Indiana University-Purdue University Indianapolis (IUPUI) / This thesis examines Mark Twain’s use of the dialectic between the characters Huck and Jim to illuminate Jim’s humanity in the classic novel Adventures of Huckleberry Finn. Over the course of their adventure, Huck learns that Jim is a human being and not property. This realization leads Huck to choose to assist Jim in his escape from captivity, and risk eternal damnation according to his religious beliefs. Huck’s decision is driven by the friendship that develops between him and his fellow fugitive on their adventure. Jim’s kindness and stewardship also provide a stark contrast to the treachery of the characters on the banks of the river. Twain thus crafts a message that slavery and race discrimination are wrong without taking the tone of an abolitionist, combining an amusing children’s story with a profound social message. Although definitive proof of his intention to do so has never been found, human friendship is the sliver of common ground Twain used to reach across the profound racial gap in the United States in the late 19th century. The analysis takes place in four parts: (1) a comparison of AHF to other nineteenth century works that featured slavery to establish it as unique among those works; (2) an analysis of the aforementioned dialectic from a modern text of the novel featuring previous deleted parts from the early manuscript; (3) a review of the critical response to the novel which reveals that if Twain was trying to send a message of racial equality, he was not doing so overtly; and (4) a conclusion in which I posit that Twain found a creative solution to a social problem and cite critical discourse that notes Twain’s course of action. This yielded a work that was both more widely read and timeless than a work that confronted slavery directly. Chapters one, three and four utilize critical dialogue and history from print and digital sources. Jane E. Schultz, Ph.D., Professor

Mark Twain, renomado autor realista e local colorist, é conhecido pelo seu estilo coloquial de escrever. A modalidade oral regional da língua inglesa é representada na fala dos personagens do romance The Adventures of Tom Sawyer (Aventuras de Tom Sawyer). Nesta dissertação, é feita uma análise comparativa entre alguns trechos da obra original de Mark Twain, publicada em 1876, e da tradução feita por Monteiro Lobato, em 1934. A partir dos conceitos de regionalidade apresentados por Arendt (2012) e Stüben (2013), o objetivo desta pesquisa é analisar as especificidades culturais da obra original e verificar de que forma o tradutor, Lobato, as transpõe para o texto da língua-meta, o português brasileiro. Além disso, a partir da análise dos trechos selecionados, são identificadas as técnicas tradutórias utilizadas por Monteiro Lobato, com base nas propostas de Vinay e Dalbernet (1971), Barbosa (1990) e Hurtado Albir (2001). Duas línguas nunca serão suficientemente iguais para serem consideradas representativas de uma mesma realidade cultural, sendo possível analisar se há perdas e ganhos na tradução, como corrobora Bassnett (2005). Nos moldes de Venuti (1995), verifica-se se a tradução é sobretudo domesticadora ou estrangeirizadora. / Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2015-11-27T17:11:31Z No. of bitstreams: 1 Dissertacao Fernanda Bondam Soppelsa.pdf: 1404862 bytes, checksum: c9db702a15ee99a35256e0741dba0f7c (MD5) / Made available in DSpace on 2015-11-27T17:11:31Z (GMT). No. of bitstreams: 1 Dissertacao Fernanda Bondam Soppelsa.pdf: 1404862 bytes, checksum: c9db702a15ee99a35256e0741dba0f7c (MD5) / Fundação de Amparo à Pesquisa do Estado do Rio Grande do Sul, FAPERGS. / Mark Twain was a prominent realistic author and local colorist, known by his colloquial style of writing. He represents the regional oral modality of the English language in the speech of the characters in the novel The Adventures of Tom Sawyer (Aventuras de Tom Sawyer). This master’s thesis aims at comparatively analyzing parts of the original work by Mark Twain, published in 1876, and the translation made by Monteiro Lobato, from 1934. Using the concepts of regionality from Arendt (2012) and Stüben (2013), the objective of this research is to analyze the cultural characteristics of the original novel and verify how the translator, Lobato, transposes the text to the target language, Brazilian Portuguese. In addition, the translational techniques used by Monteiro Lobato are identified, based on the proposals by Vinay and Dalbernet (1971), Barbosa (1990) and Hurtado Albir (2001). Two languages are never enough alike to be considered representative of the same cultural reality, so it is possible to analyze whether there are losses and gains in translation, as confirmed by Bassnett (2005). Following the ideas systematized by Venuti (1995), this work analyzes to what extend the selected translation is a domestication or keeps the cultural elements from the original novel.

