My annotated Chinese translation of Huckleberry Finn , 《赫克歷險記》 , published in 2012 by Linkingbooks Taiwan under a governmental grant, is based on the authoritative scholarly edition published by the University of California, Berkeley, with the restored Raftsmen Passage. 1 This new edition is the result of collaborative efforts by many Mark Twain scholars who used the “lost-and-found” manuscripts to revise the 1885 edition. I am grateful to the American Institute in Taiwan for having contacted UC Berkeley Press to give me permission to use both text and illustrations of this new edition. 2 For that reason, I am quite proud to say that my translation of Huckleberry Finn is so far the most complete in the Chinese language, 3 with one hundred and eighty-seven illustrations in total, 4 three hundred and eighty-seven annotated footnotes, and a Critical Introduction to the book’s reception history and scholarship. 5 Mark Twain spent seven years writing the book, and I spent seven years translating and annotating the book. In what follows, I would like to share my experience both of the translation process and strategy and of teaching American literature in Taiwan for more than thirty years; my contribution to Mark Twain studies; and an interpretation of my translation of the book as a cultural critique or Menippean satire. 6 , details in my Critical Introduction and annotations about Mark Twain’s biographical information as well as the book’s cultural/historical backgrounds, geographical environment, plot setting, understated meanings, metaphors and allusions, foreshadowing, etc.
{"title":"Translation Processes and Cultural Critique in My Annotated Chinese Translation of Huckleberry Finn","authors":"An-chi Wang","doi":"10.5070/t812255984","DOIUrl":"https://doi.org/10.5070/t812255984","url":null,"abstract":"My annotated Chinese translation of Huckleberry Finn , 《赫克歷險記》 , published in 2012 by Linkingbooks Taiwan under a governmental grant, is based on the authoritative scholarly edition published by the University of California, Berkeley, with the restored Raftsmen Passage. 1 This new edition is the result of collaborative efforts by many Mark Twain scholars who used the “lost-and-found” manuscripts to revise the 1885 edition. I am grateful to the American Institute in Taiwan for having contacted UC Berkeley Press to give me permission to use both text and illustrations of this new edition. 2 For that reason, I am quite proud to say that my translation of Huckleberry Finn is so far the most complete in the Chinese language, 3 with one hundred and eighty-seven illustrations in total, 4 three hundred and eighty-seven annotated footnotes, and a Critical Introduction to the book’s reception history and scholarship. 5 Mark Twain spent seven years writing the book, and I spent seven years translating and annotating the book. In what follows, I would like to share my experience both of the translation process and strategy and of teaching American literature in Taiwan for more than thirty years; my contribution to Mark Twain studies; and an interpretation of my translation of the book as a cultural critique or Menippean satire. 6 , details in my Critical Introduction and annotations about Mark Twain’s biographical information as well as the book’s cultural/historical backgrounds, geographical environment, plot setting, understated meanings, metaphors and allusions, foreshadowing, etc.","PeriodicalId":38456,"journal":{"name":"Journal of Transnational American Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46275381","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Appendix A: Composite Bibliography","authors":"Authors and Editors Global Huck Special Forum","doi":"10.5070/t812255986","DOIUrl":"https://doi.org/10.5070/t812255986","url":null,"abstract":"","PeriodicalId":38456,"journal":{"name":"Journal of Transnational American Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48146710","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introduction: The Progress of Transnational American Studies Collaboration","authors":"Alfred Hornung","doi":"10.5070/t812255975","DOIUrl":"https://doi.org/10.5070/t812255975","url":null,"abstract":"","PeriodicalId":38456,"journal":{"name":"Journal of Transnational American Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45693118","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines Mark Twain’s journey into the Brazilian editorial market by analyzing paratexts of seven translations into Brazilian Portuguese of Mark Twain’s novel Adventures of Huckleberry Finn (1884), published over a period of eighty-five years (from 1934 — the date of the first translation — to 2019, the date of the last translation at present). The translations’ paratexts, such as notes, foreword, after -word, flaps and back panel, as well as other texts discussing the translation of the book in newspapers, reviews, and interviews, are analyzed with the intention to show the pathway through which Huckleberry Finn was translated and received by critics and the public in Brazil and how the paratexts construct the image of a Brazilian Mark Twain. The analysis will take into account the transnational approaches proposed by Shelley Fisher Fishkin, as well as the perspective Maria Sílvia Betti suggests for understanding how the Brazilian publishing market has shaped Mark Twain’s image in Brazil. The translations discussed here are by Monteiro Lobato (Companhia Editora Nacional, 1934), José Maria Machado (Clube do Livro, 1961), Sergio Flaksman (Ática, 1996), Maura Sardinha (BestBolso, 2011), 1 Rosaura Eichenberg (L&PM Pocket, 2011), Alda Porto (Claret, 2013), and José Roberto O’Shea (Zahar, 2019). 