scholarly journals As Aventuras de Huckleberry Finn de Mark Twain, Tradução de Rosaura Eichenberg.DOI: 10.5007/2175-7968.2011v2n28p243

2011 ◽  
Vol 2 (28) ◽  
Author(s):  
Vanessa Lopes Lourenço Hanes
Keyword(s):  
Mark Twain ◽  
Huckleberry Finn

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. 

Mark Twain and Don Quixote

PMLA ◽  
1922 ◽  
Vol 37 (2) ◽  
pp. 324-346 ◽  
Author(s):  
Olin Harris Moore
Keyword(s):  
Mark Twain ◽  
Don Quixote ◽  
Virgin Soil ◽  
American Humor ◽  
Huckleberry Finn

The purpose of this paper is to trace the influence of Cervantes upon Mark Twain, with particular attention to the supposedly autobiographical tales Huckleberry Finn and Tom Sawyer.A short digression will be necessary at the outset in order to overcome, if possible, an almost universal prejudice. The popular notion is that Mark Twain's genius “just grew,” like Topsy; that he was peculiarly a “self-made” man, the term “self-made” being understood to mean “lacking in book learning.” We like to think that Mark Twain, above all other authors, dug into the virgin soil of his native country, and brought forth rich treasures which could be found nowhere else. We like to say: “What genuine American humor! What a true picture of American boyhood! Nothing of Europe in Mark Twain! Tom Sawyer and Huckleberry Finn are real Americans!”

The Reception of Mark Twain in Japan from the Meiji Period to the Heisei Period (1860s–2000s)

2016 ◽  
Author(s):  
Tsuyoshi Ishihara
Keyword(s):  
World War Ii ◽  
Science Fiction ◽  
World Literature ◽  
Japanese Society ◽  
Mark Twain ◽  
Popular Science ◽  
Japanese Culture ◽  
Late 20Th Century ◽  
Imperial Japan ◽  
Huckleberry Finn

Why have so many Japanese people been fascinated with one of the most distinctively “American” writers, Mark Twain? Over the past hundred years, Mark Twain has influenced Japanese culture in a variety of ways. The Nobel Prize-winning novelist Kenzaburo Oe claimed that Huckleberry Finn was one of the “roots of his inspiration as a writer” and called Huck one of the heroes who means the most to him in world literature. However, it was often necessary for Japanese writers to “Japanize” Twain’s works in accordance with the cultural and political norms of contemporary Japanese society. For instance, Kuni Sasaki’s Huckleberry Monogatari (1921), the first Japanese translation of Adventures of Huckleberry Finn, significantly bowdlerized Huckleberry for Japanese juvenile readers, following the period’s genteel conventions of juvenile literature. In Jiro Osaragi’s samurai novel Hanamaru Kotorimaru (1939), an adaptation of Twain’s The Prince and the Pauper, the elements of didacticism, rigid class hierarchy, and patriarchal relationships, all significant in contemporary imperial Japan, were particularly emphasized. During the American occupation after World War II, a number of Japanese juvenile translations of Tom Sawyer and Huckleberry Finn appeared. They not only idealized Tom and Huck as democratic American heroes, but also considerably tamed them out of concern that those untamed heroes might justify juvenile delinquency, which was common in the post-war moral confusion. In the sphere of Japanese popular culture, Twain is everywhere. Twain and the characters in his works frequently appear in popular science fiction, television commercials, musicals, repertory theaters, documentary films, and theme parks. An animated TV series depicting Huckleberry Finn and Tom Sawyer achieved record-breaking popularity among Japanese children in the 1970s and 1980s. These popular cultural adaptations sometimes reflected the changing trend of Japanese juvenile television anime and the development of themes in late 20th-century Japanese society, such as the empowerment of women and increasing awareness of the necessity to represent blacks.

The Empirical and the Ideal in Mark Twain

PMLA ◽  
1980 ◽  
Vol 95 (2) ◽  
pp. 201-212 ◽  
Author(s):  
Jeffrey L. Duncan
Keyword(s):  
Mark Twain ◽  
Peaceful Coexistence ◽  
The Ideal ◽  
Huckleberry Finn

As a literary realist Twain was a practicing empiricist; as a humorist he was a practicing philosophical idealist. Often the two intellectual postures existed side by side within the same work—in A Tramp Abroad, for instance—but they did not enjoy a peaceful coexistence. As a consequence his career took on a pattern of great significance. In Huckleberry Finn he carried commonsense empiricism as far as it could go. In A Connecticut Yankee in King Arthur’s Court, a genuinely pivotal work, he discovered, and contended with, not only empiricism’s radical limits but its inherent contradictions as well. Hence he evolved his peculiar (and perverse) form of idealism, of which The Mysterious Stranger is the (unfinished) consummation.

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

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.

Sign in / Sign up

Export Citation Format

Share Document