黑人的

After he had slumber'd, rather than slept, about half an Hour, he wak'd again, and comes out of the Cave to me; for I had been milking my Goats, which I had in the Enclosure just by: When he espy'd me, he came running to me, laying himself down again upon the Ground, with all the possible Signs of an humble thankful Disposition, making a many antick Gestures show it: At last he lays his Head flat upon the Ground, close to my Foot, and sets my other Foot upon his Head, as he had done before; and after this, made all the Signs to me of Subjection, Servitude, and Submission imaginable, to let me know, how he would serve me as long as he liv'd; I understood him in many Things, and let him know, I was very well pleas'd with him; in a little Time I began to speak to him, and teach him to speak to me; and first, I made him know his Name should be Friday, which was the Day I sav'd his Life; I call'd him so for the Memory of the Time; I likewise taught him to say Master, and then let him know, that was to be my Name; I likewise taught him to say, YES, and No, and to know the Meaning of them; I gave him some Milk, in an earthen Pot, and let him see me Drink it before him, and sop my Bread in it; and I gave him a Cake of Bread, to do the like, which he quickly comply'd with, and made Signs that it was very good for him.

他的皮肤不怎么黑，略带棕色，然而不像巴西人或弗吉尼亚人或美洲其他土人的肤色那样黄金褐色的，令人生厌，而是一种深茶青色的，油光乌亮，令人爽心悦目，劫难以用言语形容。他的脸圆圆胖胖的，鼻子却很小，但又不像一般黑人的鼻子那样扁；他的嘴形长得也很好看，嘴唇薄薄的，牙齿又平又白，白得如同象牙。他并没有睡得死死的，实际上只打了半小时的盹就醒来了。他一醒来就跑到洞外来找我，因为当时我正在挤羊奶，我的羊圈就在附近。他一见到我，立刻向我奔来，爬在地上，做出各种各样的手势和古怪的姿势，表示他臣服感激之心。最后，他又把头放在地上，靠近我的脚边，然后又像上次那样，把我的另一只脚放到他的头上，这样做之后，又向我作出各种姿势，表示顺从降服，愿终身做我的奴隶，为我效劳。他的这些意思我都明白了。我告诉他，我对他非常满意。不久，我就开始和他谈话，并教他和我谈话。首先，我告诉他，他的名字叫"星期五"，这是我救他命的一天，这样取名是为了纪念这一天。

Rising abruptly that the black feminism criticizes, is that doubleness that the woman suffers with black to the race and nature oppresses cannot to part,"coming into being that the black feminism criticizes since the black daughter critic and the writer realize the white race male sex and the female , black male sex is that heresy , this have helped to bring about all in the experience looking on self experience as a standard but looking at the black woman".

黑人女权主义批评的崛起，是与黑人妇女遭受到种族和性的双重压迫分不开的，"由于黑人女批评家和作家意识到白人男性和女性、黑人男性都在将自己的经验作为标准而视黑人妇女的经验为异端，这就促成了黑人女权主义批评的诞生"。

She believes the faithful cognition and representation of the dominant culture would be possible only when black Americans look back the dominant society with their own stan...

莫里森认为，展现黑人真实自我须首先凸现黑人主体眼中的社会现实特别是黑人眼中的白人，努力探索黑人自己认识世界的方式及标准；此外黑人民族还须正确处理黑白民族关系，避免极端的民族主义。

Catherine Clinton's ''Harriet Tubman: The Road to Freedom'' is much less richly researched and less detailed, but draws on the extensive historical writing of recent years about slavery and Civil War to place Tubman's life within its times -- through descriptions of the black Philadelphia in which she found herself after her escape in 1849, of the history of the Underground Railroad, of the impact and aftermath of the Fugitive Slave Law of 1850, of the experiences of war in the coastal South.

凯瑟琳·克林顿的《哈丽雅特·塔布曼：通往自由之路》（Harriet Tubman： The Road to Freedom）在充分调查和细节方面所做的工作要少得多，但是凭籍近年来对奴隶制和内战的大量历史著作，这本书把塔布曼的生平置身于它的那个时代中——通过对费城黑人的描述（1849年她逃跑后在那里找到了自我），还有有关"地下铁道"的历史，1850年逃亡奴隶法的冲击和后果，南方沿海的战争感受。

This thesis takes the strenuous search for cultural identity of the Dead family in Song of Solomon as the main line, embarks on the cultural identity of blacks in different periods, connects the pursuit of identity with their history in American society, outlines a vivid historical picture of blacks from the evolution of their identity (from the enslaved black to the emancipated freedman, to the northern migrator and then the youth born in the north), further explores the efforts made by the blacks on their way to seek their national outlets and build their cultural identity in different periods, points out the advantage and disadvantage of their choice, and finally draws to the conclusion that African American should not abandon their national tradition but at the same time they must stand on American society and find a sound integrity of the two cultures.

