This essay focuses on the cultural aspects of translation, mainly on the cultural-specific elements known as realia, when translating from Italian to Swedish. As the realia might be unknown to the reader of the target text and as they often have no exact correspondence in the target language, they often pose a challenge for the translator. The essay examines which strategies the translator has used to translate cultural-specific elements and the question is raised whether the translation, regarding the cultural aspects, is orientated towards the source culture (adequacy-orientated) or towards the target culture (acceptability-orientated). Three of the Neapolitan Novels written by pseudonymous Elena Ferrante, Storia del nuovo cognome (2012), Storia di chi fugge e di chi resta (2013) and Storia della bambina perduta (2014), serve as source text of the analysis. The Neapolitan setting of the novels make them specifically suitable for a study of cultural-specific elements. The study is qualitative and complemented with a quantitative part. It is based on Osimo’s (2011) strategies for the translation of realia. The analysis reveals that cultural-specific elements of the source text tend to be replaced with more generic and international expressions. Prioritizing the narrative over cultural-specific elements the translation shows a tendency towards acceptability.

Detta konstnärliga examensarbete är ett försök att som pianist nå en fördjupad förståelse för Franz Schuberts Drei Klavierstücke (D.946). Verket komponerades under Schuberts dödsår 1828 men var det i mars eller maj? Syftet är att framföra Drei Klavierstücke på bästa möjliga sätt. Det utförs genom kontextualisering av Schubert liv och en fördjupad analys av hans musik samt jämförelser av olika partiturutgåvor, finnandet och problematiseringen utav Schuberts huruvida verket skrivs i mars eller maj, samt att erhålla djuplodade kunskaper som underlag för att skapa minnesvärda associativa titlar. Därigenom kan jag bättre visualisera inom mig det som ska spelas. Med andra ord, den konstnärliga gestaltningen byggs därmed upp genom min visualisering av verket i min instudering. De första två styckena i Drei Klavierstücke hänger utan tvekan ihop med varandra (Leisinger, et al., 2015) och därför har jag valt att framföra dessa två på min examenskonsert. I studien vill jag ändå skapa associativa titlar till alla tre styckena. Med en konstnärlig metod samt litterära kunskaper på tyska, engelska och svenska skapade jag de associativa namnen. Dessa redovisas i studiens resultatkapitel, med originalspråk på tyska: Reise in Jenseits in Drei Teilen, 1. Lebensende, 2. Jenseits, 3. Himmelstür. Emellertid skapades även översättning på svenska: 1. Livetsslut, 2. Efterlivet, 3. Pärleporten. Gällande mars eller maj lämnar förlagens svar på detta öppet. Enligt dem stavades maj som M-A-Y. Schubert talade sannolikt engelska då han tidigare arbetat som hjälplärare. Det verkar ändå konstigt att ange månaden på engelska i ett dokument som i övrigt författades på tyska? / This artistic thesis is an attempt to reach a deeper understanding of the piano pieces Drei Klavierstücke (D.946) composed by Franz Schubert in 1828, but was it in March or May? The aim is for me as a pianist to perform Franz Schubert's Drei Klavierstücke in the best possible way. It is carried out through contextualization of Schubert's life and an in-depth analysis of his music as well as comparisons of different score editions, the finding and problematization of Schubert's writing of May or March, as well as obtaining deep knowledge as a basis for creating memorable associative titles. This way I can better visualize a representation of the work in my rehearsal. The first two pieces of Drei Klavierstücke are undoubtedly related to each other (Leisinger, et al., 2015) and therefore I have chosen to perform these two at my graduation concert. In the study, I still want to create associative titles for all three pieces. With a poetic method and literary knowledge in German, English and Swedish, I created the associative names. These are reported in the result chapter of the study, with original language in German: Reise in Jenseits in Drei Teilen, 1. Lebensende, 2. Jenseits, 3. Himmelstür. However, an English and a Swedish translation was also created: 1. End of Life, 2. Afterlife, 3. Heaven’s Gate. Regarding March or May, the publisher's answer to this is left open. According to them, May was spelled M-A-Y. Schubert, who was previously an assistant teacher, certainly spoke English. However, why would he do that in a document that was otherwise written in German? / <p>Repertoar:</p><p>Leoš Janáček (1854 – 1928)”På en övervuxen stig”, Serie I1. Våra kvällar (Naše večery)2. Ett bortblåst löv (Lístek odvanutý)4. Madonnan av Frydek (Frýdecká panna Maria)</p><p>Franz Schubert (1797 – 1828)Drei Klavierstücke, D.946 posth.I. Allegro assai, ”Lebensende, The End of Life, Livetsslut.”II. Allegretto, “Jenseits, Afterlife, Efterlivet.”</p><p>Wilhelm Stenhammar (1871 – 1927)Tre fantasier för piano, Op. 11.Nr. 1 Molto appassionato</p><p>Paus</p><p>Frédéric Chopin (1810 – 1849)Ballad Nr. 3, Ass dur, Op. 47  </p><p>Robert Schumann (1810 – 1856) arr. Franz Liszt (1811 – 1886)Liebeslied (Widmung), S. 566.Ur: Myrthen op. 25   </p><p>Ludwig van Beethoven (1770 – 1827)ur: Sonat Nr. 21 C-Dur Op.53II. Introduzione: Adagio moltoIII. Rondo. Allegretto moderato — Prestissimo</p><p>- - -</p><p>Medverkande: Daniel Chun, piano.</p><p>Georg Asplund, KMH lärarstudent inriktining musik och mediaproduktion,  uppgift: videofilm.</p><p>Axel Wokander, KMH klassisk musik pianostudent, uppgift: bild projektor keynote.</p><p>- - -</p><p>Keynote presentation som visades på storskärm, innehöll namn på repertoar för publikens skull.</p><p>- - - </p><p>Videofilm på konserten, togs från inifrån scenen och fångar även publiken förutom vänster sida av pianisten Daniel Chun och pianot.</p>

Because of the recent ban on a Bible translation, in part because of the renderingof God’s name as Jehovah, this thesis analyses what can be learned on the topic of the attitude in Russia towards that name from a historic viewpoint. Early occurrences of the name within the Russian Orthodox Church, as well as examples of prominent authors’ usage of the name in the secular literary sphere, are being discussed. Particular interest is paid to the literature of the 19th century, in an attempt to determine what knowledge the authors had access to, as well as to establish how familiar this rendering of the name was to the society. The analysis continues with literary examples from the 20th century, searching for indications that could reveal the time and possible reason for the altered connotations to the name. My interest is the cultural and historical perspective on the awareness of the name, whether it was a natural part of the cultural and religious heritage or not. And if it was – when and why was the general public deprived of that heritage?I believe that this interdisciplinary approach can provide a valuable picture, impossible to gain if the discussion would have been solely about religiousminorities’ rights.