turn in American studies has provided new perspectives on ethnic and minority literatures, including the Harlem Renaissance and its representative anthology, Alain Locke’s The New Negro: An Interpretation (1925).1 While such cosmopolitan intellectuals as Locke and Langston Hughes aimed to instill pride in an oppressed American minority, they were keenly aware of global political developments. Yet as Brent Hayes Edwards has pointed out,

中文翻译：

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远离布拉格：哈莱姆文艺复兴和捷克斯洛伐克

美国研究的转向为种族和少数民族文学提供了新的视角，包括哈莱姆文艺复兴及其代表选集，阿兰·洛克的《新黑人：一种解释》（1925）。作为受压迫的美国少数民族，他们敏锐地意识到全球政治发展。然而正如布伦特·海耶斯·爱德华兹指出的那样，