本文旨在評析馬克吐溫對於歐洲文本影響力的複雜態度，包含了抗拒與接納。近來有關於《頑童歷險記》的探討大多著重於作者的美國文學獨立性亦或是藉由單篇歐洲文本所建立的文學影響力。建基於過往的研究之上，本文深入探索馬克吐溫的跨大西洋聯繫。藉由羅伯特．韋斯比赫所提出的美國「青年化」文化發展概念，本文細究馬克吐溫在《頑童》中對於歐洲浪漫小說與諧擬作品的引用，涵蓋《基督山恩仇記》、沃爾特．司各特的威弗萊系列小說、巴倫．特倫克的故事，和《唐吉軻德》。本文重在探討馬克吐溫的諧擬如何同時展現出對歐洲冒險故事的景仰與對歐洲浪漫小說在美國南方影響力的抗拒，這展現美國文化成熟的過渡。本文分為五個章節。第一章簡介馬克吐溫與歐洲前輩作家的脈絡關係。第二章檢視馬克吐溫對於歐洲文化的容納並視其為「文化稚嫩」的表現。第三章著眼於《頑童》中的兩個脫逃場景，並處理馬克吐溫對於歐洲浪漫小說的複雜態度，歐洲前輩的影響力顯然被他視為一種強勢的家長干預。第四章比較馬克吐溫的少年角色湯姆和塞萬提斯的成人角色唐吉軻德，聚焦於歐美不同的文化發展。第五章總結馬克吐溫的跨大西洋聯繫如何比過往所認知到的深刻，他其實一方面認同，另一方面卻牴觸歐洲的文化影響，這恰恰象徵十九世紀美國文學從全盤接受歐洲教化到建立自我文化身分的轉變。

This thesis investigates Mark Twain’s complicated attitude of both resistance and acknowledgement towards the influence of European literary works. Recent discussions of Adventures of Huckleberry Finn focuses mainly on Twain’s declaration of American literary independence or the literary influence of Twain by a single European literary work. Building upon previous research, I explore the issue of Twain’s transatlantic connection further by examining Twain’s references to a number of European romance and burlesque in Huckleberry Finn, including The Count of Monte Cristo, Sir Walter Scott’s Waverley novels, the story of Baron Trenck, and Don Quixote through what Robert Weisbuch calls the “youthfulness” of American cultural development. I discuss how Twain’s burlesque indicates his admiration for European escape stories, while resists the overshadowing influence of European romance on the American Southerners, displaying the coming of age of American culture. This thesis is divided into five chapters. The first chapter introduces Huckleberry Finn in the context of Twain’s relationship with his European precursors. The second chapter scrutinizes Twain’s incorporation of European culture in his regionalist novel as a late-nineteenth-century American writer with a sense of “Cultural Earliness.” The third chapter deals with the two escape scenes in Huckleberry Finn closely, to see how they demonstrate Twain’s complicated attitude towards European romance, particularly the overpowering “parental” influence of his European predecessors. The fourth chapter focuses on the diverging approaches towards European and American cultural developments embodied in Twain’s teenage character Tom and Cervantes’ adult Quixote. The fifth chapter concludes that Twain is a more self-consciously transatlantic writer than previously acknowledged, who both appreciates of and resists against European influence in his references to European literary works, a sign which epitomizes the transition of nineteenth-century American literary scene from the acceptance of European civilization to the establishment of American cultural identity.

Acknowledgement…………………………………………………………iv
Chinese Abstract…………………………………………………viii
English Abstract…………………………………………………………x
Chapter
I. Introduction……………………………………………………1
Literature Review………………………………………………………5
Methodology………………………………………………………………………8
Structure…………………………………………………………………………10
Possible Contribution…………………………………………13
II. Twain’s References to European
Romance………………………………………………………………………………15
Cultural Earliness…………………………………………………16
Twain’s Attitude towards European
Romance………………………………………………………………………………19
Book Piracy & the Influence of Sir Walter
Scott……………………………………………………………………………………23
III. Huck and Jim’s Escapes: Twain’s Use of European
Romance in Huckleberry Finn…………………………29
Huck’s Escapes……………………………………………………………30
Twain’s Use of Burlesque…………………………………33
Tom’s References in Jim’s
Escape…………………………………………………………………………………35
IV. Cultural Development: A Comparison of the Teenager Tom and the Adult Quixote………………………………41
The Adult Quixote……………………………………………………42
The Teenager Tom………………………………………………………46
V. Conclusion………………………………………………………51
Works Cited……………………………………………………………………55

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