Mirando a través del ideal estadounidense: la política del humor violento en Las aventuras de Huckleberry Finn
DOI:
https://doi.org/10.5902/1679849X66796Palabras clave:
Enfoque, Grotesco, Humor, Mark Twain, The Adventures of Huckleberry Finn, ViolenciaResumen
Huckleberry Finn es el pináculo del humor estadounidense, y el humor violento de la novela critica los valores morales de la sociedad estadounidense. Aunque la risa está presente en la superficie, detrás de la historia hay un humor amargo que ataca y rompe diferentes sistemas de valores. Además del humor extremadamente violento, lo grotesco es una de las otras estrategias que ayudan al humor a cumplir su misión política. La colaboración estratégica del humor violento con el esperpento y la narración tiene como resultado la liberación de una mentalidad estática por parte de los lectores. Huck Finn revela efectivamente la falsedad del ideal estadounidense, a pesar de sus pretensiones de ser genuino, a través de la yuxtaposición de personajes, mundos y vidas heterogéneos que revelan la crudeza de la vida cotidiana. Con este fin, se utilizan las teorías del humor de académicos como Plaza, Walker, Cox y Camfield y las teorías de la violencia de Zizek, Schinkel y Galtung para aclarar el mecanismo interconectado del humor, la violencia y lo grotesco al atacar los sistemas de valores pútridos. . Humor violento en línea con el enfoque de la novela a través de Huck, un narrador ingenuo, destaca la disparidad entre el ideal estadounidense y las realidades de la vida que libera a los lectores de visiones opiáceas de la sociedad y les da una visión clara, libre de sistemas de valores sesgados.
Descargas
Citas
ARENDT, Hannah. On Violence, Harcoute Brace Jovanovich, 1970.
BAKHTIN, Mikhail. M. “Introduction.” Rabelais and His World, Translated by Tvorchestvo Fransua Rabl, Midland Book, 1984, pp. 1-59.
BLOOM, Harold. “Introduction.” Mark Twain's The Adventures of Huckleberry Finn, by Harold Bloom, Chelsea House Publishers, 2005, pp. 7-10.
CAMFIELD, Gregg. “Humorneutics.” Necessary Madness: The Humor of Domesticity in Nineteenth-Century American Literature, by Gregg Camfield, Oxford University Press, 1997, pp. 150–185.
CARROLL, Noël. “Horror and Humor.” The Journal of Aesthetics and Art Criticism, vol. 57, no. 2, 1999, pp. 145–160.
COHEN, Ted. “Humor.” Routledge Companion to Aesthetics, Routledge, 2001, pp. 375–383.
COX, James M. “Attacks on the Ending and Twain's Attack on Conscience.” Mark Twain: Adventures of Huckleberry Finn, edited by Gerald Graff and James Phelan, Bedford Books of St. Martin's Press, 1995, pp. 305–312.
COX, James M. “Southwestern Vernacular.” Mark Twain: The Fate of Humor, by James Melville. Cox, University of Missouri Press, 2002, pp. 156–185.
COX, James. M. “Humor of the Old Southwest.” The Comic Imagination in American Literature, by L. D. Rubin, Voice of America, 1974, pp. 105-116.
COX, James. M. “Mark Twain: The Height of Humor.” The Comic Imagination in American Literature, by L. D. Rubin, Voice of America, 1974, pp. 145-154.
DUNCAN, Jeffrey L. “The Empirical and the Ideal in Mark Twain.” PMLA, vol. 95, no. 2, 1980, pp. 201–212.
DUNN, Michael. “Calvinist Humor.” Calvinist Humor in American Literature, by Michael Dunn, Louisiana State University Press, 2007, pp. 1-22.
EGAN, Michael. “Michael Egan on Huck’s Language Conventions.” Mark Twain's The Adventures of Huckleberry Finn, by Harold Bloom, Chelsea House Publishers, 2005, pp. 52-55.
