Abstract The aim of this study is to investigate how a picture book for children is transformed into an easy-to-read version for children who have just started reading. I examine two versions of Emil of Lönneberga. One of the books is the orginal picture book of Emil in Lönneberga and was written by Astrid Lindgren (1963), while the other is an easy-toreadversion of the book, as adapted by the author Helena Renvall (1977). I have conducted a comparative study as a text and picture analysis of the material, with the focus on the adaptation of the original story. The adaptation in this case is a revision intended to make the story easier to read and more accessible to today’s children. The most important finding of the study is that easily read information is not just a matter of simplifying the text; the form of both text and pictures is adapted. The text is characterized by simpler words and shorter sentences. The pictorial material has been increased and the originally black and white pictures have been given added red colour. Otherwise, most of the layout has been changed for several reasons, but generally speaking so that the relation between text and pictures on each spread will function inthe most easy-to-read way possible.

When war broke out in Europe in 1939 a mother of two, the thirty-three-year-old Astrid Lindgren, begun keeping a journal. In this diary she wrote about the events of the war, the decisions of the government of Sweden and her own personal life in Stockholm. With a micro historical approach and with a theoretical framework from history of emotions this study aims to explore Lindgren´s emotional life and her emotions towards the changing aspects of the ordinary life, her government´s political agenda, and towards the international players and victims of the second world war. With the use of William K. Reddy´s terminology of emotive and emotional navigation as well as Hugo Nordland´s emotional strategies as analyzing tools the results showed that Lindgren´s initial emotion towards the ordinary life, now affected by the war, was despair, expressed in emotives such as chock, sadness and despondency. The emotion later shifted to gratitude (towards her own privileged situation) and blues (caused by war fatigue), existing simultaneously. The most common emotion expressed correlating to the Swedish government is the emotion of trust. Lindgren´s main emotions towards the victims of the war was compassion. At multiples times, in her diaries, she expressed pity for those who suffered and gratitude for not being among them. The emotions she expressed correlating to the great powers of the war was hate (Germany), fear (Soviet Union) and contempt (Italy). But she also felt conflicted when faced with the fact that she might have to make a choice between Germany and the Soviet Union. The fear of the Russians trumped her loathing of the Nazi regime, but when she gained a greater knowledge of the German atrocities, she came to regard both regimes as equally horrible. The frequent use of certain emotives (such as confidence, gratitude and pity) indicates an emotional navigation to consolidate her feelings and avoid other less desirable emotions. In the same way the uses of biblical metaphors, comparisons of beasts and the reference to brotherly love gives proof of emotional strategies in her handling of undesirable feelings such as hatred and shame. Lastly, this study concludes in a didactical discussion arguing that Astrid Lindgren´s war diaries is a material of great value when teaching of and developing a historical consciousness.

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The purpose of this study is to analyze two literary translations of Astrid Lindgren’s Pippi Långstrump (Lindgren, 1945) from Swedish into English.  The study compares the British and the American English translations of neologisms, nonce words and proper nouns.  The primary data chosen for this study are the Swedish children’s book Pippi Långstrump (1945), written by Astrid Lindgren, and its 1954 British translation, by Edna Hurup, as well as the 1977 American English translation, by Florence Lamborn.  The method used in this study is qualitative, and consists of an in-depth analysis of representative examples of neologisms, nonce words and proper nouns.  Three research questions aimed at finding out what translation procedures were used, whether there were any differences between the two translations, and whether there were any semantic changes in the two translations.  The conclusion is that the most common translation procedure used is equivalence.  The most distinguishing difference between the two translations is that the American English translation seems to stay more true to the original text, whereas the British translation has a greater respect for the target text reader, in the sense that it is more culturally adapted than the American English translation.  There were no major semantic changes in the samples from the two translations, with the exception of a few examples.  In conclusion, both translators manage to maintain the atmosphere of the original text.

