Prispevek obravnava slovensko recepcijo romanov The Adventures of Tom Sawyer in Adventures of Huckleberry Finn – dveh klasičnih literarnih del, ki sta bili v slovenščino prevedeni večkrat. Analiza, ...ki je utemeljena na teoriji bralčevega odziva, je zajemala približno tisoč številk slovenskih serijskih publikacij (vključno z znanstvenim tiskom) in je pokazala, v kolikšni meri se slovenska recepcija razlikuje od tiste v izvirni kulturi. Ker je analiza razdeljena na obdobje med obema svetovnima vojnama, socialistično obdobje in obdobje po slovenski osamosvojitvi, osvetli, kako se je recepcija skozi čas spreminjala. Ob upoštevanju socio-političnih okoliščin v posamezni dobi je mogoče sklepati tudi, zakaj se je način, kako se je pisalo o obeh literarnih delih, včasih precej spremenil celo v nekaj letih. Med obema vojnama pri recepciji ni opaziti izrazitih ideoloških vplivov, med socialističnim obdobjem pa v recenzijah pogosto zasledimo obsodbe rasizma, kapitalističnega sistema, organizirane religije in drugih razsežnosti ameriške družbe. To je najbolj značilno za recenzije, ki so bile objavljene v prvih nekaj letih po 2. svetovni vojni; ko so se odnosi med ZDA in Jugoslavijo občutno izboljšali, se to odraža tudi v recepciji zadevnih romanov. Po slovenski osamosvojitvi sta romana zopet obravnavana predvsem kot mladinska književnost in večina zapisov o njiju nima izrazitega ideološkega naboja.
In 1978, William Rueckert coined the term “ecocriticism,” defining it as “the application of ecology and ecological concepts to the study of literature.” He proposed three postulates about ...literature, which are all metaphors. Taking a cue from Rueckert, this article examines the metaphorical nature of Mark Twain's nature writing, looking at the way his works function as stored energy, as energy pathways, and as both fossil fuel and renewable resources, using passages from The Adventures of Tom Sawyer, “Old Times on the Mississippi,” and Adventures of Huckleberry Finn. Unlike Rueckert's rather sunny postulates, this article sees a darker side in Twain's works, a recognition that is revealed in his conflicted metaphors of nature. Just as Samuel Clemens and Mark Twain have long been considered divided, we as humans are divided: we are both a part of and apart from nature, a bifurcation and conflict that is contained in Twain's metaphorical language.
Narratori delle Pianure e Quattro novelle dell'apparenza, pubblicati a metà degli anni ottanta, segnalano un significativo cambiamento nella poetica e nello stile di Gianni Celati rispetto alla ...produzione più sperimentale degli anni settanta. Questo "cambio di stile" nella produzione creativa trova un analogo movimento anche nelle strategie di traduzione adottate da Celati nella sua pratica di traduttore. Nel saggio si prendono in considerazione in particolare le versioni di Celati delle Avventure di Tom Sawyer di Mark Twain (1979) e del Richiamo della Foresta di Jack London (
1986
). Mentre la traduzione del Tom Sawyer sembra il punto di arrivo di un percorso di ricerca, iniziato con gli studi su Joyce e le traduzioni di Céline, e caratterizzato da una marcata deformazione espressionistica del linguaggio letterario e da un antagonismo di fondo nei confronti delle ideologie, la traduzione del Richiamo della foresta segnala l'approdo a una poetica dello sguardo e a una narratività più distesa, rituale e sorvegliata.
This article examines the 2012 film Mud, written and directed by Jeff Nichols. It argues that the title character functions as a metaphor for Twain's transcendent creative imagination, so that by the ...film's conclusion Mud is best understood as Andrew Levy describes Twain late in his life: he is “an imagination floating freely across centuries … yet still moored to the events that provided pleasure and pain when that same imagination belonged to a child.”
The Adventures of Tom Sawyer is one of the Mark Twain's magnum opuses, who was an outstanding representative of critical realism literature in the late 19th century in America. From the perspective ...of a naughty child Tom Sawyer, he ruthlessly castigated and ridiculed the boring life, the ridiculous hypocrisy and the backward and deformed education system in the south area of America in the 1850s and 1860s. The rebellious image of Tom Sawyer achieved something in common with the critical tendency in this work. This paper firstly expounds the relationship between the changes of the outlooks on children and the historical development of the image of naughty children from the angle of outlooks on children. Then some theoretical issues concerned with naughty children are discussed from the perspective of naughty children and playing spirit. Finally, the significance of Tom Sawyer who was created as a naughty child is explored. Index Terms--Tom Sawyer, naughty children, theoretical study
Theodor Adorno’s adaptation of Tom Sawyer depicts it as a precursor to his negative dialectic, which Derrida saw as resembling deconstruction in attempting to articulate the ‘possibility of the ...impossible.’ The lack of any authentic alternative to Tom, the epitome of America’s delusion, is allegorized when Joe is first posited as ‘wholly other,’ then contained by the hegemonic, referential discourses of St Petersburg. Adorno similarly makes clear that Huck, like Joe, can’t resist such assimilation. This reading of Tom Sawyer is consistent with Twain’s tall tales and travel writings. Unsuccessful efforts to imagine an alternative to Tom’s world also characterize the collusive voice of Twain the narrator of Tom Sawyer.
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