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This essay aims at analysing and understanding different choices made by Caj Lundgren when he translated Anthony Burgess’s novel A Clockwork Orange (1962), more specifically when he translated the fictive language called Nadsat, which is one of the features that made this novel famous. The method used to analyse Lundgren’s translation is based on Reiß and Veermer’s (1984/2014) concept of skopos and functional equivalence. Conclusions drawn are that Lundgren uses a compensatory translation strategy, and that a model can be created for identification of Russian words in the original text’s Nadsat and the transfer of these words to the target text as Swedish Nadsat. In a comparison between Lundgren and two Russian translators’ strategies, their strategies are shown to differ, which could be caused by different translation problems dependent on the target languages. / Denna uppsats mål är att analysera olika val som Caj Lundgren gjorde i sin översättning av Anthony Burgess roman A Clockwork Orange (1962), specifikt avseende originalets fiktiva språk, som Burgess döpte till nadsat. Metoden som använts för analysen baseras på Reiß och Veermers (1984/2014) term skopos och funktionell ekvivalens. Slutsatser som dras är dels att Lundgren använder sig av en kompensatorisk strategi vid översättning, dels att ett schema kan uppställas för identifiering av ryska ord i originalets nadsat och deras överföring till måltexten som svensk nadsat. I en jämförelse mellan Lundgrens och två ryska översättares strategier visas att deras strategier skiljer sig åt, vilket kan bero på översättningsproblematik avhängig målspråken.

Approximately 600 to 500 million years ago, a major evolutionary radiation called the “Cambrian Explosion” gave rise to nearly all of the major animal phyla known today. This radiation is recorded by various fossil lagerstätten, such as the Burgess Shale in Canada, where soft-bodied animals are preserved in exquisite detail. Many Cambrian fossils are enigmatic forms that are morphologically dissimilar to their modern descendants, but which still provide valuable information when interpreted as stem-group taxa because they record the actual progression of evolution and give insight into the order of character acquisitions and homologies between living taxa. One such group of fossils is the anomalocaridids, large presumed predators that have had a complicated history of description. Their body has a trunk with a series of lateral lobes and associated gills, and a cephalic region with a pair of large frontal appendages, a circular mouth apparatus, stalked eyes and a cephalic carapace. Originally, two taxa were described from the Burgess Shale, Anomalocaris and Laggania, however data presented herein suggests that the diversity of the anomalocaridids was much higher. Newly collected fossil material revealed that a third Burgess Shale anomalocaridid, Hurdia, is known from whole-body specimens and study of its morphology has helped to clarify the morphology and systematics of the whole group. Hurdia is distinguished by having mouthparts with extra rows of teeth, a unique frontal appendage, and a large frontal carapace. Two species, Hurdia victoria and Hurdia triangulata were distinguished based on morphometric shape analysis of the frontal carapace. A phylogenetic analysis placed the anomalocaridids in the stem lineage to the euarthropods, and examination of Hurdia’s well-preserved gills confirm the homology of this structure with the outer branches of limbs in upper stem-group arthropods. This homology supports the theory that the Cambrian biramous limb formed by the fusion of a uniramous walking limb with a lateral lobe structure bearing gill blades. In this context, new evidence is present on the closely allied taxon Opabinia, suggesting that it had lobopod walking limbs and a lateral lobe structure with attached Hurdia-like gills. The diversity of the anomalocaridids at the Burgess Shale is further increased by two additional taxa known from isolated frontal appendages. Amplectobelua stephenensis is the first occurrence of this genus outside of the Chengjiang fauna in China, but Caryosyntrips serratus is an appendage unique to the Burgess Shale. To gain a better understanding of global distribution, a possible anomalocaridid is also described from the Sirius Passet biota in North Greenland. Tamisiocaris borealis is known from a single appendage, which is similar to Anomalocaris but unsegmented, suggesting this taxon belongs to the arthropod stem-lineage, perhaps in the anomalocaridid clade. Thus, the anomalocaridids are a widely distributed and highly diverse group of large Cambrian presumed predators, which provide important information relevant to the evolution of the arthropods.

Thesis (M.A.)--Southwest Texas State University, 1940. / Includes bibliographical references (leaves 65-67).

Thesis (M. Phil.)--University of Hong Kong, 2002. / Includes bibliographical references (leaves 144-147).

Thesis (M.A.)--Southwest Texas State University, 1940. / Includes bibliographical references (leaves 65-67).