2 Comparing the changing paratext of the different translations illustrates the transculturation route of Twain’s Huckleberry Finn and the sociocultural web connecting the novel to the Brazilian literary scene. The criterion for the selected translations was based on the increasing number of paratexts included, i.e., the first translations include basic material to familiarize the reader with the author and his work whereas the later editions provide more detailed information. 3 The paratexts of the selected translations, analyzed in detail below, change over time in the way they mediate between reader and author. The early translation
{"title":"Mark Twain: The Making of an Icon through Translations of Huckleberry Finn in Brazil","authors":"V. Ramos","doi":"10.5070/t812255981","DOIUrl":"https://doi.org/10.5070/t812255981","url":null,"abstract":"This article examines Mark Twain’s journey into the Brazilian editorial market by analyzing paratexts of seven translations into Brazilian Portuguese of Mark Twain’s novel Adventures of Huckleberry Finn (1884), published over a period of eighty-five years (from 1934 — the date of the first translation — to 2019, the date of the last translation at present). The translations’ paratexts, such as notes, foreword, after -word, flaps and back panel, as well as other texts discussing the translation of the book in newspapers, reviews, and interviews, are analyzed with the intention to show the pathway through which Huckleberry Finn was translated and received by critics and the public in Brazil and how the paratexts construct the image of a Brazilian Mark Twain. The analysis will take into account the transnational approaches proposed by Shelley Fisher Fishkin, as well as the perspective Maria Sílvia Betti suggests for understanding how the Brazilian publishing market has shaped Mark Twain’s image in Brazil. The translations discussed here are by Monteiro Lobato (Companhia Editora Nacional, 1934), José Maria Machado (Clube do Livro, 1961), Sergio Flaksman (Ática, 1996), Maura Sardinha (BestBolso, 2011), 1 Rosaura Eichenberg (L&PM Pocket, 2011), Alda Porto (Claret, 2013), and José Roberto O’Shea (Zahar, 2019). 2 Comparing the changing paratext of the different translations illustrates the transculturation route of Twain’s Huckleberry Finn and the sociocultural web connecting the novel to the Brazilian literary scene. The criterion for the selected translations was based on the increasing number of paratexts included, i.e., the first translations include basic material to familiarize the reader with the author and his work whereas the later editions provide more detailed information. 3 The paratexts of the selected translations, analyzed in detail below, change over time in the way they mediate between reader and author. The early translation","PeriodicalId":38456,"journal":{"name":"Journal of Transnational American Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45288177","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Appendix B: Chinese Translations of Huckleberry Finn","authors":"Selina Lai-Henderson","doi":"10.5070/t812255985","DOIUrl":"https://doi.org/10.5070/t812255985","url":null,"abstract":"","PeriodicalId":38456,"journal":{"name":"Journal of Transnational American Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45795594","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1956, Alexander Kuznetsov, the Vice Chairman of the Soviet Committee for Cultural Relations with Foreign Countries, commissioned a formal scholarly report on Mark Twain’s reputation in the USSR in response to a letter from Bradley Kelley, of the Redding Times , around the time of the fiftieth anniversary of the Mark Twain Library in Redding, Connecticut. 1 Kuznetsov’s goal was ambitious: he wanted to start building a bridge over the cultural and political divide separating the Soviet Union and America, and felt — with good reason — that Twain would serve that purpose better than anyone else. 2 In addition to being one of the best-selling American writers in the USSR, 3 Twain had tangible personal connections to Russia: He had visited and written about the country in The Innocents Abroad ; he had been a friend of such famous Russian authors as Maxim Gorky, S. M. Stephnyak-Kravchinsky, and Ivan Turgenev; he had even had a Russian son-in-law. 4 Much more importantly, Twain’s works had enjoyed immense popularity in Russia from the moment they had become available in Russian translations. His story, “The Celebrated Jumping Frog of Calaveras County,” was translated into Russian as early as 1872, and The Gilded Age immediately after its publication in America. 