxford UP,1999)中关于休斯30年代诗歌的论述.
[3]Jill,Jonathan."Ezra Pound and Langston Hughes:The ANC of Po'try," Ezra Pound and African American Modernism.Ed.Michael Coyle.Hanover and London:UP of New England,2001.p.79.
[1]Roessel,David."A Racial Act':The Letters of Langston Hughes and Ezra Pound." Ezra Pound and African American Modernism.Ed.Michael Coyle.Hanover and London:UP of New England,2001.p.221.引文中提到的《鲁碧·布明》是休斯20年代的诗作,庞德信中涉及到的诗行为:“And the sinister shuttered house of the bottoms”(Collected Poems73)。
[2]Jill,Jonathan."Ezra Pound and Langston Hughes:The ANC of Po'try." Ezra Pound and African American Modernism.Ed.Michael Coyle.Hanover and London:UP of New England,2001.p.86.
[1]参见注释204,诗集第647页.
[1]Young,Robert."Red Poetics and the Practice of'Disalienation.'" Montage of a Dream." The,Art and Life of Langston Hughes.Ed.John Edgar Tidwell and Cheryl R.Ragar.Columbia,Missouri:U of Missouri P,2007.p.143.
[1]Youns,Robert."Red Poetics and the Practice of 'Disalienation.'" Montage of a Dream." The Art and Lift of Langston Hughes.Ed.John Edgar Tidwell and Cheryl R.Ragar.Columbia,Missouri:U of Missouri P,2007.p.144.
[1]参见 G.Lewis Chandler,"Selfsameness and a Promise," Phylon,10(Summer,1949):189-191.
[2]Hughes,Langston."Democracy,Negroes and Writers(1941)." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.211.
[1]Hughes,Langston."Democsacy and Me." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.203-206.引用文字出自第206页.
[2]Hughes,Langston."Concerning 'Goodbye,Christ'(1941)." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Sanfis.Columbia and London:U of Missouri P.,2002.p.209.
[1]Hughes,Langston."The Future of Black America." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Sanfis.Columbia and London:U ofMissouri P.,2002.p.231.
[2]Hughes,Langston."Negro Writers and the War." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.216.
[1]Hughes,Langston."Negro Writers and the War." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and Worid Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.217.
[2]参见 Langston Hughes,"The Future of Black America." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Aggairs.Ed.Christopher C.De Sanfis.Columbia and London:U of Missouri P.,2002.pp 229-232.
[3]Hughes,Langston."My America." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,.and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.234.
[4]Hughes,Langston."My America." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.232.
[1]参见诗集第347页.
[1]休斯在1940年1月19日写给黑人作家Louise Thompson的信中如是说,转引自Arnold Rampersad,Life of Langston Hughes.Vol Ⅰ.1902-1941(New York:Oxford up,1986)375.
[2]参见 Arnold Rampersad,Life of Langston Hughes.Vol Ⅰ.1902-1941(New York:Oxford UP,1986)375.
[3]参考 Langston Hughes,"My Adventures as a Social Poet," The Collected Works of Langston Hughes,Vol.9.Essays on Art,Race,Politics,and WorldA.Affairs,ed.Christopher C.De Santis(Columbia and London:U of Missouri P,2002)269-277.
[4]Langston Hughes,"Ten Ways to Use Poetry in Teaching." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Sentis.Columbia and London:U of Missouri P,2002.p.319.
[5]Langston Hughes,"Democracy,Negroes,and Me." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.pp.211-212.
[1]Smethurst,James."Adventures of a Social Poet." A Historical Guide to Langston Hughes.Ed.Steven C.Tracy.New York:Oxford UP,2004.p.147.
[2]参见《现在是时候了,狄克西》,诗集第291页。
[1]参见 Calvin Hernton,"The Poetic Consciousness of Langston Hughes from Affirmation to Revolution." Langston Hughes Review.12:1(Spring 1993)2-9.
[2]参见 Langston Hughes,"Some Practical Observations:A Colloquy." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.309.
[3]Hughes,Langston."My Adventures as a Social Poet." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Sanfis.Columbia and London:U of Missouri P.,2002.p.270.
[1]Hughes,Langston."Democracy,Negroes,and Writers." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.210.
[1]Fremon,David K.The Jim Crow Laws and Racism in American History.Berkeley Heights,NJ:Enslow Publishers,Inc.,2000.p.27.
[1]Hughes,Langston."Democracy,Negroes,and Writers." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.pp.210-211.
[2]Hughes,Langston."Democracy,Negroes,and Writers." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.211.
