The humor of Mark Twain has long fascinated his readers. Critics such as Messent (2007), Budd (2005), Gerber (1988) and Camfield (2005) have all analyzed Mark Twain’s humor to reveal nuances and to help further the understanding of what makes Twain’s writing humorous. However, there is a distinct gap in the research so far conducted investigating Twain’s humor in relation to young readers, which this paper will begin to address. Twain’s novel The Adventures of Tom Sawyer (2007) poses a relevant subject for this research as Twain explicitly (in the preface to the novel) professes to write both for children and adults simultaneously. Writing in such a way can be categorized as either “double address” or “dual address”, understanding these terms according to the definitions of Barbara Wall (1991). In this paper I will argue that Mark Twain manages to create “dual address” in Tom Sawyer by using what Greg Camfield (2005) calls “amiable humor” and constructing scenes out of childhood in order to produce delight and nostalgia. By reading closely excerpts of the book and analyzing Twain’s specific use of humor through three prominent theories—superiority theory, relief theory and incongruity— it becomes possible to identify what the implied reader is meant to find humorous, and therefore if Twain manages to establish a “dual address”. An understanding of Twain’s humor from the perspective of both young and adult reader furthers our understanding of the novel by revealing Twain’s implementation of complex “dual address” narration and its implications.

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Il était une fois...l'histoire d'une petite fille curieuse qui, en suivant un lapin blanc, découvre un pays merveilleux habité par d'étranges créatures. Cette fillette et cet univers, nous les connaissons, c'est l'Alice au pays des merveilles de Lewis Carroll. Ce conte a fait du chemin depuis sa parution en 1865 et ses pas l'ont mené jusqu'à aujourd'hui dans les mains d'un pionnier de la littérature d'horreur au Québec: Patrick Senécal. Depuis 1994, cet auteur est de plus en plus présent dans le panorama littéraire québécois, mais c'est son quatrième roman, Aliss, publié en 2000, qui retient ici notre attention. Dans ce roman, Senécal réécrit l'Alice au pays des merveilles de Carroll à l'aide d'un travail intertextuel et de réécriture. L'enjeu de ce mémoire est de découvrir de quelle manière s'opère la réécriture transformant le conte de Carroll en un nouveau texte qui propose une version moderne du sujet. Le récit de Senécal s'inscrit dans ce que Gérard Genette appelle l'hypertextualité : toute relation qui unit un texte (hypertexte) à un autre texte (hypotexte) dont il dérive. Dans nos recherches, ce sont les théories et la typologie intertextuelle qui servent de premiers moyens d'investigation. En sollicitant les catégories de la citation, de la référence et de l'allusion, nous sommes en mesure d'identifier et d'étudier les relations qu'entretient le récit de Senécal avec le conte de Carroll, mais également avec d'autres intertextes. Les théories de la réécriture et les concepts de répétition et de variation qui lui sont relatifs nous permettent d'analyser en profondeur les transformations apportées à Alice au pays des merveilles pour devenir Aliss. La réécriture joue notamment sur trois aspects. On assiste d'abord à un changement générique qui fait que l'on passe du merveilleux à une oeuvre se trouvant à la frontière entre le récit fantastique et le récit d'horreur. C'est notamment l'aspect cauchemardesque et fantastique déjà suggéré dans le conte de Carroll qui devient la source du glissement de genre. Pour parler de réécriture, il faut que l'on en reconnaisse obligatoirement le modèle. L'étude de la transposition des épisodes et des personnages d'Aliss, construits en miroir avec leur double carrollien et influencés par le changement générique, est donc nécessaire à la compréhension du phénomène. Finalement, en plus de s'approprier le conte de Carroll, Senécal intègre dans son récit l'auteur d'Alice au pays des merveilles et en fait un horrible personnage. Dans le dernier chapitre, la manière dont Senécal reprend les éléments caractéristiques de la vie de Carroll et de son oeuvre pour construire ce double subversif est étudiée. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Intertextualité, Réécriture, Fantastique, Horreur, Conte, Lewis Carroll, Patrick Senécal, Alice au Pays Des Merveilles, Aliss.