EMERSON, Everett. “Everett Emerson on The Complexity of Huck’s Character.” Mark Twain's The Adventures of Huckleberry Finn, by Harold Bloom, Chelsea House Publishers, 2005, pp. 65-68.
GaALTUNG, Johan. “Violence, Peace, and Peace Research.” Journal of Peace Research, vol. 6, no. 3, Sage Publications, 1969, pp. 167-19.
GÖTZ, Ignacio L. “The Structure of Humor.” Faith, Humor, and Paradox, by Ignacio L. Götz, Praeger, 2002, pp. 81–93.
GRIBBEN, Alan. “The Importance of Mark Twain.” American Humor, by Arthur P. Dudden, Oxford University Press, 1987, pp. 24–49.
HURLEY, Matthew M., et al. “A Brief History of Humor Theories.” Inside Jokes: Using Humor to Reverse-Engineer the Mind, MIT Press, 2011, pp. 37–57.
KEOUGH, William. “The Violence of American Humor.” What's so Funny?: Humor in American Culture, by Nancy A. Walker, Scholarly Resources, 1998, pp. 133-145.
LESTER, Julius. “Morality and Adventures of Huckleberry Finn.” Mark Twain: Adventures of Huckleberry Finn, edited by Gerald Graff and James Phelan, Bedford Books of St. Martin's Press, 1995, pp. 340–348.
LOWE, John. “Theories of Ethnic Humor: How to Enter, Laughing.” American Quarterly, vol. 38, no. 3, 1986, pp. 439–460.
MARX, Leo. “Mr. Eliot, Mr. Trilling, and Huckleberry Finn.” Mark Twain: Adventures of Huckleberry Finn, edited by Gerald Graff and James Phelan, Bedford Books of St. Martin's Press, 1995, pp. 290–305.
Mc ELROY, Bernard. “The Grotesque and the Modern Grotesque.” Fiction of the Modern Grotesque, New York, Macmillan Publishers, 1989, pp. 1-30.
MORREALL, John. Comic Relief: A Comprehensive Philosophy of Humor, Wiley, 2011.
PLAZA, Maria. “Introduction.” The function of Humor in Roman Verse Satire: Laughing and Lying. Oxford University Press, 2006, pp. 1-37.
RUBIN, L. D. “Introduction: The Great American Joke.” The Comic Imagination in American Literature, by L. D. Rubin, Voice of America, 1974, pp. 3–17.
SCHINKEL, Willem. “The concept and Observation of Violence.” Aspects of Violence: A Critical Theory, Netherlands, Palgrave/ Macmillan, 2010, pp.3-84.
TRABER, Daniel S. “Hegemony and the Politics of Twain's Protagonist/Narrator Division in ‘Huckleberry Finn.’” South Central Review, vol. 17, no. 2, 2000, pp. 24–46.
TWAIN, Mark. Tom Sawyer and Huckleberry Finn. Wordsworth Classics, 1992.
WALKER, Nanncy A. “Introduction: What Is Humor? Why American Humor?” What's so Funny?: Humor in American Culture, by Nancy A. Walker, Scholarly Resources, 1998, pp. 3–67.
ZIZEK, Slavoj. Violence: Six Sideways Reflections, United States, Picador,2008.
Descargas
Publicado
Cómo citar
Número
Sección
Licencia
DECLARAÇÃO DE ORIGINALIDADE E EXCLUSIVIDADE E CESSÃO DE DIREITOS AUTORAIS
Declaro que o presente artigo é original e não foi submetido à publicação em qualquer outro periódico nacional ou internacional, quer seja em parte ou na íntegra. Declaro, ainda, que após publicado pela Literatura e Autoritarismo, ele jamais será submetido a outro periódico. Também tenho ciência que a submissão dos originais à Literatura e Autoritarismo implica transferência dos direitos autorais da publicação digital. A não observância desse compromisso submeterá o infrator a sanções e penas previstas na Lei de Proteção de Direitos Autorais (nº 9610, de 19/02/98).
