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题目材料：
In the early twentieth century, W. E. B. Du Bois and others in the African American literary establishment grappled with questions about the “criteria of Negro art” and how African Americans should be portrayed—offering up a set of conventions for what constituted appropriate representations that in some ways echoed calls for portraits of respectability from an earlier era. The younger generation of artists protested, responding with their own sets of literary goals, realized in the short-lived literary journal FIRE!! Artists such as Langston Hughes, Zora Neale Hurston, Wallace Thurman, and Richard Bruce Nugent refused to have their art confined to what they saw as the limiting criteria requiring that African American literature function only on behalf of “the race.” They resisted attempts by others to delimit the meaning and parameters of their art, electing instead to engage in thematic and formal innovations in order to challenge these definitional strictures. By the middle of the twentieth century, the task for the Black Arts Movement (BAM) involved articulating a rubric for assessing the value of Black art outside Eurocentric aesthetic standards. And while the most vocal proponents of BAM promoted goals and agendas for African American literature that included the celebration of a revolutionary Afrocentric engagement with and reconstruction of Black history, art and music, they were not able to restrain African American literary creativity to prescriptive criteria. Prescription automatically curtails creativity.
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