本论文以托妮·莫里森的第三部小说《所罗门之歌》中戴德家族寻求文化身份认同的艰难历程为主线，以黑人在不同的历史时期的文化身份的选择为切入点，把黑人对身份的探寻与他们在美国社会中的历史文化联系在一起。从黑人身份的演变(从奴隶到被解放的自由人到北方移民者到出生在北方的新一代黑人青年)勾勒出一幅美国黑人百年历史的生动画面，分析在不同时期黑人为寻求民族出路和构建文化身份时所做出的艰苦卓绝地努力和探索。同时也指出了他们所选择道路的利与弊。最后的结论是：在寻求种族出路时既要立足美国现实又不能抛弃种族传统，而应该努力找到二者的最佳结合点。

1St Week: A general introduction to the nature and contents of the course; an investigation of students' acquired knowledge of literature in general; a brief introduction to African-American literature 2nd and 3rd Weeks: Rediscovering an Invisible Culture (Why Black culture had been unknown and unobserved for several decades; how it came to be rediscovered ) 4th to 6th Weeks: Double Consciousness (the marginal perspective in Language, Oral Culture, Folklore and Religion); Reading representative works by three Black writers of racial consciousness: Douglass, Washington and Bu Bois 7th to 9th Weeks: Minstrelsy (Imitation, Parody and Travesty in Black-White interaction rituals 1830--1920); Reading the novel about the Black life: Uncle Tom's Cabin 10th to 12th Weeks: Social Mobility and Cultural Stigma: The case of Chicago Jazz 1920--1930; Reading poems by Hughes and novels by Wright 13th to 15th Weeks: Oral Tradition and the Quest for Literacy: The crisis of Black writers from Philips Wheatley to Ralph Ellison; Reading the masterpiece of Ellison 16th to 18th Weeks: Contemporary Afro-American Culture: the sixties and seventies (efforts on reconstructing the Black identiy and Black history); Reading novels by Morrison

第1周：介绍课程性质、内容，了解学生相关文学背景，简要概括黑人文学历史第2-3周：再现黑人文化（黑人文化长期被掩盖的事实和原因，重新被发现的原因和过程）第4-6周：双重意识（语言、吟唱文学、民俗民谣、宗教的边缘化），阅读黑人种族意识三代伟大启蒙家道格拉斯、华盛顿、杜波伊斯的代表作第7-9周：吟游文学（黑人与白人的文化互动过程中的模仿、戏仿、曲仿），阅读第一部反映黑人生活的小说《汤姆叔叔的小屋》第10-12周：社会动荡与文化耻辱（芝加哥爵士乐的兴起、流行和影响），阅读休斯和赖特的代表作第13-15周：口头文学传统与争取教育权利的斗争（从惠特利到埃里森的黑人作家危机），阅读拉尔夫·埃里森的代表作第16-18周：六、七十年代以来的美国黑人文化（重建身份和重建历史的努力），阅读莫里森的代表作每位参加该课程学习的学生均须严格出勤，按时完成学读任务，每学期主持两次小型（10分钟）学术报告，第一次针对老师推荐的作家作品做一个专题报告，第二次针对自己的学期研究计划做一个选题前瞻性和可行性报告。

If an angry bigot assumes this bountiful cause of Abolition, and comes to me with his last news from Barbadoes, why should I not say to him,'Go love thy infant; love thy wood-chopper; be good-natured and modest; have that grace; and never varnish your hard, uncharitable ambition with this incredible tenderness for black folk a thousand miles off.

倘若一个自称为废奴主义者的偏执狂，气势汹汹的跑来说巴巴多斯的种族歧视多么严重，为什么我不能对他说：去爱你的孩子，去爱你的仆人吧；去做一个谦逊，仁慈，和善的人吧；不要再莫名其妙地假装关心千里之外的黑人的命运了，真正的慈善并不是这样。

Greenhorns write of syncopation now as if it were a new way of giving the utmost impetus to a musical measure; but the rowdiest jazz sounds like the Maiden's Prayer after Beethoven's third Leonora overture; and certainly no negro corobbery that I ever heard could inspire the blackest dancer with such diable au corps as the last movement of the Seventh Symphony. And no other composer has ever melted his hearers into complete sentimentality by the tender beauty of his music, and then suddenly turned on them and mocked them with derisive trumpet blasts for being such fools.

毛头小伙子们现在一提起切分音就好象是一种使音乐节奏成为最强而有力的新方法；但是在听过第三里昂诺拉前奏曲之后，最狂热的爵士乐听起来也象&少女的祈祷&那样温和了，可以肯定地说我听过的任何黑人的集体狂欢都不会象贝多芬的第七交响乐最后的乐章那样可以引起最黑最黑的舞蹈家拼了命地跳下去，而也没有另外哪一个作曲家可以先以他的乐曲的阴柔之美使得听众完全溶化在缠绵悱恻的境界里，而后突然以铜号的猛烈声音吹向他们；带着嘲讽似地使他们觉得自己是真傻。

The colors of their face painting held meanings, such as: red for war, black for living (sounds strange, but it's true), white for peace, green for night vision, yellow for mourning.

的颜色他们的脸画举行的含义，如：红色的战争，黑人的生活（听起来陌生，但它的真实），白色的和平，绿色的夜视镜，黄色的哀悼。

Catherine Clinton's ''Harriet Tubman: The Road to Freedom'' is much less richly researched and less detailed, but draws on the extensive historical writing of recent years about slavery and Civil War to place Tubman's life within its times -- through descriptions of the black Philadelphia in which she found herself after her escape in 1849, of the history of the Underground Railroad, of the impact and aftermath of the Fugitive Slave Law of 1850, of the experiences of war in the coastal South.

凯瑟琳·克林顿的《哈丽雅特·塔布曼：通往自由之路》（Harriet Tubman： The Road to Freedom）在充分调查和细节方面所做的工作要少得多，但是凭籍近年来对奴隶制和内战的大量历史著作，这本书把塔布曼的生平置身于它的那个时代中——通过对费城黑人的描述（1849年她逃跑后在那里找到了自我），还有有关&地下铁道&的历史，1850年逃亡奴隶法的冲击和后果，南方沿海的战争感受。

Lugalbanda was a god and shepherd king of Uruk where he was worshipped for over a thousand years.

Lugalbanda 是神和被崇拜了一千年多 Uruk古埃及喜克索王朝国王。

I am coming just now,' and went on perfuming himself with Hunut, then he came and sat.

我来只是现在，'歼灭战perfuming自己与胡努特，那麼，他来到和SAT 。