NARRATOR:Listen to part of a lecture in an African American history class. The professor has been discussing the early part of the twentieth century.

旁白：听一段非裔美国人历史课的演讲。教授正在讲二十世纪初的情况。

FEMALE PROFESSOR:Harlem Renaissance, unprecedented in United States culture and history, introduced a significant period that emphasized self-identity as well as group consciousness among Black people both in United States and abroad.

教授：哈莱姆文艺复兴在美国文化和历史上史无前例的，它开启了历史上的一个重要时期，强调美国国内外黑人的自我认同和群体意识。

Now, to sharpen my definition a bit, it was a literary awakening that occurred among African Americans that, that was characterized by an assertiveness on, on their part and an outburst of creativity never seen before.

为了让我的定义更清晰一点，这是发生在非裔美国人中的一场文学觉醒，以他们迸发的自信和前所未有的创造力为特点。

There were several major figures or, or writers who produced, fiction, nonfiction, poetry, and so forth during the period, writers such as Langston Hughes, and, and Zora Neale Hurston.

在此期间，有几位主要人物、作家创作了小说、非小说、诗歌等作品，如兰斯顿休斯和佐拉尼尔赫斯顿等作家。

Langston Hughes fashioned innovative literary forms.

兰斯顿休斯塑造了创新的文学形式。

What, what, what Hughes really wanted to do was, was to somehow capture the folk traditions of his people and incorporate them into new forms he wanted to create, and to improve upon conventional forms.

休斯真正想做的是，捕捉同胞的民俗传统，并将其融入到创造的新形式中，并改进传统形式。

It’s not that he was against using conventional forms, it’s just that he wanted to improve upon them or create ones more reflective of, of the heritage of his people.

这并不是说他反对使用传统形式，只是他想进行改进或创造一种形式，能更好地反映同胞的遗产。

So in doing that what he did was incorporate blues, jazz, spirituals, and many of the forms of the African American musical idiom into his poetry.

因此，在这样做的过程中，他将蓝调、爵士乐、灵歌和许多非洲裔美国音乐风格的形式融入他的诗歌中。

He was the first for example, uh, to write a gospel play.

例如，他是第一个写福音剧的人。

And then there was Zora Neale Hurston who published her classic novel Their Eyes Were Watching God in 1937.

然后是佐拉尼尔赫斯顿，她在1937 年出版了她的经典小说《凝望上帝》。

She was one who celebrated—like Hughes—she celebrated the folk traditions of African Americans and, infused dialect, folklore, she was an anthropologist and a folklorist, so she worked within those mediums to produce work, uh, celebratory of, of, of her heritage.

她像休斯一样,歌颂非裔美国人的民俗传统,并在作品中注入方言、民间传说。她是一位人类学家和民俗学家，所以她利用这些媒介来创作、歌颂属于她的文化遗产。

Most of the cultural activity was centered in Harlem in New York City, which was at the time one of the largest cosmopolitan communities in the world, but the kinds of changes that were occurring among African Americans in Harlem were also taking place across the country in various cities especially in the urban north like, like Washington, D.C.; Chicago, Illinois;even Cleveland, Ohio.

大多数文化活动都集中在纽约市的哈莱姆区，当时这里是世界上最大的国际化社区之一，但是，哈莱姆区非裔美国人中发生的这种变化也在全国各个城市上演，特别是在北部城市，比如华盛顿特区、芝加哥、伊利诺伊州甚至俄亥俄州克利夫兰。

So a more general term is sometimes used to describe the kinds of changes that took place, and that’s the New Negro Renaissance.

因此，学者有时会使用一个更笼统的术语来描述这些变化，这就是新黑人文艺复兴。

MALE STUDENT:And what about DuBois? Wasn’t he responsible for the start of this renaissance?

学生：那杜波依斯呢？难道他跟开始这场文艺复兴没有关系吗？

FEMALE PROFESSOR:And DuBois... Well, historians have traditionally dated the Harlem Renaissance or the beginnings of the Renaissance to the 1920s, but, uh, thos-these dates are, are debatable.

教授：杜波依斯呢？嗯，历史学家传统上将哈莱姆文艺复兴或复兴的开端追溯到19世纪20年代，但尽管这些日期有待商榷。

Some feel that the sudden flourishing of literature you see in the twenties was a result of the movements that started much earlier.For instance, in 1903, DuBois’ publication The Souls of Black Folks.

有人认为，1920年代的文学突然繁荣是更早期运动的结果。例如，1903年杜波依斯的出版作品《黑人的灵魂》。

DuBois’ book was one of the first works that began to explore Black identity and personality, uh, with-with this emphasis on “double consciousness” of Blacks—or, or, or, as DuBois put it, this “sense of always looking at one’s self through the eyes of others.”

杜波依斯的书是最早开始探索黑人身份和个性的作品之一，强调黑人的双重意识，或者，正如杜波依斯所说，这种感觉总是需要通过别人的眼睛来理解。

In 1906, DuBois led a meeting in the town of Niagara Falls of various leaders from the African American communities, and they advocated racial, social, and economic equality for African Americans, and-and this was the beginning of the so-called Niagara Movement, which spawned a number of civil rights organizations that were formed during the time.

1906年，杜波依斯在尼亚加拉瀑布镇主持了一次会议，各方非裔美国人社区的领袖参与了会议，并倡导非裔美国人在种族、社会和经济方面的平等。这就是所谓“尼亚加拉运动”的开始，它催生了当时许多民权组织。

Another factor was the Great Migration that began at the turn of the century and lasted well into the 1930s.

另一个因素是始于世纪之交并持续到1930年代的大迁徙。

It was a movement of more than 1 million Blacks who left the rural communities in the Southern U.S. and, and moved to, to the cities, many of them in the North, like Chicago, Cleveland, or New York City.

这是一场超百万黑人参与的迁徙，他们离开了美国南部的农村社区，搬到了城市——其中许多是北部城市，如芝加哥、克利夫兰或纽约市。

And why did they leave?

他们为什么离开？

There were many reasons, but, for the most part, they left because they were in search of the economic dream.

有很多原因，但大多数情况下，他们因为经济追梦而离开。

There was a shortage of labor in the cities and African Americans from the South were seeking paid labor.

城市劳动力短缺，南方非裔美国人正好在寻找工作。

They were also trying to escape the inherent inequities and institutional racism of the South.

他们也在试图摆脱南方固有的不平等和制度性种族主义。

MALE STUDENT:When you say they were seeking to get away from unfair treatment in the South, was living in the North really that much different from living in the South back then?

学生：你说他们试图摆脱南方的不公平待遇，那当时住在北方和住南方有很大的不同吗？

FEMALE PROFESSOR:You might think it was… But those discriminatory practices existed everywhere in the U.S., they were in the South, but in the North as well.

教授：你可能觉得差别很大。但这些歧视性做法在美国无处不在。南北方都有歧视。

This was also a problem Black World War I veterans faced when they returned from fighting in the war in 1918.

歧视也是一战的黑人老兵1918年参战归来时面临的问题。

They had risked their lives for the country, so when they got home, they were no longer willing to accept second-class citizenship, and they began to advocate equality and to become more defiant and assertive and, and so this was a mood of course that was characteristic of the Harlem Renaissance.

他们冒着生命危险为国家作战，所以当他们回家时，他们不再愿意接受二等公民身份，他们开始提倡平等，变得更加叛逆和自信，当然，这也是哈莱姆文艺复兴时期特有的一种情绪。