This study examines the strategies used in the translation from French to Swedish of an academic text written in the Central African Republic. It focuses on the two opposing translation strategies of domestication and foreignization as described by Venuti (2017) and investigates whether Venuti’s theory about foreignization as a way of resisting racism and imperialism is applicable to translations beyond the literary field. The source text of the translation is written in a former colony, in the language of the ex-colonizer, which makes it particularly interesting in terms of cultural features and brings to the fore the need of taking aspects related to racist and imperialistic ideas into account. Based on an analysis of the translation situation, several features of the translated text are being examined with regards to translational choices connected to domestication and foreignization. The results show that even though both approaches are employed, domestication is clearly the dominating strategy, and this preference for domestication is often based on an effort to promote the content and the academic value of the source text. In other words: contrary to Venuti’s ideas, domestication rather than foreignization is used as a way of resisting racism and imperialism in this particular case. Because of the narrowness of the text material investigated, no general conclusions can be drawn from this study. Some suggestions are however made at the end about broadening the general translational research framework and blur the line between literal and non-literal translation, as proposed by Vandaele (2015), and about broadening and deepening the research on the translation of non-literary hybrid texts.

The ever-changing practice of translating movies evolves along with living languages and media development. Dubbing a movie broadens its reach adequately when the primary audience is younger children with little knowledge of the movie’s source language and culture. Dubbing is a form of audiovisual translation where much of the original dialogue can be kept since the time restraints are ruled by the original dialogue. In this study, culture-bound references from the children's movie The Swan Princess (1994) have been analyzed with the purpose of identifying the translation strategies used. The study is qualitative, and the analysis is based on audiovisual translation theory. This study has shown that the cost of subtitling instead of dubbing a movie, for children, is its culture-bound expressions and references. Dubbing has many advantages for audiences who cannot read fast enough for the subtitles to contain something of substance.

Text in English / This study examines and discovers the translation strategies as employed in the Sesotho sa Leboa translation of Mandela's Long Walk to Freedom. Mandela's Long Walk to Freedom was published in 1995 and was translated into Sesotho sa Leboa by S M Serudu in 2001. The Sesotho sa Leboa translation of the life history of Mandela, Leetotelele go ya Tokologong (Long Walk to Freedom) is one of the four completed translations to date that form part of the assignment to translate the original text into the official languages of South Africa. The aim of this study is to investigate the translation strategies used to transfer linguistic and cultural items in the translation of Mandela's autobiography. The study is mainly qualitative and examines the strategies employed by Serudu. For data collection, the source and target texts of Mandela's Long Walk to Freedom as well as the semi-structured face-to-face interviews with four translators into Sesotho sa Leboa, isiZulu, isiXhosa and Afrikaans were used. The study is based on the Descriptive Translation Studies Theory, Bassnett and Lefevere's "cultural turn" as well as the domestication and foreignization strategies. In this case, it investigates if Serudu has domesticated and/or foreignized his translation. The findings revealed that Serudu domesticated his translation by using metaphors, similes, personification, euphemism, hyperbole, proverbs, idioms and the use of descriptive words. Foreignization was also found when the translator dealt with the borrowing and loaning of words where most of the concepts were transferred, Sotholised, retained and transferred, as they were, especially culture specific items. / African Languages / D. Litt. et Phil. (African Languages)

This thesis explores the reception of Johann Joachim Winckelmann in Italian art scholarship, 1755-1834. Winckelmann posed a problem: he was a presence in Italy that could not be ignored, yet the views he expounded were Italophobic and contentious to an Italian readership. In light of this dilemma, the research question asked is how did Italian art scholarship respond to Winckelmann in this period and why did it respond in that way. The core argument advanced is that there were two opposing reactions to Winckelmann, both of which were motivated by nationalism. On the one hand, Italian art scholars presented Winckelmann, his works, and his views as less attractive to an Italian readership than they would otherwise have appeared and, on the other hand, they presented him as more attractive. Through these reactions – termed foreignization and domestication respectively – art scholarship either defended against and ostracized Winckelmann or, when presented as less offensive, welcomed and embraced him amongst Italians. Thus this thesis argues that both reactions demonstrate a nationalistic attempt to portray Winckelmann in the manner most auspicious to the yet-to-be-united peninsula. In order to explore this response to the German scholar, the thesis centres on three media: translations, art literature, and artistic journalism. Both foreignization and domestication are evident throughout the sources analysed, yet there is a predominance of domestication, achieved through a variety of methods. This investigation adds to existing literature by examining the previously overlooked dilemma that Winckelmann posed. Moreover, employing the original conceptual framework of foreignization and domestication allows for a re-evaluation of how the art scholarship of the period engaged with the German scholar. Finally, demonstrating the infiltration of nationalistic sentiment in this period, even extending to Italian art scholarship, this thesis is the first to posit that nationalism played a significant role in Winckelmann's critical legacy.