The works of Lewis Carroll show an abiding interest on the part of the author in the relationship between education, language and authority. In particular, the Alices are the story of a young girl who must learn to deal with a variety of characters in dream-worlds where the power of language reigns. It is therefore necessary for Alice to learn how language is used for authoritarian purposes and to discover ways of defending herself against it. It is the purpose of this thesis to investigate, in many cases for the first time, the ways in which Alice is able to find "spaces" in language where authority breaks down, places where the fundamental nature of language is unable to support authoritarian use. In this way, "space" will become both a metaphor and a figurative model for Alice's growing knowledge of and resistance to authority.

Thesis (doctoral)--University of Stockholm, 1986. / Includes bibliographical references (p. 115-123).

Thesis (doctoral)--University of Stockholm, 1986. / Includes bibliographical references (p. 115-123).

Thesis (MPhil (Afrikaans and Dutch))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: Lewis Carroll’s classic children’s tale Alice’s Adventures in Wonderland, as well as its sequel, Through the Looking-Glass and What Alice Found There, have the reputation of being the most quoted and translated texts of all time, after the Bible and Shakespeare. The status of the Alice books as timeless classics is confirmed by the numerous translations and adaptations of the texts that have already been made and is still being made. In this study, a descriptive investigation of André P. Brink’s Afrikaans translation of Carroll’s classic children’s books is undertaken in order to investigate whether the translation is still suitable for Afrikaans readers today. Brink’s Afrikaans translation of Alice’s Adventures in Wonderland was published in 1965, and his translation of Through the Looking-Glass and What Alice Found There in 1968. Firstly, an overview of the most important theoretical contributions to translation studies since the nineteen-eighties is given to provide a foundation for the investigation and description of translations. Relevant terminology, such as adequacy and acceptability, will be explained. Emphasis will especially be placed on the interaction between the theoretical contributions, which will serve as a basis for the conclusion drawn regarding the suitability of the translation. The conclusion will be based on an application where the translation will be investigated. The translation is studied from a theoretical point of view on macrostructural as well as microstructural level. In the macrostructural analysis, references to the title, cover pages, illustrations, chapter titles, and the (in)visibility of the translator will be made. The microstructural analysis comprises an investigation of how Brink dealt with translation problems that arose during the particular translation. As a result of the investigation of the translation, conclusions can be drawn regarding the suitability of the translation for current readers. A recommendation on the possibility of a retranslation is also offered. / AFRIKAANSE OPSOMMING: Lewis Carroll se klassieke kinderverhaal Alice’s Adventures in Wonderland en die opvolg Through the Looking-Glass and What Alice Found There, het die reputasie as die tekste wat, naas die Bybel en Shakespeare, die meeste aangehaal word en vertaal word van alle tekste. Die status van die Alice-verhale as tydlose, klassieke verhale word bevestig deur die verskeie vertalings en verwerkings daarvan wat reeds gedoen is en steeds onderneem word. In hierdie studie word ’n beskrywende ondersoek van André P. Brink se Afrikaanse vertaling van Carroll se verhale onderneem om vas te stel of die vertalings vir huidige lesers steeds gepas is. Brink se Afrikaanse vertaling van Alice’s Adventures in Wonderland is reeds in 1965 gepubliseer en die vertaling van Through the Looking-Glass and What Alice Found There in 1968. ’n Oorsig oor die vernaamste vertaalteoretiese bydraes sedert die tagtigerjare word eerstens gebied as gronding vir die bestudering en beskrywing van vertalings. Relevante terminologie, waaronder geskiktheid en aanvaarbaarheid, kom ook aan bod. Daar word veral klem gelê op die interaksie tussen die teoretiese bydraes, wat gesamentlik dien as ’n grondslag vir die gevolgtrekking wat gemaak word oor die gepastheid van die vertaling. Die oordeel oor die gepastheid, al dan nie, van die vertaling word gegrond op ’n toepassing waar die vertaling bestudeer word. Die vertaling word vanuit ’n vertaalteoretiese oogpunt op makro- sowel as mikrovlak bestudeer. Op makrovlak word daar onder andere verwys na die titel, voorblaaie, illustrasies, hoofstuktitels en die (on)sigbaarheid van die vertaler. Die bestudering van die vertaling op mikrovlak behels ’n ondersoek na Brink se hantering van vertaalprobleme wat in die betrokke vertaalsituasie ontstaan. Na aanleiding van die bestudering van die vertaling kan daar afleidings gemaak word oor die gepastheid daarvan vir huidige lesers en word ’n aanbeveling gemaak oor die moontlikheid van ’n hervertaling.

