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Queer Harlem, Queer Tashkent: Langston Hughes's “Boy Dancers of Uzbekistan”
Slavic Review ( IF 0.343 ) Pub Date : 2017-10-23 , DOI: 10.1017/slr.2017.171 Jennifer Wilson
Slavic Review ( IF 0.343 ) Pub Date : 2017-10-23 , DOI: 10.1017/slr.2017.171 Jennifer Wilson
In Langston Hughes's 1934 essay “Boy Dancers of Uzbekistan,” (published inTravel magazine), the author writes mournfully about the Soviet reforms that put an end to the practice of effeminized male dancers,bachi , performing in the teahouses of Central Asia for exclusively male audiences; in doing so, Hughes expresses an enthusiasm for the queer contours of thebachi tradition. This article connects that enthusiasm with Hughes's earlier involvement in cultural efforts aimed at increasing queer visibility within the black community during the Harlem Renaissance. By situating “Boy Dancers” in this context, the underexplored role of the Russian Revolution in fostering queer solidarity among global communities of color is highlighted.
中文翻译:
酷儿哈莱姆,酷儿塔什干:兰斯顿休斯的“乌兹别克斯坦的男孩舞者”
在兰斯顿休斯 1934 年的文章“乌兹别克斯坦的男孩舞者”中(发表于旅行 杂志),作者悲哀地写到苏联的改革结束了女性化男舞者的做法,八尺 ,在中亚的茶馆为男性观众表演;这样做,休斯表达了对酷儿轮廓的热情八尺 传统。这篇文章将这种热情与休斯早期参与旨在提高哈莱姆文艺复兴时期黑人社区中酷儿知名度的文化努力联系起来。通过将“男孩舞者”置于这种背景下,突出了俄罗斯革命在促进全球有色人种社区之间的酷儿团结方面未被充分探索的作用。
更新日期:2017-10-23
中文翻译:
酷儿哈莱姆,酷儿塔什干:兰斯顿休斯的“乌兹别克斯坦的男孩舞者”
在兰斯顿休斯 1934 年的文章“乌兹别克斯坦的男孩舞者”中(发表于