《兰斯顿·休斯全集(第16卷)·翻译:费德里克·加西亚·罗卡、尼古拉斯·桂伦、雅克·罗芒》的介绍文章探讨了兰斯顿·休斯的写作与西班牙诗人和戏剧家罗卡、古巴诗人和杂文家桂伦、海地诗人和小说家罗芒的作品中表现出来的边缘化诗学之间存在的同延关系。上述文章为进一步研究文学翻译中的文化迁移奠定了基础。也就是说,从事翻译活动的作家渴望在源语文学和目的语文学之间找到意义之意义,而且这个从事翻译的作家渴望描绘他自己的作品与外国作家作品之间的相似经验。休斯翻译的罗卡的《血色婚礼》、桂伦的《自由古巴》、罗芒的《露珠大师》,展现了大量的体现他的双重目标(即实现对相关经验的有效的跨文化迁移和跨文类的美学表达)和熟巧地使用语言达到这两个目标的例证。本文将从这三部作品中各选一部分进行探讨,以分析休斯通过翻译来自不同文化、语言、文学背景的作家的作品所进行的全球对话。本文还提出,在不同文学传统之间明智而有效的翻译活动对于建立作家与世界各地的读者之间的联系是十分必要的,这反过来也使他们所代表的国家的国内的和国际的话语和政策被更清楚的理解。 “The Complete Works of Langston Hughes, Volume 16 · Translation: An Introduction to Federico García Rocca, Nicolas Guerron, Jacques Lawmans discusses the relationship between Langston Hughes’ writing and The same extended relationship exists between the marginalized poetics shown in the writings of Spanish poet and dramatist Rocca, Cuban poet and scribe Gui Lun, Haitian poet and novelist Rohmer. The above article laid a foundation for further studying the cultural migration in literary translation. That is to say, writers engaged in translation activities are eager to find meaning between source language and target language literature, and this translator is eager to describe the similar experience between his own work and that of foreign writers. Hughes translated Rocca’s Bloody Wedding, Guillen’s ”Free Cuba“ and Romand’s ”dew master" showcased a great deal of his dual goal of achieving an effective cross-cultural transfer of relevant experience and Cross-cultural aesthetics) and examples of using language skillfully to achieve both goals. This essay explores each of these three works in order to analyze Hughes’s global dialogue by translating works by writers of different cultures, languages ​​and literary backgrounds. The paper also suggests that judicious and effective translation activities among different literary traditions are necessary to establish the connection between writers and readers from all over the world, which in turn will make the domestic and international discourse of the countries they represent And the policy is more clearly understood.