L'histoire arthurienne, dans le cycle en prose, s'étend de manière linéaire et eschatologique depuis les temps évangéliques jusqu'à la fin du royaume d'Arthur. En reliant ainsi les temps contemporains à ceux de l'Histoire sainte – notamment grâce au motif du Graal – le roman revendique une autorité prophétique qui peut être interprétée à la lumière de La Cité de Dieu : Augustin y mène une lecture exégétique tant des Écritures saintes que de l'histoire profane, cherchant à manifester le dessein salvifique de la Providence. Et c'est bien sur la question du salut que se clôt le cycle puisque, après la chute d'Arthur et la destruction de la chevalerie, le dernier mot du roman revient à la conversion : le salut final de Lancelot fait suite à celui de Gauvain. Le sort ultime des deux plus grands héros de la chevalerie invite à lire La Mort Artu comme une apocalypse non seulement au sens de châtiment – celui du monde arthurien, condamné dans La Queste comme trop terrien – mais aussi comme une révélation : l'héroïsme profane rejoint l'objet ultime du désir chrétien. La présence de Fortune peut être considérée en ce sens : le dernier roman du cycle lui confie le soin d'exprimer le scandale du malheur et en fait un autre relais, avec l'aventure ou la mescheance, du langage de la foi. C'est certes trahir l'héritage d'Augustin, qui bannissait de toute bouche chrétienne Fortune et ses avatars, pour incompatibilité avec la foi dans la Providence. Mais cette même foi est en réalité affirmée dans un langage proprement romanesque, qui assume ainsi le tragique de l'existence humaine – pour le transformer dans le sursaut ultime de la foi ou le laisser au seul horizon de la cité terrestre. / Arthurian history is eschatological : the prose cycle drive it from evangelical times to the end of king Arthur's reign. With the Grail theme, narratives links their contemporary world straight to Sacred History and claims for a kind of prophetical authority. This scheme may be interpreted according to The City of God, where Augustine reads both Scripture and profane history. Through his exegesis he intends to show the action of providence and the process of salvation in human history. The prose romances themselves end in salvation : after King Arthur's fall and the destruction of chivalry, the last word is given to conversion – Lancelot's soul is taken to Paradise, after Gawain's one. For those excellent knights La Mort Artu should be read as an apocalypse, not only in the sense of punishment – La Queste had condemned the Arthurian world as « terrien » – but also as a "revelation" : profane heroism is identified to the highest Christian desire. The well-known presence of Fortune in La Mort Artu takes another sense : in personal or collective calamities, this character points out either the moral scandal or the irrational aspect of their causes. With Fortune, aventure and mescheance also relay Christian language to narrate the unexplainable. Prose romances betray Augustine's precepts : The City of God forbade the use of Fortune or similar terms that contradict the Christian faith. But in Arthurian romances providentialism is nonetheless present and proclaimed. In that "Age of Faith", the proper language of romance expresses the tragical aspects of human existence, and either lead to an eternal destiny, in the act of faith, or stay in the horizon of the terrestrial city.

