scholarly journals The Unsivilized Figure as Cultural Hero of Artifice: Suassuna’s João Grilo and Twain’s Huck Finn

2021 ◽  
Vol 17 (32) ◽  
pp. 248-269
Author(s):  
Benjamin Chaffin
Keyword(s):  
Mark Twain ◽  
Miguel De Cervantes ◽  
Don Quijote ◽  
Adventures Of Huckleberry Finn ◽  
Huck Finn ◽  
Sancho Panza ◽  
Cultural Hero ◽  
The U.S ◽  
Huckleberry Finn

In their close ties to a folkloric past, and in a conscientious effort to dialogue with a far-reaching literary inheritance, the Brazilian Ariano Suassuna (1927-2014) and the U.S.’s Mark Twain (1835-1910) present regional protagonists who negotiate roles as heroes of artifice. As they feed off models of the Trickster and pícaro, an analysis based on cognitive and psychosocial theory reveals a João Grilo and Huck Finn that model valued skills as socioeconomically marginalized figures on the outskirts of civilization. In Auto da Compadecida (1955) and Adventures of Huckleberry Finn (1884), both Suassuna and Twain manage to highlight these skills by creating character duos that mimic the cognitive counterpointing between Miguel de Cervantes’ Don Quijote and Sancho Panza.

Huck Doesn't Sound like Himself: Consistency in the Literary Dialect of Mark Twain

2001 ◽  
Vol 10 (2) ◽  
pp. 129-144 ◽  
Author(s):  
Susan Tamasi
Keyword(s):  
Representative Sample ◽  
Mark Twain ◽  
Adventures Of Huckleberry Finn ◽  
Huck Finn ◽  
Huckleberry Finn

Mark Twain is one of the most prolific writers of literary dialect, and his works have long been studied not only for their content but also for the structure of the language found within. In this tradition, this article analyzes the speech of the character of Huck Finn in The Adventures of Tom Sawyer and The Adventures of Huckleberry Finn. However, this article moves beyond traditional studies which focus on cataloguing dialect features or discussing the writer's dialect accuracy, and instead questions whether or not Twain was consistent in his use of literary dialect intertextually. Using the LinguaLinks program, a representative sample of Huck's speech from each text was examined for non-standard features and dialect spellings, and these forms were analyzed for consistency of use. This study reveals that while Twain is consistent in some of the dialect features analyzed, variation does in fact occur within his representation of Huck's speech.

The Tragedy of Mark Twain, by Pudd'nhead Wilson

2002 ◽  
Vol 56 (4) ◽  
pp. 518-544 ◽  
Author(s):  
Stephen Railton
Keyword(s):  
Social Order ◽  
Mark Twain ◽  
Adventures Of Huckleberry Finn ◽  
Celebrity Status ◽  
Huck Finn ◽  
The Cost ◽  
Huckleberry Finn

Why did Mark Twain title his last published novel about America The Tragedy of Pudd’’nhead Wilson (1894)? Wilson's share of the story seems anything but tragic: he rises to popularity and fame while restoring a disrupted social order. By looking closely at Wilson's climactic courtroom performance, however, in this essay I argue that Wilson achieves his celebrity status by surrendering to his audience's social and racial prejudices. I further suggest that in ironically measuring the cost of Wilson's public triumph, Mark Twain is rehearsing his own uneasiness with his career as a literary performer–– especially his decision to end Adventures of Huckleberry Finn (1885) with the "Evasion" that turns that novel's treatment of racism and enslavement into a farce. Like Wilson's courtroom theatrics, the ending of Huckleberry Finn is a socially reassuring act of erasure that haunted Twain enough to lead his imagination back to the slaveowning village once more, this time to narrate the quest for popular approval that Tom Sawyer had sought and Huck Finn had tried to run away from as a tragedy. By looking closely at the larger story of Pudd'nhead Wilson––including Twain's commentary on it, the contemporary reviews of it, and Frank Mayo's successful dramatization of it––I suggest that even in this novel the operations of racism are mainly being perpetuated rather than exposed. Whatever Samuel Clemens may have believed about race, a Mark Twain performance finally had to placate rather than confront the prejudices of its American audience.

Humor in der Therapie. Lachend auf Distanz gehen, Ängste lachend besiegen

2003 ◽  
Vol 14 (3) ◽  
pp. 139-157
Author(s):  
Gudrun Hofmann
Keyword(s):  
Don Quixote ◽  
Miguel De Cervantes ◽  
Don Quijote ◽  
Richard Strauss ◽  
Sancho Panza

Zusammenfassung. Don Quijote und Sancho Panza, von Miguel de Cervantes Saavedras 1605/1612 geschaffene Romanhelden, erfreuen sich auch im Jahre 2003 eines großen Bekanntheitsgrades und sind als komisches Paar berühmt geworden. Beide verstricken sich in Abenteuer, die einzig ihrer Fantasie erwachsen. Im folgenden steht das Komische - aus nicht der Norm entsprechendem Verhalten oder aus wahnhaften Imaginationen erwachsend - in der literarischen Vorgabe wie auch in dem sinfonischen Tongedicht “Don Quixote“ von Richard Strauss im Mittelpunkt. Daran schließen sich Überlegungen zu einer tänzerischen Umsetzung im Rahmen eines therapeutischen Settings an. Es wird analysiert, wie sich Menschen mit unterschiedlichen Persönlichkeitszügen (resp. -störungen) darin wiederfinden können und wie die Charaktere von Don Quijote und Sancho Panza im Sinne einer eigenen Interpretation weiterentwickelt werden können. Aspekte der von Helmut Plessner vertretenen anthropologischen Betrachtungsweise des Lachens beleuchten die nur dem Menschen eigene Fähigkeit komisch zu sein und Komisches wahrzunehmen.

