The Centrality of African American Intellectuals to the U.S.-Soviet Cultural Exchange in the Era of Artistic Modernism

这项研究澄清了美国和苏联之间的文化和艺术联系，特别是非洲裔美国艺术家/知识分子从20世纪20年代到60年代所领导的联系。这些细节证明了文艺复兴时期艺术家独特的主体地位。已有的研究表明，他们的审美主体性不可避免地受到白人赞助人的殖民和商业影响。另一方面，我的研究证实了他们相互矛盾的独立性，他们通过自己的国际交流来检验他们审美关注的有效性。由于本研究已经证实了活动的紧张状态，直到冷战和民权运动的时代，哈莱姆文艺复兴的政治主动性的一个新的维度同时得到了验证。

This study has clarified the cultural and artistic connections between the United States and Soviet Russia, particularly ones that African American artists/intellectuals led from the 1920s to the 1960s. The detailed findings regarding such initiatives testify to a unique subject position of the Renaissance artists. Existing researches have demonstrated that their aesthetic subjectivity was inescapably under the colonial as well as commercial influences of white patrons. My study has, on the other hand, substantiated their contradictory independence, by which they tested the validity of their aesthetic concerns through their own international exchanges. Since the present study has verified the strain of activity up to the era of Cold War and Civil Rights Movement, a new dimension of the Harlem Renaissance's political initiative is at the same time authenticated.