Adventures of Huckleberry Finn (1884) de Mark Twain (1835-1910) tem estado de modo frequente na berlinda. Em cada época, desde o seu lançamento, a proibição da obra, nas bibliotecas e escolas, foi motivada pelas temáticas tratadas, pelos dialetos criados ou pela reiteração da palavra nigger(s). No Brasil, as traduções da obra fazem parte do nosso Polissistema Literário de Tradução desde 1934 (Monteiro Lobato). Visto que a obra foi lançada há mais de cem anos, muitos têm se dedicado a ela, a fim de discutir suas principais controvérsias. Esta pesquisa visa a apresentar algo diferente na forma de analisar os dados da obra e de quatro de suas traduções. Para tanto, elegeu-se a Linguística de Corpus (LC) como metodologia e principal abordagem, pois a LC oferece a possibilidade de investigar uma grande quantidade de dados por meio eletrônico (WordSmith Tools, Scott, 2006), assegura precisão na apresentação das informações, e também mostra dados não detectados a olho nu pelo analista. Dessa forma, esta pesquisa apresenta um estudo dirigido pelo corpus embasado na lista de palavras-chave que detectou nigger(s) como a palavra mais relevante. A partir desse dado, delineou-se o objetivo geral do estudo que é verificar a importância que o termo nigger(s) assume na caracterização dos negros em Huckleberry Finn por meio do discurso racial, investigando o campo semântico racismo/escravidão. Para tanto, julgou-se necessário buscar na literatura de língua inglesa obras do século XIX (nove narrativas sobre escravos) que também empregaram o termo nigger(s), a fim de comparar as narrativas e a obra de Twain e verificar (des)semelhanças na construção do discurso racial. Por ser nigger um termo culturalmente marcado e os tradutores brasileiros o traduzirem por um vocábulo neutro (negro ou escravo), decidiu-se investigar obras brasileiras do século XIX (em número de seis) sobre a escravidão, a fim de entender a (não) existência de um vocábulo que se aproxime da carga semântica de nigger, com o intuito de confrontar os termos usados pelos autores brasileiros com aqueles usados pelos tradutores. Assim sendo, a tese a ser demonstrada é que Huckleberry Finn, embora use nigger(s) reiteradamente, caracteriza os negros de forma positiva, subvertendo o discurso racial, e emprega nigger(s) com o fim de mostrar como a sociedade estadunidense do século XIX tratava os negros de forma negativa. As obras brasileiras analisadas revelaram um termo para representar os negros, crioulo, cuja prosódia é negativa; porém os tradutores não fazem uso desse termo, possivelmente pelo fato de as normas do nosso Polissistema Literário, ligadas ao grau de aceitabilidade (TOURY, 1995) da tradução, imporem uma reescritura consoante com o discurso politicamente correto de nossos dias. Esta tese ainda tem o papel de mostrar a contribuição inestimável da LC para os estudos literários, uma vez que foi possível, por meio das linhas de concordância, apresentar análises impraticáveis de serem realizadas sem tal metodologia, em função da exiguidade do tempo da pesquisa (quatro anos), do número de obras analisadas (vinte) e do recorte escolhido, o campo semântico, difícil de ser investigado a olho nu. / Adventures of Huckleberry Finn (1884), written by Mark Twain (1835-1910), has been frequently in the spotlight. Since it was published, the prohibition to use the book imposed on libraries and schools has been caused by the issues Twain addressed, the dialects he created and his repeated use of the word nigger(s).The translations of Huckleberry Finn have been part of Brazils Translation Literary Polysystem since 1934, when a Portuguese version was published by Monteiro Lobato. Given that Mark Twains work came out more than one hundred years ago, many people have dedicated themselves to studying it in order to discuss its main controversial topics. The purpose of our research is to propose a different manner of analyzing Huckleberry Finns data and four of its translations into Portuguese. To that end, we have chosen Corpus Linguistics (CL) as our work methodology and main approach, because it offers the possibility of investigating a large amount of data by electronic tools (WordSmith Tools, Scott, 2006) which ensures the accuracy of the information presented by the analyst and shows data not detected with the naked eye. Therefore, this research consists of a corpus-driven study grounded in a list of key words, which revealed that the most relevant word was nigger(s) These data have allowed us to set the overall purpose of the study, namely to find out the importance of the word