摘要
20世纪30年代的非裔美国诗歌与历史上的记载迥异。当时大量的精力投入到建构制度化的黑人文艺复兴,从而给整个30年代留下了阴影,于是大萧条时期被归入黑人文艺复兴时期。与此同时,以兰斯顿·休斯和斯特林·A·布朗为代表的个人崇拜也影响了人们对这一时期诗歌的评价。文论批评研究中对这十年很难定位,因此对该时期的评论之声也日渐减弱。普遍的看法认为这一时期没有产生非裔美国文学,因为非裔美国诗人不屑于以民间的形式创作诗歌。这个时期非裔美国诗歌中十四行诗的成就一直未得到承认。20世纪60年代后,在评价这一时期诗歌时,由于政治考量超越了审美成为决定因素,大批在杂志和诗歌选集上发表的诗歌作品未被考虑在内。
The African-American poetry of the 1930 s represents a far different picture than has been chronicled. The tremendous energy that has gone into the construction of what is now institutionalized as the Harlem Renaissance has cast a deep shadow over the decade of the thirties — in effect subsuming the period of the Great Depression into the Harlem Renaissance. At the same time the personality cults that have arisen around the iconic personalizations of Langston Hughes and Sterling A. Brown have also affected the assessment of the poetry of the thirties. It is difficult to locate the decade of the 1930 s in critical studies. The impetus in effect by the commentators on that decade is that of reduction. The idea that the 1930 s constitute a period without African-American literary production became a dogma.African-American poets were not relegated to the production of poems cast in the folk forms. The preponderance of the sonnet in the African-American poetry of the 1930 s has been unacknowledged.After the 1960 s, the valorization of the political over the aesthetic by critics is a determining factor in the assessment of the poetry of the 1930 s. There is a large body of work published in magazines and anthologies that has not been taken into consideration.
出处
《外国语言与文化》
2018年第2期1-17,共17页
Foreign Languages and Cultures
关键词
非裔美国诗歌选集
抗议诗歌
反私刑诗歌
大萧条
宣传
30年代
African-American poetry anthology
protest poetry
anti-lynching poetry
Great Depression,agitprop
Thirties