<p>The purpose of this study is to analyze two literary translations of Astrid Lindgren’s <em>Pippi Långstrump </em>(Lindgren, 1945)<em> </em>from Swedish into English.  The study compares the British and the American English translations of neologisms, nonce words and proper nouns.  The primary data chosen for this study are the Swedish children’s book <em>Pippi Långstrump </em>(1945), written by Astrid Lindgren, and its 1954 British translation, by Edna Hurup, as well as the 1977 American English translation, by Florence Lamborn.  The method used in this study is qualitative, and consists of an in-depth analysis of representative examples of neologisms, nonce words and proper nouns.  Three research questions aimed at finding out what translation procedures were used, whether there were any differences between the two translations, and whether there were any semantic changes in the two translations.  The conclusion is that the most common translation procedure used is equivalence.  The most distinguishing difference between the two translations is that the American English translation seems to stay more true to the original text, whereas the British translation has a greater respect for the target text reader, in the sense that it is more culturally adapted than the American English translation.  There were no major semantic changes in the samples from the two translations, with the exception of a few examples.  In conclusion, both translators manage to maintain the atmosphere of the original text.<strong></strong></p><p><strong> </strong></p>

Utgångspunkten för denna uppsats är att utifrån moderna teorier och metoder belysa illustrationernas betydelse för ikonotexten. Författaren har använt två versioner av Astrid Lindgrens Sunnanäng - ¨Sunnanäng¨ i Sunnanäng (1959) och Sunnanäng (2003) – för att belysa området. Båda berättelserna har samma text, men olika illustratörer, Ilon Wikland och Marit Törnqvist. Tillvägagångssättet författaren har använt i uppsatsen är separerade textanalyser, bildanalyser och analyser av ikonotexten utifrån dennes ¨läsning¨ av de två olika versionerna av Sunnanäng. Författaren har prövat olika moderna teorier och metoder för att resonera och problematisera illustrationernas betydelse för ikonotexten. I uppsatsen visar författaren att en illustration kan innehålla visuella luckor skapade av illustratören, såväl som en text innehåller verbala luckor. De visuella luckorna påverkar tolkningen av ikonotexten – bilderbokens egentliga text – och påverkar därmed även betydelsen av ursprungstexten. Författaren beskriver och visar i uppsatsen hur illustrationerna på flertalet sätt expanderat texten i ¨Sunnanäng¨ i Sunnanäng från 1959 till Sunnanäng 2003 och därmed skapat helt nya betydelser för ikonotexten.

<p><strong>Síntesis</strong>:</p><p>El presente estudio trata de un análisis contrastivo de las traducciones al español de los libros <em>Madicken</em> publicada en 1960 y <em>Bröderna Lejonhjärta</em> publicada en 1973 de Astrid Lindgren. El análisis está basado en siete fenómenos lingüísticos que son: adaptación, adición, equivalencia de uso, errores lexicales, expresiones idiomáticas, omisiones y registro. Este análisis muestra que la hipótesis se cumple con respecto al libro <em>Bröderna Lejonhjärta</em>, pero no así con el libro <em>Madicken</em>. Es decir, que a pesar de existir diferencias semánticas y pragmáticas representadas por los siete fenómenos lingüísticos estudiados, la traducción del libro <em>Bröderna Lejonhjärta</em> transmite bien el sentido cultural e histórico de la obra; sin embargo, en la traducción al español del libro <em>Madicken</em> existen diferencias semánticas y pragmáticas, pero la traducción de este no logra transmitir el sentido histórico y cultural de la obra. La conclusión es que estos cambios han hecho que la traducción de <em>Madicken</em> no represente realmente la cultura y trasfondo histórico contenidos en la obra.</p><p><strong>Hipótesis</strong>:</p><p>Existen diferencias idiomáticas tanto semánticas como pragmáticas (la semántica es 'el estudio del significado de los signos lingüísticos y de sus combinaciones' y la pragmática es 'la disciplina que estudia el lenguaje en relación con los usuarios y las circunstancias de comunicación') entre los libros <em>Madicken</em> y <em>Bröderna Lejonhjärta</em>, de la autora sueca Astrid Lindgren, y sus respectivas traducciones al español: <em>Madita</em>, traducida por Herminia Dauer en 1983, y <em>Los hermanos Corazón de León</em>, traducida por Lucio Salas en 1986, ambas traducciones publicadas en España. A pesar de ello, los traductores logran su objetivo de transmitir al lector, principalmente a los niños, el ambiente cultural e histórico suecos de las novelas originales.</p>