scholarly journals A Comparative Study of Transference of Humor in Translations of “The Adventures of Huckleberry Finn” by Mark Twain

2017 ◽  
Vol 6 (6) ◽  
pp. 1
Author(s):  
Rezvan Barzegar Hossieni ◽  
Mohsen Mobaraki ◽  
Maryam Rabani Nia
Keyword(s):  
Comparative Study ◽  
Cultural Differences ◽  
Mark Twain ◽  
Target Language ◽  
Complex Task ◽  
Source Language ◽  
Adventures Of Huckleberry Finn ◽  
Huckleberry Finn

Translation is a difficult and complex task. Some elements such as linguistic and socio-cultural differences in two languages make it difficult to choose an appropriate equivalent; the equivalent which has the same effect in the target language. In the present study, one of the richest sources of the humor and satire is investigated. Humor is completely obvious in “The Adventures of Huckleberry Finn” by Mark Twain. He tried to laugh at social and cultural problems of his time by this novel. Two translations of this book by Hushang Pirnazar and Najaf Daryabandari are investigated. The author tries to investigate on transference of humor from the source language to the target language by a syntactic strategy of Chesterman. By investigating the text, it will be found out that which translator is more successful in recreation of humor by using the strategies. 

scholarly journals Problèmes de traduction du vernaculaire noir américain : le cas de The Adventures of Huckleberry Finn

2007 ◽  
Vol 7 (2) ◽  
pp. 115-145 ◽  
Author(s):  
Judith Lavoie
Keyword(s):  
Mark Twain ◽  
Adventures Of Huckleberry Finn ◽  
Huckleberry Finn

Résumé Problèmes de traduction du vernaculaire noir américain : le cas de The Adventures of Huckleberry Finn — Cet article propose une analyse du rôle dévolu au vernaculaire noir américain (VNA) par Mark Twain dans The Adventures of Huckleberry Finn et du traitement qui en a été fait par deux traducteurs français (Suzanne Nétillard, 1948/1973/1985, et André Bay, 1961/1990). L'auteure démontre que la transcription du VNA par Twain répond à deux « tendances esthético-cognitives divergentes » (Lane-Mercier). La première, « philologique », où Twain tente, sans vraiment y parvenir en raison de certains effets de clôture, de rendre compte du parler des personnes de race noire dans l'extratexte; la seconde, « artistique », où il cherche à subvertir, à travers sa représentation du VNA sur le plan scriptural, le discours socio-idéologique propre à sa société. En effet, le VNA assume plusieurs fonctions dans The Adventures of Huckleberry Finn: sur le plan esthétique, il crée, au début du roman, un effet de comique; sur le plan social, il identifie le locuteur à son milieu; et sur le plan idéologique, il exprime la position de l'auteur sur l'esclavage et la ségrégation. Or, la tradition française du bien-écrire étant très présente à l'esprit des traducteurs, ces derniers ont plus ou moins pu recréer graphiquement en français un langage caractérisant la voix noire tel que Twain l'avait fait en anglais. Partant, si le VNA n'est pas représenté formellement, toute l'idéologie sous-jacente à sa présence est du même coup atténuée, si ce n'est complètement perdue.

The Works of Mark Twain. Volume VIII: Adventures of Huckleberry Finn

1991 ◽  
Vol 86 (2) ◽  
pp. 424
Author(s):  
Robert Giddings ◽  
Mark Twain ◽  
Walter Blair ◽  
Victor Fischer ◽  
Dahlia Armon ◽  
...  
Keyword(s):  
Mark Twain ◽  
Adventures Of Huckleberry Finn ◽  
Volume Viii ◽  
Huckleberry Finn

Humor in der Therapie. Lachend auf Distanz gehen, Ängste lachend besiegen

2003 ◽  
Vol 14 (4) ◽  
pp. 177-195
Author(s):  
Gudrun Hofmann
Keyword(s):  
Don Quixote ◽  
Miguel De Cervantes ◽  
Don Quijote ◽  
Richard Strauss ◽  
Sancho Panza

Zusammenfassung. Don Quijote und Sancho Panza, von Miguel de Cervantes Saavedras 1605/1612 geschaffene Romanhelden, erfreuen sich auch im Jahre 2003 eines großen Bekanntheitsgrades und sind als komisches Paar berühmt geworden. Beide verstricken sich in Abenteuer, die einzig ihrer Fantasie erwachsen. Im folgenden steht das Komische - aus nicht der Norm entsprechendem Verhalten oder aus wahnhaften Imaginationen erwachsend - in der literarischen Vorgabe wie auch in dem sinfonischen Tongedicht “Don Quixote“ von Richard Strauss im Mittelpunkt. Daran schließen sich Überlegungen zu einer tänzerischen Umsetzung im Rahmen eines therapeutischen Settings an. Es wird analysiert, wie sich Menschen mit unterschiedlichen Persönlichkeitszügen (resp. -störungen) darin wiederfinden können und wie die Charaktere von Don Quijote und Sancho Panza im Sinne einer eigenen Interpretation weiterentwickelt werden können. Aspekte der von Helmut Plessner vertretenen anthropologischen Betrachtungsweise des Lachens beleuchten die nur dem Menschen eigene Fähigkeit komisch zu sein und Komisches wahrzunehmen.

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