CAJ | 학술논문

虽然兰斯顿·休斯毕生都在诗歌中使用“梦想”一词，但是在生命中最后几年里，他对“梦想”的使用以及言说者与梦想的关系发生了变化。本文认为，这种变化源于黑奴解放宣言的百年纪念、他本人年事渐高和全球旅行的经历以及黑人艺术运动等因素的综合作用，这使得休斯重新认识到什么可能、怎样行动才能使世界变得更美好。他在60年代诗歌中的梦想不仅仅局限于作为他的《延迟了的梦的蒙太奇》主体的纽约哈莱姆居民，而是反映了更广泛世界的需要、希望和追求；这些梦想在更大程度上是对未来情形的描述，而不是虚幻想象。
수연란사돈·휴사필생도재시가중사용“몽상”일사，단시재생명중최후궤년리，타대“몽상”적사용이급언설자여몽상적관계발생료변화。본문인위，저충변화원우흑노해방선언적백년기념、타본인년사점고화전구여행적경력이급흑인예술운동등인소적종합작용，저사득휴사중신인식도십요가능、즘양행동재능사세계변득경미호。타재60년대시가중적몽상불부부국한우작위타적《연지료적몽적몽태기》주체적뉴약합래모거민，이시반영료경엄범세계적수요、희망화추구；저사몽상재경대정도상시대미래정형적묘술，이불시허환상상。
While Langston Hughes continued to use the word ＂dream＂ or ＂dreams＂ in his poetry throughout his career, the use of the dream and the speaker＇s relationship to dreams changed in the last few years of his life. I will suggest that a combination of effects, including the centennial of the Emancipation Proclamation, his own advancing age and global travels, as well as the Black Arts Movement brought Langston Hughes to a new consciousness of what was possible and what actions must be taken to make the world a better place. The dreams that occupied his poems in the 1960s reflected the needs, the hopes, and the aspirations of a community far more global than the residents of Harlem, New York, who had been the subjects of Montage of a Dream Deferred. Moreover, the dreams he wrote about were more visions of the future than fantasies.