Even though both Czech versions of Uncle Tom s Cabin of 1853 offer shorter and changed stories, we consider them to be translations, in accord with the theory of Gideon Toury (1995).
The same kind of childish distancing from the original grossly--or "happily"--affected the fate of Uncle Tom himself.
1993), New Essays on Uncle Tom 's Cabin, Cambridge / New York / Melbourne, Cambridge University Press.
Yet four other African American male writers produced equally revealing attacks upon the figure of Uncle Tom at the time, beginning a decade earlier with Richard Wright's Uncle Tom's Children (1938).
In returning to the literary texts of Wright, Ellison, and Himes, I will change the register of the object of vilification: it was less Stowe's Uncle Tom that incited these authors to literary attack than what I will call the Uncle Tom-mask.
In leftist, intellectual, and African American literary and political circles, the figure of Uncle Tom was already under attack in 1938.
Uncle Tom Mania: Slavery, Minstrelsy, and Transatlantic Culture in the 1850s.
Meer explains, "Some of the book's characterizations had been borrowed from blackface, blackface in turn incurred debts to Uncle Tom, and minstrelsy not only played into Uncle Tom's Cabin but out of it too.
In Uncle Tom Mania, Meer brilliantly reconstructs this phenomena, framing Tom and anti-Tom responses in a cross-Atlantic context.
Their families moved north during the 1920s, and each was derided as an Uncle Toms
during the militant 1960s.
Rushdy can show, however, that the key questions recur: about agency and stereotyping; about property, power, and cultural self-determination; about Uncle Toms and Nat Turners; and about the strategic necessity of violent acts.
The complexity of the ongoing debate on race, economy, property, and violence, on Uncle Toms and Nat Turners, and on strategies of self-determination is mapped with remarkable expertise.
The abstract shapes hint at disillusion with all representation - as if the effort it took to study vintage Uncle Toms during the preparation for this version had made its creators despair.
The adventures of the piously suffering Uncle Tom,'the mischievous and unschooled Topsy and the angelic Little Eva have been played for melodrama, for tragedy, for spectacle, in good taste and bad, and reshaped for every passing vogue.
In his autobiography Black and Conservative (1966), written more than thirty years after the African tales, Schuyler recounts the battle he waged, often single-handedly, against the destructive forces of Communism and "red Uncle Toms