nigger(s) for Mark Twains depiction of the Black characters of Huckleberry Finn in his racial discourse, through our exploration of the racism/slavery semantic field. For that purpose, we found it necessary to search for works in English Literature written in the 19th century (nine narratives on slaves) that also used the word nigger(s). The purpose was to compare those narratives with Twains novel and check for similarities and differences in their construction of racial discourse. Because nigger is a culturally marked word and Brazilian translators use a neuter word to translate it (negro or escravo) we decided to dig into Brazilian works on slavery written in the 19th century (six of them) in order to understand the (in)existence of a word whose semantic content approximates that of the word nigger and to contrast the words used by Brazilian authors against those used by translators. The Brazilian works that we analyzed have revealed a word used to depict Black people, crioulo, which has a negative prosody; however, translators do not use this word, maybe because the standards of Brazils Literary Polysystem, linked to the translations level of acceptability (TOURY, 1995) impose a rewriting in tune with the current politically correct discourse. This PhD dissertation also aims at showing the remarkable contribution of Corpus Linguistics to literary studies, given that concordance lines have allowed us to carry out analyses that would have been impossible if this methodology had not been applied, considering the little time we had for conducting the research (four years), the number of literary works we examined (twenty) and the semantic field, which cannot be investigated with the naked eye.

Made available in DSpace on 2016-04-27T19:31:12Z (GMT). No. of bitstreams: 1 Fabio Cornagliotti de Moraes.pdf: 18847801 bytes, checksum: a20c2592e7f3f27e56d7c3f77d2ece9f (MD5) Previous issue date: 2015-09-28 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This work tries to analyses the 1931 and 1946 editions of the comic book The adventures of Tintin: Tintin in Congo . The purpose is to investigate how the Congolese are represented in this comic book. The author of the comics and many authors that wrote about the comics considers the stories realists . My goal is not to tell how the real world is, but to demonstrate that these comic books are not realists, but are committed to a viewpoint about reality that is based in racism, paternalism and colonialism. I will analyze the images and text in order to understand how the discourse it produces works. This discourse is not only a result of its society, but also something that built the said society, not only because it had a huge base of children readers, but because it was a commercial success. This discourse presents various racists ideas, shown naturally, where Congolese are systematically put down by Tintin, in a association with the Congolese historical experience, where they were put down by government officials, police force, work exploration and an extremely biased legislation. Thus, I will study the representation of this colonized people as an important part of the process of identity construction, either for the colonized and the colonist / Este trabalho procura analisar as edições de 1931 e de 1946 da história em quadrinhos As Aventuras de Tintim: Tintim no Congo . O objetivo é investigar a representação dos congoleses nessas HQs (histórias em quadrinhos). O autor da obra e muitos dos autores sobre sua obra chamam a atenção para como suas HQs são realistas. O objetivo não é mostrar como é o mundo real, mas demonstrar que essas HQs não são realistas, mas sim comprometidas com um ponto de vista da realidade pautado pelo paternalismo, racismo e violência colonial. Serão analisados as imagens e o texto para se entender como o discurso proposto pelo autor opera. Esse discurso não é meramente um fruto de sua sociedade, mas também algo que ajudou a moldar a sociedade, não só por contar com uma grande base de leitores infantis, mas por ser um enorme sucesso comercial. Nesse discurso estão presentes diversas ideias racistas, colocadas de forma quase natural, em que os congoleses são sistematicamente inferiorizados por Tintim, a exemplo da experiência histórica da colonização, em que eram sistematicamente inferiorizados por oficiais do governo, forças policiais, exploração do trabalho e uma legislação segregacionista. Dessa forma, busca-se estudar a representação desse povo colonizado como uma parte importante do processo de construção da identidade do colonizado e do colonizador