5 The first collection of Mark Twain’s works, in eleven volumes, was published in Russia in 1896. A second edition came out in the year of Twain’s death, and a complete collection in twenty-eight volumes appeared in 1911. 6 The prerevolutionary fascination with Twain and the Russian admiration for his satirical talents (he was often compared to Gogol in the press), only intensified after the emergence of the Soviet State, as his critical stance towards the realities of American life, his antiracist position, and his disdain for organized religion, made him extremely palatable to the new socialist government. 7 Between 1918 and the end of 1959, more than 10,926,000 copies of Mark Twain’s books in twenty -five languages were published in the USSR. 8 The Adventures of Tom Sawyer dominated the market with
{"title":"Huck Finn’s Adventures in the Land of the Soviet People","authors":"M. Marinova","doi":"10.5070/t812255980","DOIUrl":"https://doi.org/10.5070/t812255980","url":null,"abstract":"In 1956, Alexander Kuznetsov, the Vice Chairman of the Soviet Committee for Cultural Relations with Foreign Countries, commissioned a formal scholarly report on Mark Twain’s reputation in the USSR in response to a letter from Bradley Kelley, of the Redding Times , around the time of the fiftieth anniversary of the Mark Twain Library in Redding, Connecticut. 1 Kuznetsov’s goal was ambitious: he wanted to start building a bridge over the cultural and political divide separating the Soviet Union and America, and felt — with good reason — that Twain would serve that purpose better than anyone else. 2 In addition to being one of the best-selling American writers in the USSR, 3 Twain had tangible personal connections to Russia: He had visited and written about the country in The Innocents Abroad ; he had been a friend of such famous Russian authors as Maxim Gorky, S. M. Stephnyak-Kravchinsky, and Ivan Turgenev; he had even had a Russian son-in-law. 4 Much more importantly, Twain’s works had enjoyed immense popularity in Russia from the moment they had become available in Russian translations. His story, “The Celebrated Jumping Frog of Calaveras County,” was translated into Russian as early as 1872, and The Gilded Age immediately after its publication in America. 5 The first collection of Mark Twain’s works, in eleven volumes, was published in Russia in 1896. A second edition came out in the year of Twain’s death, and a complete collection in twenty-eight volumes appeared in 1911. 6 The prerevolutionary fascination with Twain and the Russian admiration for his satirical talents (he was often compared to Gogol in the press), only intensified after the emergence of the Soviet State, as his critical stance towards the realities of American life, his antiracist position, and his disdain for organized religion, made him extremely palatable to the new socialist government. 7 Between 1918 and the end of 1959, more than 10,926,000 copies of Mark Twain’s books in twenty -five languages were published in the USSR. 8 The Adventures of Tom Sawyer dominated the market with","PeriodicalId":38456,"journal":{"name":"Journal of Transnational American Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45155944","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Shelley Fisher Fishkin, Tsuyoshi Ishihara, R. Jenn, H. Kersten, Selina Lai-Henderson
{"title":"Special Forum Introduction: Global Huck: Mapping the Cultural Work of Translations of Mark Twain’s Adventures of Huckleberry Finn","authors":"Shelley Fisher Fishkin, Tsuyoshi Ishihara, R. Jenn, H. Kersten, Selina Lai-Henderson","doi":"10.5070/t812255976","DOIUrl":"https://doi.org/10.5070/t812255976","url":null,"abstract":"","PeriodicalId":38456,"journal":{"name":"Journal of Transnational American Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45853337","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Cycle of Poems by Toyo Suyemoto, from Trek","authors":"T. Suyemoto","doi":"10.5070/t812255588","DOIUrl":"https://doi.org/10.5070/t812255588","url":null,"abstract":"","PeriodicalId":38456,"journal":{"name":"Journal of Transnational American Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48084283","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article focuses on the first translation of Mark Twain’s 1884 masterpiece, Adventures of Huckleberry Finn , into vernacular Arabic and reflects briefly on a few translations of the novel into Classical Arabic and Modern Standard Arabic. 1 My translation into vernacular Arabic, which is the first of its type in the Arab world, is an independent project I am currently undertaking. Titled Arabic Huck: Adventures of Huckleberry Finn in Vernacular Arabic (hereafter Arabic Huck ), it chooses to exclusively employ a colloquial regional dialect spoken in Damascus and the countryside surrounding the Syrian capital. 