[1]Fremon,David K.The Jim Crow Laws and Racism in.American History.Berkeley Heights,NJ:Enslow Publishers,Inc.,2000.p.37.
[2]同上,p.39.
[1]参见Langston Hughes,“Call to Creation.”诗集第135页。
[1]Arnold Rampersad,"Introduction."诗集第5页.
[1]参见 Langston Hughes,"Is Hollywood Fair to Negroes?" The Collected Works of Langston Hughes.Vol.9.Essays on.Art,Race,Politics,and World,Affairs,ed.Christopher C.De Sanfis(Columbia and London:U of Missouri P,2002):226-228.
[1]Hayden,Robert."Preface to the Atheneum Edition." The New Negro.New York:Atheneum Macmillan Publishing Company,1968.ⅹ-ⅹⅰ.
[1]Jonathan Gill,"Ezra Pound and Langston Hughes:The ABC of Po'try." Ezra Pound and African American Modernism.Oronto,Maine:The National Poetry Foundation,U of Maine,2001.p.80.
[2]Henderson,Stephen."Introduction:The Forms of Things Unknown." Understanding the New Black Poetry:Black Speech & Black Music as Poetic References.Ed.Stephen Henderson.New York:William Morrow & Company,Inc.,1973.p.29-30.
[3]参见David Roessel,"A Raciai Act:The Letters of Langston Hughes and Ezra Pound," Ezra Pound and African American Modernism,ed.by Michael Coyle(Oronto,Maine:The National Poetry Foundation,U of Maine,2001)207-242.
[4]参见 Langston Hughes,"Songs Called the Blues," The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs,ed.Christopher C.De Sanfis(Columbia and London:U of Missouri P,2002)212-215.
[1]Hughes,Langston.Good Morning Revolution:Uncollected Writings of Social Protest by Langston Hughes.Ed.Faith Berry.New York:Lawrence Hill,1973.p.80.
[1]Hughes,Langston."Some Practical Observations:A Colloquy." The Collected Works of Langston Hugh,.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P,2002.p.309.
[2]参见 Edna Lou Walton,"Nothing NBew Under the Sun," New Masses.43(Jun,1942)23:Rolphe Humphries,"Verse Chronical," The Nation,168(Jan 15,1949)80.
[3]参见 Rabette Deutsch,"Waste Land of Harlern," New York Herald Tribune Book Review(May 6)23.
[4]参见 John W.Parker,"Tomorrow in the Writing of Langston Hughes," College English 10(May,1949):438-441.
[1]Hughes,Langston."Songs Called the Blues," The Collected Worlds of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and WorldA.Affairs.Ed.Christopher C.De Sanfis.Columbia and London:U of Missouri P.,2002.p.213.
[1]休斯从一开始就认为这应该是一部由许多独立的片段形成的长诗,该诗于1948年既已基本完成,1951年出版.许多学者和读者仍然习惯于将诗中的每一个片段看作足独立的诗。
[2]Rampersad,Arnold.Life of Langston Hughes,Vol.2.I Dream a World.New York:Oxford UP,1988.p.151.
[3]Hokanson,Robert O'Brien."Jazzing It Up:The Be-Bop Modernism of Langston Hughes." Mosaic 31.4(1998):61-82.p.63.
[1]转引自 Jean-Phillipe Marcoux,"Blues Connotation:Bebop Jazz and Free Jazz as Idioms Expressive of African American Culture in Montage of a Dream Deferred and Ask Your Mama." Langston Hughes Review 21(Fall 2007):12-29.p.13.
[2]Hughes,Langston."Bop." Best of Simple.New York:Hill and Wang,1957.pp.117-119.
[1]Rampersad,Arnold.Life of Langston Hughes,Vol.2,I Dream a World.New York:Oxford UP,1988.p.153.
[2]Onwuchekwa,Jemie.Langston Hughes." An Introduction to the Poetry.New York:Columbia UP,1976.p.63.
[3]参见范农,《黑皮肤白面具》,万冰译(南京:译林出版社,2005)第98-100页.
[1]参见路易·阿尔都塞,意识形态和意识形态国家机器,见《文学批评理论:从柏拉图到现在》。拉曼·塞尔登编,刘象愚、陈永国等译(北京:北京大学出版社,2006)第466-470页。
[1]Levine,Lawrence W.Black Culture andBlack Consciousness.New York:Oxford UP,1977.p.299.
[2]Freud,Sigmund,Collected Paper(Vol.Ⅴ),ed.James Stmchey.New York:Basic Books,1966.p.217.
[3]Freud,Sigmund.Jokes and Their Relation to the Unconscious.New York:W.W.Norton & Company,1989.p.284.