Mark Twain, renomado autor realista e local colorist, é conhecido pelo seu estilo coloquial de escrever. A modalidade oral regional da língua inglesa é representada na fala dos personagens do romance The Adventures of Tom Sawyer (Aventuras de Tom Sawyer). Nesta dissertação, é feita uma análise comparativa entre alguns trechos da obra original de Mark Twain, publicada em 1876, e da tradução feita por Monteiro Lobato, em 1934. A partir dos conceitos de regionalidade apresentados por Arendt (2012) e Stüben (2013), o objetivo desta pesquisa é analisar as especificidades culturais da obra original e verificar de que forma o tradutor, Lobato, as transpõe para o texto da língua-meta, o português brasileiro. Além disso, a partir da análise dos trechos selecionados, são identificadas as técnicas tradutórias utilizadas por Monteiro Lobato, com base nas propostas de Vinay e Dalbernet (1971), Barbosa (1990) e Hurtado Albir (2001). Duas línguas nunca serão suficientemente iguais para serem consideradas representativas de uma mesma realidade cultural, sendo possível analisar se há perdas e ganhos na tradução, como corrobora Bassnett (2005). Nos moldes de Venuti (1995), verifica-se se a tradução é sobretudo domesticadora ou estrangeirizadora. / Fundação de Amparo à Pesquisa do Estado do Rio Grande do Sul, FAPERGS. / Mark Twain was a prominent realistic author and local colorist, known by his colloquial style of writing. He represents the regional oral modality of the English language in the speech of the characters in the novel The Adventures of Tom Sawyer (Aventuras de Tom Sawyer). This master’s thesis aims at comparatively analyzing parts of the original work by Mark Twain, published in 1876, and the translation made by Monteiro Lobato, from 1934. Using the concepts of regionality from Arendt (2012) and Stüben (2013), the objective of this research is to analyze the cultural characteristics of the original novel and verify how the translator, Lobato, transposes the text to the target language, Brazilian Portuguese. In addition, the translational techniques used by Monteiro Lobato are identified, based on the proposals by Vinay and Dalbernet (1971), Barbosa (1990) and Hurtado Albir (2001). Two languages are never enough alike to be considered representative of the same cultural reality, so it is possible to analyze whether there are losses and gains in translation, as confirmed by Bassnett (2005). Following the ideas systematized by Venuti (1995), this work analyzes to what extend the selected translation is a domestication or keeps the cultural elements from the original novel.

Hemingway claims in Green Hills of Africa that "all modern American literature comes from one book by Mark Twain called Huckleberry Finn." If this basic idea is applied to his own work, elements of Adventures of Huckleberry Finn appear in some of Hemingway's Nick Adams stories and his novel The Old Man and the Sea. All major characters and several minor characters in these works share the quality of natural innocence, composed of their primitivism, sensibility, and active morality. Hemingway's Nick, Santiago, and Manolin, and Twain's Huck Finn and Jim reflect their authors' similar backgrounds and experiences and themselves come from similar environments. These environments are directly related to their continued possession and expression of their natural innocence.

Toni Morrison, in Playing in the Dark, observes the pervasive silence that surrounds race in nineteenth-century canonical literature. Observing the ways in which the “Africanist” African-American presence pervades this literature, Morrison has called for an investigation of the ways in which whiteness operates in American canonical literature. This thesis takes up that challenge. In the first section, from Chapters One through Three, I explore how whiteness operates through the representation of the African-American figure in the works of three eminent nineteenth-century American writers, Harriet Beecher Stowe, Walt Whitman, and Mark Twain. The texts studied in this regard are: Uncle Tom’s Cabin, Leaves of Grass, and Adventures of Huckleberry Finn. This section is not concerned with whether these texts constitute racist literature but with the ways in which the study of race, particularly whiteness, reveals the contradictions and insecurities that attend (white American) identity. As such, Morrison’s own fiction, written in response to white historical representations of African-Americans also deserves attention. The second section of this thesis focuses on Morrison’s attempt to produce an authentically “black” literature. Here I look at two of Morrison’s least studied but arguably most contentious novels particularly because of what they reveal of Morrison’s complex position on race. In Chapter Four I focus on Tar Baby and argue that this novel reveals Morrison’s somewhat essentialist position on blackness and racial, cultural, and gendered identity, particularly as this pertains to responsibilities she places on the black woman as culture-bearer. In Chapter Five I argue that Paradise, while taking a particularly challenging position on blackness, reveals Morrison’s evolving position on race, particularly her concern with the destructive nature of internalized racism. This thesis concludes that while racial identities have very real material consequences, whiteness and blackness are ideological and social constructs which, because of their constructedness, are fallible and perpetually under revision.