2 All previous Arabic translations of Twain’s novel, which started to appear in 1958 in Egypt, used Modern Standard Arabic (hereafter MSA) and Classical (Quranic) Arabic. The latter versions of Arabic can be used interchangeably nowadays despite slight and occasionally major differences between them in terms of syntax, spelling, punctuation, and pronunciation. While Classical Arabic originated from medieval dialects of Arabic tribes and was used in writing the Quran, MSA is the most widely used version of Arabic today. MSA is consistently used in all media outlets and publications and understood by all speakers and readers in Arabic-speaking countries. 3
{"title":"Arabic Huck: Adventures of Huckleberry Finn in Vernacular Arabic","authors":"Hamada Kassam","doi":"10.5070/t812255978","DOIUrl":"https://doi.org/10.5070/t812255978","url":null,"abstract":"This article focuses on the first translation of Mark Twain’s 1884 masterpiece, Adventures of Huckleberry Finn , into vernacular Arabic and reflects briefly on a few translations of the novel into Classical Arabic and Modern Standard Arabic. 1 My translation into vernacular Arabic, which is the first of its type in the Arab world, is an independent project I am currently undertaking. Titled Arabic Huck: Adventures of Huckleberry Finn in Vernacular Arabic (hereafter Arabic Huck ), it chooses to exclusively employ a colloquial regional dialect spoken in Damascus and the countryside surrounding the Syrian capital. 2 All previous Arabic translations of Twain’s novel, which started to appear in 1958 in Egypt, used Modern Standard Arabic (hereafter MSA) and Classical (Quranic) Arabic. The latter versions of Arabic can be used interchangeably nowadays despite slight and occasionally major differences between them in terms of syntax, spelling, punctuation, and pronunciation. While Classical Arabic originated from medieval dialects of Arabic tribes and was used in writing the Quran, MSA is the most widely used version of Arabic today. MSA is consistently used in all media outlets and publications and understood by all speakers and readers in Arabic-speaking countries. 3","PeriodicalId":38456,"journal":{"name":"Journal of Transnational American Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45244607","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
During a visit to the Victoria and Albert Museum in London in 1872, Samuel Langhorne Clemens had the privilege of seeing “the venerable vase that once contained the ashes of Xerxes,” the fourth King of Kings of the Achaemenid Empire, ruling from 486 to 465 BC. The following year he wrote five letters for the New York Herald about the visit of Naser al-Din, the shah of Persia, to England and Belgium. Furthermore, in a response written on December 1, 1874, to a request from a Miss Street, he incorrectly wrote “as the Persians say—on your head be it” instead of “on my head be it.” The American writer’s interest in the Persians as indicated in his willingness to quote them obviously outweighed his knowledge of them. However, as the present paper shows, the Persians’ treatment of the American writer, which can be traced back to 1910, was clearly more serious and informed.
1872年，塞缪尔·朗霍恩·克莱门斯在参观伦敦的维多利亚和阿尔伯特博物馆时，有幸看到了“曾经装着薛西斯骨灰的古老花瓶”。薛西斯是阿契美尼德帝国的第四位国王，统治于公元前486年至465年。次年，他为《纽约先驱报》(New York Herald)写了五封信，讲述波斯国王纳赛尔•阿尔丁(Naser al-Din)访问英国和比利时的情况。此外，在1874年12月1日的一封回复中，他错误地将“如波斯人所说——在你的头上”写成了“在我的头上”。这位美国作家对波斯人的兴趣——他愿意引用他们的话——显然超过了他对他们的了解。然而，正如本文所显示的，波斯人对待美国作家的态度，可以追溯到1910年，显然更为严肃和知情。
{"title":"Persian Huck: On the Reception of Huckleberry Finn in Iran","authors":"Behnam M. Fomeshi","doi":"10.5070/t812255736","DOIUrl":"https://doi.org/10.5070/t812255736","url":null,"abstract":"During a visit to the Victoria and Albert Museum in London in 1872, Samuel Langhorne Clemens had the privilege of seeing “the venerable vase that once contained the ashes of Xerxes,” the fourth King of Kings of the Achaemenid Empire, ruling from 486 to 465 BC. The following year he wrote five letters for the New York Herald about the visit of Naser al-Din, the shah of Persia, to England and Belgium. Furthermore, in a response written on December 1, 1874, to a request from a Miss Street, he incorrectly wrote “as the Persians say—on your head be it” instead of “on my head be it.” The American writer’s interest in the Persians as indicated in his willingness to quote them obviously outweighed his knowledge of them. However, as the present paper shows, the Persians’ treatment of the American writer, which can be traced back to 1910, was clearly more serious and informed.","PeriodicalId":38456,"journal":{"name":"Journal of Transnational American Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42023615","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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