Syftet med den här produktorienterade studien är att undersöka vilka översättningsnormer som är aktuella för indirekt översättning av hebreisk skönlitteratur till svenska. I studien genomförs en kontrastiv undersökning av kulturspecifika element (ECR) med utgångspunkt i Tourys (1995/2012) coupled pairs kompletterad med Pedersens (2011) typologi. Materialet består av 3 x 136 coupled pairs excerperade från en novellsamling skriven av den israeliska högprestigeförfattaren Amos Oz och översatt till svenska genom engelska. Båda översättningarna utfördes av högprestigeöversättare. Resultatet antyder att indirekt översättning av skönlitteratur ansluter sig till adekvansnormen i enlighet med hypotesen om högprestigeöversättare (Lindqvist 2002). Hypotesen om acceptansinriktning beträffande indirekt översättning falsifierades i studien. / The following product–oriented study deals with translational norms operating in indirect translation of Hebrew literature into Swedish. The research was conducted as a contrastive study of Extra–linguistic Cultural References (ECR) based on Toury’s (1995/2012) coupled pairs and supplemented with Pedersen’s typology (2011). The material consisted of 3 x 136 coupled pairs excerpted from a collection of short stories written by an Israeli high–prestige writer Amos Oz and translated into Swedish through English. Both translations were carried out by high–prestige translators. The results suggest that indirect literary translation follows the adequacy norm in accordance with the hypothesis on high–prestige translation (Lindqvist 2002). The hypothesis on acceptancy norms operating in indirect translation is rejected.

This Master’s thesis explores Jewish masculinity and identity within early twentieth-century literature (1903-1925), using texts written by Jewish authors in late imperial Russia and the early Soviet Union. This was a period of change for Russia’s Jewish community, involving increased secularization and reform, massive pogroms such as in Kishinev in 1903, newfound leadership within the 1905 and 1917 Revolutions, and a rise in both Zionist and Revolutionary ideology. Subsequently, Jewish literary masculinity experienced a significant shift in characterization. Historically, a praised Jewish man had been portrayed as gentle, scholarly, and faithful, yet early twentieth century Jewish male literary figures were asked to be physically strong, hypermasculine, and secular. This thesis first uses H.N. Bialik’s “In the City of Slaughter” (1903) and Sholem Aleichem’s “Tevye Goes to Palestine” (1914) to introduce a concept of “Jewish shame,” or a sentiment that historical Jewish masculinity was insufficient for a contemporary Russian world. It then creates two models for these new men to follow. The Assimilatory Jew, seen in Isaac Babel’s Red Cavalry cycle (published throughout the 1920s), held that perpetual outsider Jewish men should imitate the behaviour of a secular whole in order to be accepted. The Jewish Superman is depicted in Vladimir Jabotinsky’s “In Memory of Herzl” (1904) and Ilya Selvinsky’s “Bar Kokhba” (1920), and argues that masculine glory is entirely compatible with a proud Jewish identity, without an external standard needed. Judith Butler’s theories on gender performativity are used to analyze these diverse works, published in Hebrew, Yiddish, and Russian by authors of varying political alignments, to establish commonalities among these literary canons and plot a new spectrum of desired identities for Jewish men. / Graduate / 2020-04-10

La thèse constitue la première étude d’ensemble de l’œuvre poétique yiddish d’Élia Lévita (1469-1549) qui cherche à définir sa place dans la littérature de la Renaissance en analysant les transferts esthétiques et culturels ayant présidé à sa production. Elle situe l’œuvre vernaculaire de ce savant hébraïste, proche des humanistes chrétiens, dans les traditions poétiques juives hébraïques et yiddish et dans la logique d’une affirmation du rôle de l’écrivain et de la langue vernaculaire dans la société juive. Elle analyse également la portée des modèles extérieurs, chrétiens, en insistant sur l’inscription des romans de chevalerie de Lévita dans l’évolution générale du genre chevaleresque en Italie, et met en évidence le rôle fondamental qu’a joué l’Arioste, et en particulier le Roland furieux, dans le raffinement progressif du projet esthétique de l’auteur. Enfin, elle propose la première analyse d’un certain nombre de textes de la littérature yiddish ancienne, conservés dans des manuscrits, et fournit des arguments pour l’attribution de nouvelles œuvres à Lévita, dont un long poème satirique sur les femmes. Par son ampleur et par sa variété, l’œuvre vernaculaire d’Élia Lévita constitue non seulement la première œuvre moderne de la littérature yiddish mais aussi un cas particulièrement éclairant sur la diffusion des modèles esthétiques de la Renaissance dans des catégories ethniques (les juifs) et sociales (les classes populaires) que l’on aurait pu croire éloignées de ces mutations culturelles. / This PhD dissertation is the first study entirely dedicated to the poetical creation of Elia Levita in Yiddish (1469-1549) and aims at defining its place in Renaissance literature by proposing a detailed analysis of the esthetical and cultural transfers this work illustrates. It locates the vernacular production of this renowned Hebraist, who was acquainted with numerous Christian Humanists, inside the Yiddish and Hebrew poetical traditions and sheds light on the new functions endorsed by the writer and the vernacular language in Jewish society at the beginning of the modern era. It also discusses the influence of external – i.e. Christian – models on the poet and insists on the participation of Levita’s chivalric romances to the global evolution of this genre in Italian literature, by underlying, in particular, the essential role played by Ariost, and his Orlando Furioso, in the progressive refinement of the author poetical practice. Finally, it analyses, for the first time, some texts of Old Yiddish literature which were still buried in manuscripts, and argues for the attribution of new works to Elia Levita, among them, a long satire about women. Elia Levita’s vernacular work not only constitutes, by its size and variety, the first modern work of Yiddish literature but it is also a rich and enlightening example of the diffusion of Renaissance esthetical models inside ethnic and social groups (the Jews and popular classes) which one might have thought untouched by such cultural transformations.

This work exposes, evaluates and summarises academic and professional career of Jan Nepomuk Vaclav Zimmermann (1788-1836), who worked as a scriptor and a censor. It reviews his censoring and book-examining skills across all fields of book culture. It investigates and evaluates whether contemporary critical testimonies depict Zimmermann's rather negative character rightfully and accurately or not. Zimmermann devoted his time to examining and censoring Czech books and also Hebrew books. As a scriptor at University library, he was responsible for collecting, archiving and organizing manuscripts into catalogues. These catalogues have been filed in National Library for many years. Palaeographical analysis of the catalogues will bring in new facts concerning Zimmermann's autorship. This thesis also presents a list of Zimmermann's work with its historical critical evaluation and compares it to the recent research. Keywords: Jan Zimmermann, Manuscript Catalogues, University Library, Censorship, Censoring Hebrew Literature, Censoring Czech literature, of the Cross with the Red Star, Reformation of Catholic Church under the reign of Joseph II