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poetic l-icense by isolating the excerpt from the body of the originaland naming it“Blues”, anotherpotentmasconthat immediately unleashes an associative repertoire ofAfricanAmericanmusic. Althoughthe racial factor is not explicit in the Spanish version, the ethnic distance between the son-poemand blues-poem is lessened by the factthatGuillén structureshiswork around an antiphonal inter-play thatechoes the dirge-like qualities of theNorthAmerican genre. Some criticshave noted thatthemarked differences betweenlatinoandAfricanAmericanmusicmake itnext to impossible toestablish an equivalency. However, the similarity ofexperiencewith respect to the shared historyofpain and suffering, survival and triumph ofAfricans in the Diaspora cancels any formal differ-ences. Guillén’swork depicts the crisis of a personawho pivots between starvation (“I die if Idon’twork”) and exploitation (“and if I do, I die”), a situationwithwhich blacks throughoutthe Diaspora can easily identify. Also, the imprisonedman is blind, a condition that links him toNorthAmerican bluesmen like Blind Lemon Jefferson. In shor,t what the lateMartha Cobb re-ferred to as concepts of blackness—confrontation, dualism, identity, and liberation—permeatethe lyricism ofbothHughes andGuillén (53). By acknowledging the blues form thatGuillén hasalready adapted to hisson-poem, theHughes/Carruthers translation in essence reinforces the cu-ltural value system of the source language (Spanish) such that itbecomes aesthetically pleasing inthe target language (English). That is, both the Afro-Cuban and African American traditionsplace a high value onmusic as survival technique, mode, catharsis, and diversion. Thus, Ban-dia’s observation that“translation is an intercultural activity aswell as an intralingual one...”is cogent(55) since themusical sensibility thatbinds the two cultures is an intercultural activityrendered in an intralingualact(English). Furthermore, asAfricanDiasporawriters, Hughes andGuillén blacken theAmerican versions ofEnglish and Spanish like continentalAfricanwritersA-fricanize the European variants ofEnglish and French towhich they are heir (Bandia 61). In theprocess they ironically challenge as well as renew those tongues, which is thetour de forceofwhichwe spoke earlier. The empire truly does strike back.　Around 1927, Haitian JacquesRoumain appealed to the intellectuals ofhis country toHaitian-ize or blacken the Parisianized literary tradition that stifled them. Thus Roumain wrote a novelwith aFrench-speakingNewNegro protagonis,t a politically conscious peasantwho comes back tohis native village ofFondsRouge after a fifteen-year absenceworking in the cane fields ofCuba.Unfortunately,Gouverneursde la roséewas published a fewmonths afterRoumain’s untimely de-mise in 1944.  As a tribute to him, Hughes collaborated with Mercer Cook in translating theFrench-speakingwriter’swork asMasters oftheDew. The novel is the story ofManuel Jean-Jac-quesDéliverance’s valiant struggle to findwater to relieve the drought that is ravaging his home-land. Moreover, it is a romance about the relationship between the protagonist and the beautifulAnnaise, whom he plans tomarry as soon as the irrigation project is completed. Tragically, www.51lunwen.org/TeachingEnglish/ Man-uel is assassinated byAnnaise’s cousinGervilenGervilis in a fitofrage overher rejection ofhim.AfterManuel’s death, the peasants unite to form acoumbite, or collective labor effor,t to trans-port thewaterhe had discove本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。