[4]Freud,Sigmund,Collected Paper(Vol.Ⅴ),ed.James Strachev.New York:Basic Books.1966.n.216.
[5]参见范农,《黑皮肤白面具》,万冰译(南京:译林出版社,2005)第99页。
[1]Smethurst,James."The Adventures of a Social Poet." A Historical Guide to Langston Hughes.Ed.Steven C.Tracy.New York:Oxford UP,2004.p.161.
[1]路易·阿尔都塞;意识形态和意识形态国家机器,见《文学批评理论:从柏拉图到现在》。拉曼·塞尔登编,刘象愚、陈永国等译。北京:北京大学出版社,2006.第466页。
[1]Hughes,Langston."Langston Hughes Speaks." Good Morning Revolution:Uncollected Social Protest Writings by Langston Hughes.Ed.Faith Berry.New York:Lawrence Hill & Company,1973.p.143.
[1]Rampersad,Arnold.Life of Langston Hughes,Vol Ⅱ,You Are the World.New York:Oxford UP,1988.p.219.
[2]Hughes,Langston."Draft Ideas." The Collected Works of Langston Hughes.Vol,9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.408.
[1]参见 Linda Metzger,"James Langston Hughes," Contemporary Authors.New Revision Series.Vol.Ⅰ,ed.Ann Evory (New York:Gale Research Company,1981)288.
[2]参见 Donna Akiba Sullivan Harper,"End of Deferment:Use of Dreams in Langston Hughes's Poetry of the 1960s,"Foreign Literature Studies 2(April 2008):12-20.
[1]参见 Arnold Rampersad,Life of Langston Hughes,Vol Ⅱ,You Are the World(New York:Oxford UP,1988)402.
[1]参见 Arnold Rampersad,Life of Langston Hughes,Vol Ⅱ,You Are the World(New York:Oxford UP,1988)387.
[2]参见 Arnold Rampersad,Life of Langston Hughes,Vol Ⅱ,You Are the World(New York:Oxford UP,1988)394-395.
[1]Rampersad,Arnold.Life of Langston Hughes,Vol Ⅱ,You Are the World.New York:Oxford UP,1988.p.368.
[2]Redding,Sanders.Foreword,Good Morning Revolution:Uncollected Social Protest Writings by Langston Hughes.Ed.Faith Berry.New York:Lawrence Hill & Company.ⅸ-ⅹ.
[1]Rampersad,,Arnold.Life of Langston Hughes,Vol Ⅱ,You Are the World.New York:Oxford UP,1988.p.286.
[2]Rampersad,Arnold.Life of Langston Hughes,Vol Ⅱ,You Are the World.New York:Oxford UP,1988.p.402.
[3]Hughes,Langston."Black Writers in a Troubled World." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of MissouriP.,2002.p.477.
[1]Hughes,Langston."Black Writers in a Troubled World." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia sad London:U of Missouri P.,2002.p.478.
[2]同上 p.476.
[3]Lsagston Hughes,"The Task of the Negro Writer as Artist." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics.and World Affairs.Ed.Christopher C.De Ssatis.Columbia and London:U of Missouri P.,2002.p.425.
[4]Langston Hughes."Writers:Black and White." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Satis.Columbia sad London:U of Missouri P.,2002.p.380.
[1]皮埃尔·马雷舍:“文学生产理论。”《文学批评理论:从柏拉图到现在》。拉曼·奏尔登编,刘象愚 陈永国等译.北京:北京大学出版社.2003.第472页。
[2]Rampersad,Arnold.Life of Langston Hughes,Vol Ⅱ,You Are the World.New York:Oxford UP,1988.p.340.
[3]Du Bois,W.E.B.."The Souls of Black Folk." My Soul Has Grown Deep:Classics of Early African-American Literature.Ed.John Edgar Wideman.Philadelphia:Running Press,2001.884-1040.pp.884.
[4]Rampersad,Arnold.Life of Langston Hughes,Vol Ⅱ,You Are the World.New York:Oxford UP,1988.p.297.
[1]参见 James Smethurst,"Kitchenette Correlatives:African American Neo-Modernism,the Popular Front,and the Emergence ofa Blsck Literary Avant-Garde in the 1940s and 1950s," Foreign Literature Studies 4(August 2007):23-35.
[2]转引自 Arnold Rampersad.Life of Langston Hughes,Vol Ⅱ,You Are the World.New York:Oxford UP,1988.p.235.
[1]休斯给一位书评者的信中如是说。转引自 Arnold Rampersad.Life of Langston Hughes,Vol Ⅱ.You Are the World (New York:Oxford UP,1988)272.
