哈莱姆文艺复兴时期的一些作家批评她的作品以黑人文化取代了种族关系。
Some of the writers of the Harlem Renaissance criticized her for writing about black culture instead of relations between the RACES.
赫斯特和她的有关伊顿威尔镇的短篇小说成为哈莱姆文艺复兴时期重要的组成部分。
This was expressed in literature, music and other art forms. Hurston and her stories about Eatonville became important during the Harlem Renaissance.
兰斯顿·休斯是杰出的美国黑人诗人，“哈莱姆文艺复兴”的重要人物。
Langston Hughes, a remarkable American black poet, was one of the most important writers and thinkers of the Harlem Renaissance.
另一方面，哈莱姆文艺复兴期间以及之后的布鲁斯热潮影响了一代美国黑人。
On the other hand, the blues craze during and after the Harlem Renaissance influenced a whole generation of black Americans.
哈莱姆文艺复兴是从文化的边缘地带开始的，他们的声音最终被主流文化所接纳。
The Harlem Renaissance figures started from a position on the margin, but their voices were eventually heard and felt by the cultural mainstream.
哈莱姆文艺复兴形成于以标新立异为特征的现代主义文学大潮中也并非是偶然的现象。
Harlem Renaissance came into being in the high tide of modernism. It is by no means an accidental phenomenon.
第一章主要介绍哈莱姆文艺复兴，以及休斯在黑人美学家杜波依斯影响下产生的美学观点。
Chapter One mainly focuses on the great black intellectual movement-the Harlem Renaissance, and then briefly introduces Hughes' black aesthetics founded under the influence of W.
被誉为黑人女性文学之母的左拉·尼尔·赫斯顿是哈莱姆文艺复兴时期杰出的黑人作家之一。
Zora Neale Hurston is universally acknowledged as the Mother of Black Female Literature and she is regarded as one of the greatest writers during the Harlem Renaissance.
本文通过对几位主要作家及其作品的具体评析，指出他们的两难抉择，并阐明哈莱姆文艺复兴的二重性。
This paper explores the dilemma these writers faced in reference to their representative works, and goes on to expound further what it sees as a dual character of the Harlem Renaissance as a whole.
你们可以联想到很多诗歌，比如，兰斯顿·休斯，以及很多其他诗人在哈莱姆文艺复兴时的作品，这就是第三阶段：亲属。
You can think of many of the poems, for example, of Langston Hughes in this regard; and of a great deal else that goes on in the Harlem Renaissance; so that's the third phase, kinship.
但在哈莱姆文艺复兴运动之后，文艺界以黑人男作家充满种族冲突的“抗议文学”占主流，赫斯顿及其塑造的黑人女性新形象湮没在历史的尘埃中。
After the Harlem Renaissance, the black men writers' "protest literature" that are full of racial conflicts occupied mainstream, Hurston and her positive black women images were neglected.
但在哈莱姆文艺复兴运动之后，文艺界以黑人男作家充满种族冲突的“抗议文学”占主流，赫斯顿及其塑造的黑人女性新形象湮没在历史的尘埃中。
After the Harlem Renaissance, the black men writers' "protest literature" that are full of racial conflicts occupied mainstream, Hurston and her positive black women images were neglected.
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