America has adopted as its own the Eden myth, which has provided the mythology of the American dream. This New Garden of America, consequently, has been a masculine garden because of its dependence on the myth of the Fall. Implied in the American dream is the idea of a garden without Eve, or at least without Eve's sin, traditionally associated with sexuality. Our canonical literature has reflected these attitudes of devaluing feminine power or making it a negative force: The Scarlet Letter, Moby-Dick, Adventures of Huckleberry Finn, The Great Gatsby, and The Sound and the Fury. To recreate the Garden myth, Americans have had to reimagine Eve as the idealized virgin, earth mother and life-giver, or as Adam's loyal helpmeet, the silent figurehead. But Eve resists her new roles: Hester Prynne embellishes her scarlet letter and does not leave Boston; the feminine forces in Moby-Dick defeat the monomaniacal masculinity of Ahab; Miss Watson, the Widow Douglas, and Aunt Sally's threat of civilization chase Huck off to the territory despite the beckoning of the feminine river; Daisy retreats unscathed into her "white palace" after Gatsby's death; and Caddy tours Europe on the arm of a Nazi officer long after Quentin's suicide, Benjy's betrayal, and Jason's condemnation. Each of these male writers--Hawthorne, Melville, Twain, Fitzgerald, and Faulkner--deals with the American dream differently; however, in each case the dream fails because Eve will not go away, refusing to be the Other, the scapegoat, or the muse to man's dreams. These works all deal in some way with the notion of the masculine American dream of perfection in the Garden at the expense of a fully realized feminine presence. This failure of the American dream accounts for the decidedly tragic tone of these culturally significant American novels.

This thesis is divided into two main parts. The first, comprising the three initial chapters, looks, in chapter one, at the specifically German origins of the Bildungsroman, its distinctive features, and the difficulties surrounding its transplantation into the literary contexts of other countries. Particular attention is paid to the ethical dimension of the genre, i.e. to the relation between the individual self and the exterior world, and how it affects individual formation. The focus then shifts to American literature, and the term 'narrative of initiation' is recommended as a credible alternative to 'Bildungsroman'. Allowing for similarities between them, it is none the less strongly suggested that the Bildungsroman of German origin and the American narrative of initiation should be seen as being intrinsically different, principally because of the different cultural backgrounds that shaped them. Several features of the theme of initiation are postulated as decisive factors in the discrepancies between the initiatory narrative and the Bildungsroman. Analysis of six texts - three of each literary tradition - follows, to provide support for the theoretical discussion of the terms introduced in chapter one. Three Bildungsromane are considered in the second chapter, namely Goethe's Wilhelm Meisters Lehrjahre, Stifter's Der Nachsommer and Keller's Der grune Heinrich, and three narratives of initiation in chapter three: Twain's The Adventures of Huckleberry Finn, Crane's The Red Badge of Courage and Anderson's Winesburg, Ohio. Their relevance to the tradition of German and American fiction as a whole and as precursors of Mann's Der Zauberberg and Hemingway's The Nick Adams Stories is considered. A direct comparison between Mann's and Hemingway's texts constitutes the second part of this thesis, wholly contained in chapter four. In addition to a comprehensive critical reading of both narratives, the contemporaneity of Der Zauberberg and The Nick Adams Stories is taken into account, and consequently special consideration is given to the texts' close relation with the cultural and historical realities of the early twentieth century, particularly the impact of the First World War. With the assistance of Jung's theories, an increased awareness of death and of the dark side of the psyche - though dealt with differently in both texts - is put forward as a significant factor in the deviation of Der Zauberberg and The Nick Adams Stories from the traditions of the Bildungsroman and of the narrative of initiation. This departure leads to a re-appraisal of the relation between the protagonists and their society, and to a new ethical attitude that presupposes different, more modem conceptions of what Bildung and initiation represent in the context of the early twentieth century. How and why they changed and if they survived as literary notions are questions this thesis attempts to answer.