[2]Rampersad,Arnold.Life of Langston Hughes,Vol Ⅱ.You Are the World.New York:Oxford UP,1988.pp.312-313.
[1]Rampersad,Arnold.Life of Langston Hughes,Vol Ⅱ You Are the World.New York:Oxford UP,1988.p.418.
[1]Hughes,Langston."The Task of Negro Writer as Artist." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P,2002.p.425.
[2]Hughes,Langston."The Task of Negro Writer as AttiC" The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.424.
[1]Hughes,Langston."The Task of Negro Writer as Artist." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missonri P.,2002.p.425.
[2]Hughes,Langston."The Task of Negro Writer as Artist." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P,2002.p.425.
[1]Hughes,Langston."The Ceaseless Rings of Walt Whitman:Introduction to I Hear the People Singing:Selcted Poems of Walt Whitman."The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Sanfis.Columbia and London:U of Missouri P.,2002.p.483.
[2]Hughes,Langston."Wait Whitman and the Negro." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Sanfis.Columbia and London:U of Missouri P.,2002.p.348.
[3]原文见 Chicago Defender Aug 1,1953.本文引自 Arnold Rampersad,Life of Langston Hughes,Vol 11,You Are the World(New York:Oxford UP,1988)225.
[1]Hughes,Langston."The Ceaseless Rings of Walt Whitman:Introduction to I Hear the People Singing:Seicted Poems of Walt Whitman." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.2002.pp.484-485.
[2]同上,p.484。
[1]Levine,Lawrence W..Black Culture and Black Consciousness,New York:Oxford UP,1977.p.335.
[2]Legman,Gershon.Rationale of Dirty Joke:An A nalysis of Sexual Humor.New York:Grove Press,1968.p.9.
[1]Hughes,Langston."A Note on Humor." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P,2002.p.525.
[2]Rampersad,Arnold.Life of Langston Hughes,Vol Ⅱ,You Are the World.New York:Oxford UP,1988.p.263.
[3]参见 Arthur P.Davis,"Langston Hughes",From the Dark Tower(Washington:Harvard UP,1974)61-72.
[4]Levin,Lawrence W.Black Culture andBlack Consciousness,New York:Oxford UP,1977.p.301.
[1]Hughes,Langston."Jazz as Communication." The Collected Works of Langston Hughes.Vol.9.Essays on Art.Race,Polities,and World Affairs.Ed.Christopher C.De Santis.Colombia and London:U of Missouri P,2002.p.368.
[2]Hughes,Langston."Jazz as Communication." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Sanfis.Columbia and London:U of Missouri P,2002.p.369.
[1]Hughes,Langston."Gospel Songs and Gospel Singing." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P,2002.pp.392-394.
[1]Baker,Houston A.Jr.Afro-American Poetics:Revisions of Harlem and the Black Aesthetic.Madison:U of Wisconsin P,1988.p.13.
[1]参见 G Lewis Chandler,"Selfsameness and a Promise," Phylon,10(Summer,1949):189-191.
[2]Miller,R.Baxter.Art and Imagination of Langston Hughes.Lexington,Kentucky:UP of Kentucky,2006.p.69.
[1]Smethurst,James."The Adventures of a Social Poet." A Historical Guide to Langston Hughes.Ed.Steven C.Tracy.New York:Oxford UP,2004.p.166-167.
[1]Hughes,Langston."Songs Called the Blues." The Collected Works of Langston Hughes.Vol.9.Essays on Art,Race,Politics,and World Affairs.Ed.Christopher C.De Santis.Columbia and London:U of Missouri P.,2002.p.213.
[2]Sterling,Philip,ed.Laughing from the Outside:the Intelligent White Reader's Guide to Negro Tales and Humor.New York:Grosset & Dunlap,1965.p.22.
[3]参见 Richard Wright,"Forerunner and Ambassador," New Republic 103(Jul-Dec,1940):600-601。
[1]Hughes,Langston."An Essay." Chicago Defender(Oct 22,1945).转引自 Arnold Rampersad,Life of Langston Hughes.Vol 2.You Are the WorM.New York:Oxford UP,1988.pp.120-121.
[2]转引自张跃军《美国性情:威廉·卡洛斯·戚廉斯的实用主义诗学》.合肥:安徽文艺出版社,2006.第50页.
[3]参见 Early Gerald,"Review of The Collected Poems of Langston Hughes," Aug 18,2003
[1]参见小内森A司各特,“黑人文学”,《美国当代文学》,丹尼尔·霍夫曼主编(北京:中国文艺联合出版公司,1984):452.
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