[pt] Esta tese discute criticamente e questiona pressupostos teóricos que orientam a recepção de escritas de si como textos referenciais definidos pela tripla identificação entre autor, narrador e personagem. Em seu lugar, sugere-se um modelo que acentua o caráter construtivo de discursos (auto)biográficos, ambiguamente localizados entre fatos e ficções. Neste âmbito, propõe-se analisar comparativamente autobiografia e romance autobiográfico, a partir de conceitos tais como biografema e espaço biográfico. Tais conceitos possibilitam uma dinâmica relacional que proporciona construções (auto)biográficas alternativas que buscam dar conta da flexibilidade e complexidade inerente ao conceito de identidade como concebido no cenário contemporâneo. Baseado na hipótese de que textos referenciais recebem menor investimento afetivo por parte do leitor quando comparados a textos cujos processos de deciframento são mais complexos, como no caso de textos literários, evidencia-se a criação de um espaço relacional entre o primeiro tomo da autobiografia do romancista inglês Anthony Burgess, O pequeno Wilson e o grande Deus (1993), e um romance de sua autoria, Enderby por dentro (1990). A partir deste espaço, são abordados fragmentos autobiográficos recorrentes nos dois títulos que, por serem construídos por meio de estratégias distintas, provocam diferentes efeitos e afetos. Quando comparados, tais efeitos geram novas dimensões de compreensão acerca da complexidade da identidade da figura em foco. Neste sentido, a tese busca comprovar a hipótese de que na escrita (auto)biográfica, a própria motivação e finalidade documental referencial pode ser minimizada em favor da proposta estética, que tem o potencial de proporcionar maior complexidade à identidade (auto)biográfica. / [en] This thesis critically approaches and questions theoretical grounds that argue that so-called writings of the self are referential texts defined by the triple identification of author, narrator and character. Another model is suggested, one that stresses the constructive nature of (auto)biographical discourses which are ambiguously located between factuality and fictionality. In this regard, we propose to compare autobiography and autobiographical novel, using concepts such as biographeme and biographical space. These concepts can generate a relational dynamics that makes it possible to build alternative (auto)biographical constructions, which, in turn, can keep the flexibility and complexity inherent to the notion of identity in contemporary studies. Based on the hypothesis that referential texts are not as affectively received by the reader as texts whose deciphering processes are more complex – literary texts, for example –, we point to the creation of a relational space between the first volume of Anthony Burgess s autobiography, Little Wilson & Big God, and his novel Inside Mr. Enderby. Considering such space, we approach autobiographical fragments of the said author that recur in both titles, which, as they are structured through different strategies, provoke different effects and affects. When compared, such effects generate new dimensions of understanding regarding the complexity of the identity of the figure which is focussed. Following this line of thought, the thesis tries to prove the hypothesis that in (auto)biographical writing referentiality can be minimised in the name of aesthetic purposes, since art would have the potentiality to confer more complexity to (auto)biographical identity.

Informe de Seminario para optar al grado de Licenciada en Lengua y Literatura Inglesa / The aim of the present work is to demonstrate that The Doctor is Sick sets out the way in which the subject abandons the institutionalized boundaries of the sign, understood under the structuralism constraints, and discovers a New World characterized by the sign deconstruction. The analogy for that purpose is an Old World that functions as a living body machine, and a New World that is unstable, infinite and subject-dependent; characterized as an anti-hegemonic corpse. As a patient/doctor, the subject dissects what was unknown and invisible by providing an anatomical reading of his lethargic route.

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Esta dissertação discute os protagonistas do romance Laranja Mecânica, de Anthony Burgess, e dos filmes Laranja Mecânica e Vinyl, de Stanley Kubrick e Andy Warhol, respectivamente, comparando como tais personagens representam o indivíduo em sociedade. Para tanto, se apóia nas teorias de Joseph Campbell, Antonio Candido e Paulo Emílio Sales Gomes, sobre as personagens, e de Ítalo Calvino sobre a Leveza. São analisadas as três obras, para o entendimento das peculiaridades presentes em cada uma das narrativas, bem como a trajetória do protagonista nas três narrativas, até que estas atinjam o desfecho. Os conceitos de bem e de mal, mantidos sob concepções estabelecidas na nossa sociedade, são ameaçados quando o protagonista é submetido à Técnica Ludovico, tratamento que tem o objetivo de diminuir a quantidade de presos nas prisões e que, para isso, retira o poder de escolha do indivíduo, que passa a ser capaz de praticar somente atos de bondade, já que toda a exposição ao mal o leva à dor e ao incômodo insuportável. / This M.A. thesis discusses the protagonists in Burgess’ A Clockwork Orange and the films A Clockwork Orange and Vinyl, directed by Stanley Kubrick and Andy Warhol, respectively, comparing how such characters represent the individual in society. The thesis draws on the theories by Joseph Campbell, Antonio Candido, and Paulo Emílio Sales Gomes, concerning the characters, and by Italo Calvino, concerning Lightness. The three works are analyzed aiming at the understanding of the peculiarities present in each one of the narratives, as well as the trajectory of the protagonist in the three narratives, until they reach the end. The concepts of good and evil, maintained under conceptions established in our society, are threatened when the protagonist is subjected to the Ludovico Technique, treatment that has the objective of reducing the quantity of prisoners in jails. For that, it eliminates the power of choice of the individual, who happens to be able to practice acts of kindness only, since all exposure to evil brings him to pain and to unbearable discomfort.