ABSTRACT Langston Hughes (1901-1967) was one of the principal trailblazers of the Harlem Renaissance, paving the course for an artistic and social revolution propelled by racial uplift. This black aesthetic found expression through multiple channels across the Atlantic. In 1931, Hughes travelled to Haiti, where he met the Haitian writer and politician, Jacques Roumain (1907-1944). This encounter sparked an artistic alliance fortified by a shared abhorrence of racial and class inequalities and a mutual interest in the Haitian agrarian poor. Both Hughes and Roumain acknowledged that economic power in Haiti was concentrated in the hands of a privileged elite. Haiti’s peasant classes, ‘the people without shoes’, were nevertheless seen as the true legatees of Haiti’s revolutionary culture. In their writings, Hughes and Roumain advanced a shared vision for a transnational peasant aesthetic that celebrated the shoeless revolutionary existence of the Haitian peasantry. This resonated with a nascent black (inter)nationalism that centred around cultural resistance. Read through Elizabeth McAlister’s concept of the Haitian ti nèg, or ‘small man’, this article interrogates the shared radical vision of Langston Hughes and Jacques Roumain, looking closely at Roumain’s novel Masters of the Dew, translated into English by Hughes after Roumain’s death in 1947.

中文翻译：

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没有鞋子的人：雅克·鲁曼，兰斯顿·休斯及其跨国提尼格美学

摘要兰斯顿·休斯（Langston Hughes，1901-1967年）是哈林（Harlem）文艺复兴时期的主要开拓者之一，为种族激化推动的艺术和社会革命铺平了道路。这种黑色美学通过横跨大西洋的多个渠道得以表达。1931年，休斯前往海地，在那里遇到了海地作家和政治家雅克·鲁曼（Jacques Roumain，1907-1944年）。这次相遇引发了一场艺术联盟，其种族和阶级不平等的共同憎恶以及对海地农业穷人的共同利益得以加强。休斯和鲁曼都承认海地的经济实力集中在特权精英的手中。但是，海地的农民阶级“没有鞋的人”被视为海地革命文化的真正传承者。在他们的著作中 休斯和鲁曼对跨国农民美学提出了共同的愿景，这种美学赞扬了海地农民的无懈可击的革命性存在。这与以文化抵抗为中心的新生黑人（国际）民族主义产生共鸣。通读伊丽莎白·麦卡利斯特（Elizabeth McAlister）的“小人物”概念，这篇文章审视了兰斯顿·休斯（Langston Hughes）和雅克·鲁曼（Jacques Roumain）共同的激进愿景，仔细观察了鲁曼的小说《露水大师》，鲁曼死后休斯将其翻译成英文。 1947年。