Target culture is a concept regularly used in Translation Studies but it is not a concept which is routinely defined any further than the geographical location of the target language. In English translation this can be problematic because some translations published in English are produced in one English-speaking country which are then sold to other English-speaking domains and this process of migration might not be obvious from the edition notice of the book. The underlying principle for the production of these translations could be that one translation can fit all English target cultures. Yet, in contrast, some anglophone translations are published separately e.g. as a British translation or an American translation. There has been, so far, minimal investigation into the different ways in which English translations come into existence and, therefore, this thesis aims to address the theoretical gap by creating a taxonomy of translation. The thesis presents new terminology for the various translation types within the anglophone world: for example, a translation can be separate when published independently by both Britain or America, or it can be transatlantic when it is shared by both countries. The existence of transatlantic translation challenges preconceived ideas regarding the concept of target culture within Descriptive Translation Studies. Through textual, paratextual and metatextual analysis of several case studies of each translation type the thesis explores the possible refinement of the concept of target culture per se. The thesis is underpinned by analysis of the work of two prominent Swedish children’s authors: Astrid Lindgren and Sven Nordqvist. Swedish children’s literature was selected because of its proven perennial contribution to the genre of children’s literature and its exceptional success in translation. Furthermore, children’s literature itself presents its own unique challenges in translation because, for this particular genre, the target culture introduces powerful constraints based upon the educational, social and cultural expectations of the receiving language community. However, in the case of the transatlantic translation, it is the initial target culture constraints which will be present within the text. In the second country to receive the translation, expectations regarding educational, social and cultural ideals may vary from the first target culture. Ultimately, the thesis argues that there are powerful constraining ideological forces within target cultures which are visible in separate translation; those same forces may present themselves in transatlantic translation also, but the origin of the ideology behind them may not be obvious. Thus, the thesis aims to change the way we label translation within newly delineated English-speaking target cultures.

The purpose of this project is to survey the presence of folk expressions, i.e. proverbs, proverbial expressions, wellerisms and familiar expressions, in some of the realistic children’s books by Astrid Lindgren. The purpose also includes the study of the contextual and pragmatic functions of the expressions as well as how the expressions are integrated into the text by the change of the formulaic standard structure. The contextual and pragmatic function concern when, how and why the expressions are used and who the users of the expressions are. The questions at issue are: What kind of folk expressions occur in the children’s books by Astrid Lindgren? What contextual and pragmatic functions do the expressions have? How are the expressions integrated into the text? To be able to answer the questions, folk expressions were excerpted from the books with the help of close reading. The contextual and pragmatic functions of the expressions were determined by analysing the communicative context, the senders and the receivers of the expressions, the senders’ purpose in using the expressions. Furthermore, the changes in the structure of the expressions were analysed in order to determine how the expressions were integrated into the text. The result shows that the 52 folk expressions found in general are used in dialogues between adults as senders and children as receivers. The senders use the expressions mainly to comment on anything or anyone with the purpose to explain, i.e. a didactic purpose. The majority of the expressions have not changed their formulaic standard structure, and the expressions that have changed are used as allusions, paraphrases or ellipses of folk expressions.

I denna studie har ett spårande och tolkande i utvalda böcker av Astrid Lindgren skett med hjälp av historiebruk. Syftet var att ta reda på hur och om dessa tolkningar av historiebruket kan användas i historieundervisningen. Studien riktar sig mot historieämnet på gymnasieskolan. Tolkningarna av historiebruket utgår från en historiebrukstypologi där likheter mellan verkliga händelser och händelser i barnböckerna spåras. Resultatet av undersökningen visar att det genom tolkningar av historiebruk går att spåra händelser i den verkliga historien kopplat till totalitarism i barnböcker skrivna av Astrid Lindgren. Resultatet visar också att med stöd av läroplanen för gymnasieskolan är undervisning med denna typ av tolkningar möjlig. Tolkningarna av berättelserna kan fungera som ett stöd för lärare i gymnasieskolan som har för avsikt att använda sig av denna metod.