Titlebook: Censorship and Ideology; The Translation of C Julia Lin Thompson Book 2024 The Editor(s) (if applicable) and The Author(s), under exclusive

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,“No Mo’ Kings!”, lead the child readers to an understanding of Spanish history that was different from that officially sanctioned by the regime. Specifically, the chapter addresses the following questions: what were the particular episodes that prompted the censors’ objections to the translations for history-relate

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The Disobedient Child,ive and disobedient child image cultivated in Twain’s works. Specifically, this chapter answers these two questions: what were the particular episodes that attracted the censors’ criticisms, due to their disapproval of the child characters’ behaviour that appeared to them as subversive and inappropr

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,The Dynamics of the Poetics of Children’s Literature Translation,yed a key role in facilitating the production of translations for children during the Francoist years. Such agency was largely associated with the work of the professionals who, despite having to conduct their activities under the vigilant gaze of the censors, were nonetheless able to detect and tak

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Book 2024anish translations of Mark Twain’s children’s classics .The Adventures of Tom Sawyer. and .The Adventures of Huckleberry Finn., the author traces the evolution of the censorship system of the Francoist regime and its impact on Spanish children’s literature during the years after the Spanish Civil Wa