In a radical departure from standard editions, the coming-of-age story that introduces Mark Twain’s two most enduring literary characters—Tom Sawyer and Huckleberry Finn—is published here with its disturbing racial labels translated as “slave” and “Indian.” Everything else is completely intact in a novel that Twain termed a “hymn to boyhood.” Tom and Huck fish and swim in the Mississippi River, search for buried treasure, and hide in a haunted house. Around the edges of this idyllic boy-life, however, loom dangerous events in the fictional village of St. Petersburg: Tom and Huck witness a midnight murder in a graveyard, the killer escapes from the courtroom while Tom is testifying, and two sinister villains plot robbery and revenge against a wealthy widow. Readers can follow the boys’ adventures without confronting the dozens of racial slurs that are available in other editions of the book. The editor supplies a historical and literary introduction as well as a guide to Twain’s satirical targets.

In a radical departure from standard editions, Twain's most famous novels are published here as the continuous narrative that the author originally envisioned. More controversial will be the decision by the editor, noted Mark Twain scholar Alan Gribben, to eliminate the pejorative racial labels that Twain employed in his effort to write realistically about social attitudes of the 1840s. Gribben points out that dozens of other editions currently make available the inflammatory words, but their presence has gradually diminished the potential audience for two of Twain's masterpieces. "Both novels can be enjoyed deeply and authentically without those continual encounters with the hundreds of now-indefensible racial slurs," Gribben explains.

This coming-of-age story captures a vanished world of outdoor action and introduces Mark Twain’s two most enduring literary characters, Tom Sawyer and Huckleberry Finn. In a novel that Twain termed a “hymn to boyhood,” Tom and Huck fish and swim in the Mississippi River, search for buried treasure, and hide in a haunted house. Tom Sawyer falls for pretty Becky Thatcher, tricks his pals into painting a fence for him, and stages an elaborate prank on the schoolmaster. Around the edges of this idyllic boy-life, however, loom dangerous events in the fictional village of St. Petersburg: Tom and Huck witness a midnight murder in a graveyard, the killer escapes from the courtroom while Tom is testifying, Tom and Becky become lost in a labyrinthine cave, and two sinister villains plot robbery and revenge against a wealthy widow. This Original Text Edition faithfully follows the wording of the first edition, and the editor supplies a historical and literary introduction as well as a guide to Twain’s satirical targets

Meet the boy who can find trouble without even looking. At school, at home, in church and outdoors, if there's mischief afoot, Tom Sawyer will be in the thick of it.

A study of Mark Twain's and Dr. Oliver Wendell Holmes's interests in phrenology, as revealed, often humorously, in their writings.

During the 1790s in Vienna, German physician Franz Joseph Gall (1758-1828) came forth with a new doctrine dealing with mind, brain and behavior—one that could account for individual differences. He maintained that there are many independent faculties of mind, each associated with a separate part of the brain. He fine-tuned his ideas and published two sets of books presenting them after he and his assistant, Johann Gaspar Spurzheim, settled in Paris in 1807. Gall's ideas had many supporters but were controversial and unsettling to others. In particular, the opposition ridiculed his belief that skull features reflect the growth of specific, underlying cortical organs, and hence correlate with personality traits (i.e., his ‘bumpology’). Gall’s fundamental ideas about the mind and organization of the brain were debated across the globe, and they also began to be exploited by unscrupulous businessmen, ‘professors’ who ‘read skulls’ for a living. But, as some historians have shown, his ideas about mind, brain and behavior led to the modern neurosciences. The chapters collected in this volume provide new insights into Gall’s thinking and what Spurzheim did, and the faddish movement called ‘phrenology’, which originated as a science of humankind but became a popular source of entertainment. All chapters were originally published in various issues of the Journal of the History of the Neurosciences.

Mark Twain’s two most famous novels are published here as the continuous narrative that he originally envisioned. Twain started writing Adventures of Huckleberry Finn soon after finishing The Adventures of Tom Sawyer (1876), but difficulties with the sequel took him eight years to resolve. Consequently his contemporary readers failed to view the volumes as the companion books he had intended. In the twentieth century, publishers, librarians, and academics continued to separate the two titles, with the result that they are seldom read sequentially even though they feature many of the same characters and their narratives open in the identical Mississippi River village, St. Petersburg. This Original Text Edition brings the stories back together and faithfully follows the wording of the first editions.

In a radical departure from standard editions, Mark Twain’s most famous novel is published here with one disturbing racial label translated as “slave.” In seeking to record accurately the speech of uneducated boys and adults along the Mississippi River in the 1840s, Twain casually included an epithet that is diminishing the potential audience for his masterpiece. While dozens of other editions preserve the inflammatory slur that the author employed for the sake of realism, the NewSouth Edition proves that the main point of Twain’s masterpiece—the immense harm deriving from inhumane social conformity—comes through just as vibrantly without obliging readers to confront hundreds of insulting racial pejoratives. The editor’s Introduction supplies the historical and literary context for Twain’s groundbreaking book, along with a helpful guide to his satirical targets.

Storytelling in Opera and Musical Theater is the first systematic exploration of how sung forms of drama tell stories. Through examples from opera's origins to contemporary musicals, Nina Penner examines the roles of character-narrators and how they differ from those in literary and cinematic works, how music can orient spectators to characters' points of view, how being privy to characters' inner thoughts and feelings may evoke feelings of sympathy or empathy, and how performers' choices affect not only who is telling the story but what story is being told. Unique about Penner's approach is her engagement with current work in analytic philosophy. Her study reveals not only the resources this philosophical tradition can bring to musicology but those which musicology can bring to philosophy, challenging and refining accounts of narrative, point of view, and the work-performance relationship within both disciplines. She also considers practical problems singers and directors confront on a daily basis, such as what to do about Wagner's Jewish caricatures and the racism of Orientalist operas. More generally, Penner reflects on how centuries-old works remain meaningful to contemporary audiences and have the power to attract new, more diverse audiences to opera and musical theater. By exploring how practitioners past and present have addressed these issues, Storytelling in Opera and Musical Theater offers suggestions for how opera and musical theater can continue to entertain and enrich the lives of 21st-century audiences.

This book offers new critical approaches for the study of adaptations, abridgments, translations, parodies, and mash-ups that occur internationally in contemporary children’s culture. It follows recent shifts in adaptation studies that call for a move beyond fidelity criticism, a paradigm that measures the success of an adaptation by the level of fidelity to the "original" text, toward a methodology that considers the adaptation to be always already in conversation with the adapted text. This book visits children’s literature and culture in order to consider the generic, pedagogical, and ideological underpinnings that drive both the process and the product. Focusing on novels as well as folktales, films, graphic novels, and anime, the authors consider the challenges inherent in transforming the work of authors such as William Shakespeare, Charles Perrault, L.M. Montgomery, Laura Ingalls Wilder, and A.A. Milne into new forms that are palatable for later audiences particularly when—for perceived ideological or political reasons—the textual transformation is not only unavoidable but entirely necessary. Contributors consider the challenges inherent in transforming stories and characters from one type of text to another, across genres, languages, and time, offering a range of new models that will inform future scholarship.