Evidently, however, Hurston had prepared another version, a manuscript that was recently discovered and published after having been forgotten since 1929.
然而，赫斯顿显然准备了另一个版本，一部自从1929年以来就被遗忘了的手稿最近被发现并发表了。
Like her immediate predecessors, Zora Neale Hurston and Gwendolyn Brooks, she focused her novel on an ordinary Black woman's search for identity within the context of a Black community.
就像她的前辈佐拉·尼尔·赫斯顿和格温德林·布鲁克斯一样，她把小说的重点放在一个普通的黑人女性在黑人社区的背景下寻找身份。
Alice walker, the most contemporary influential black woman writer, honors Hurston as her "literary foremother".
最有当代影响力的黑人女性作家爱丽丝·沃克将赫斯顿誉为“文学先驱”。
Hurston published her first short stories at Howard University.
赫斯特在霍华德大学发表了她的第一部短篇小说集。
Zora Neale Hurston is a great novelist, folklorist, and anthropologist in America.
佐拉·尼尔·赫斯顿是美国伟大的小说家，民俗家，人文学家。
Zora Neale Hurston is regarded as the pioneer of Afro-Americans female literature.
顿堪称美国黑人女性文学的先驱。
One that you might have heard of is Zora Neale Hurston, an anthropologist and a writer.
其中一个您可能听过的人是左拉赫斯顿，她是一位人类学者及作家。
Hurston received praise for her work by both blacks and whites. But not everyone enjoyed her work.
赫斯特因其作品而分别获得了黑人和白人的称赞，但并非每个人都喜欢她的小说。
Their Eyes Were Watching God is a representative novel of American black woman writer Zora Neale Hurston.
《他们的眼睛望着上帝》是美国著名黑人女作家佐拉·尼尔·赫斯顿的代表作。
Hurston received financial support for most of her research from a wealthy woman in New York named Charlotte Osgood Mason.
赫斯特接受了纽约市一位有钱白人妇女的支助，进行她的研究，这位支助者名叫夏天洛特·奥斯古德·梅森。
Today, Zora Neale Hurston has not been forgotten. She influenced other African-American female writers, including Alice Walker.
如今，卓拉。尼尔·赫斯特并没有被人忘记，她影响了其他非裔女作家，这就包括艾丽丝。沃克。
Compared with Dust Tracks on the Road, the autobiography of Hurston, Jonahs Gourd Vine is a novel of distinct biographical style.
通过与赫斯顿的自传《道路上的尘迹》的比较，可以看出该小说是一部具有鲜明传记色彩的作品。
Zora Neale Hurston published her first book, "Jonah's Gourd Vine, " in nineteen thirty-four. The story takes place in a small Florida town.
卓拉.尼尔.赫斯特于1934年发表了她的第一部长篇小说《Jonah'sGourdVine》(《乔纳的葫芦蔓》)，故事发生在佛罗里达小镇，讲述的是两个与她父母很相似的人物。
Zora Neale Hurston (1891-1960) was a remarkable African American woman writer in the 1920s and 1930s, a major figure of the Harlem Renaissance.
佐拉·尼尔·赫斯顿(1891—1960)是二十世纪二、三十年代一位出色的黑人女作家和人类学家。
This was expressed in literature, music and other art forms. Hurston and her stories about Eatonville became important during the Harlem Renaissance.
赫斯特和她的有关伊顿威尔镇的短篇小说成为哈莱姆文艺复兴时期重要的组成部分。
Zora Neale Hurston was born in eighteen ninety-one in Notasulga, Alabama. A short time later, her family moved to Eatonville, a small town in central Florida.
卓拉.尼尔.赫斯特于1891年出生在阿拉巴马州的诺塔苏加，出生后不久，她家就搬到了佛罗里达州中部的一个小镇----伊顿威尔，在这个小镇居住的全都是非裔。
In nineteen fifty-nine, Hurston suffered a stroke and entered a nursing home in Fort Pierce, Florida. She died there a year later and was buried in an unmarked grave.
在1959年，赫斯特遭受到一次打击，随后进入了佛罗里达州的皮尔斯堡疗养院，一年后她在此去逝，她的墓地没有任何标志。
In Their Eyes Were Watching God, Zora Neale Hurston depicts different types of black image within the white world and implies the possible way out for the black people.
佐拉·尼尔·赫斯顿在《他们眼望上苍》中塑造了白人主流文化侵袭下的各类黑人形象，对种族出路问题进行了冷静的思考。
Zora Neale Hurston is universally acknowledged as the Mother of Black Female Literature and she is regarded as one of the greatest writers during the Harlem Renaissance.
被誉为黑人女性文学之母的左拉·尼尔·赫斯顿是哈莱姆文艺复兴时期杰出的黑人作家之一。
The thesis focuses on the analysis of these symbols in order to illustrate how Zora Neale Hurston makes the protagonist Janie get rid of the oppression of the male and the white.
本文旨在分析这些象征以阐示佐拉·尼尔·赫斯顿是如何运用他们来阐明主人公珍妮摆脱男性和白人的压迫。
Regarded as the first black woman writer to express the theme of black women's search for identity, Zora Neale Hurston has become an important precursor in black female literary history.
佐拉·尼尔·赫斯顿是第一位以黑人妇女为主人公，并以表现黑人妇女寻求自我为主题的黑人女作家，为当代黑人女性主义文学建立了框架。
After the Harlem Renaissance, the black men writers' "protest literature" that are full of racial conflicts occupied mainstream, Hurston and her positive black women images were neglected.
但在哈莱姆文艺复兴运动之后，文艺界以黑人男作家充满种族冲突的“抗议文学”占主流，赫斯顿及其塑造的黑人女性新形象湮没在历史的尘埃中。
After the Harlem Renaissance, the black men writers' "protest literature" that are full of racial conflicts occupied mainstream, Hurston and her positive black women images were neglected.
但在哈莱姆文艺复兴运动之后，文艺界以黑人男作家充满种族冲突的“抗议文学”占主流，赫斯顿及其塑造的黑人女性新形象湮没在历史的尘埃中。
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