In this thesis a comparison is being made between two different translations into Swedish of the Italian novel Lessico famigliare by Natalia Ginzburg from 1963. The first translation (Familjen) was published in 1981 and was made by Ingalisa Munck and the second (Familjelexikon) was made by Johanna Hedenberg and published in 2021. Due to the limited scope of the project, samples to be studied based on qualitative analysis have been chosen from the source text. The main focus has been on the strategies employed by the translators when it comes to culturespecific elements, how they have chosen to deal with dialects and idiolects in the novel, and how they have chosen to deal with foreign words in the text. Some other aspects have also been taken into account, such as rhythm and structure of the text for instance. One aim has been to see if it were possible to discern to what extent, on the basis of the chosen strategies, the translated texts could be considered as adapted to the receiving culture (strategy of acceptability) or as preserving the languageculture of the source text. However, great attention has also been directed towards other factors such as differences due to the time span between the two translations or the individuality of the translator.          The analysis has shown that both of the translators show tendencies to move between the above-described attitudes toward the original text, but that the translation by Munck from 1981 shows less adherence to the original text and a more open attitude to freer translation alternatives. The most obvious example of this is the total restructuring of portions of the source text, reconstruction of sentences and formation of new paragraphs. The translation by Hedenberg demonstrates a will to adhere the source text in all these respects, sometimes also replicating its musicality, rhythm and alliterations. However, as shown by the comparison between individual examples, elements of the two attitudes can be found in both translations. It is not possible to reach a full conclusion based on a qualitative analysis.           Furthermore, the rendition of foreign words suggests that the translators have been working with different types of model readers in mind: Munck with a reader that values the mixing of languages in the novel and the rendering of the bourgeoise Italian culture of the Levi family (and/or with a greater comprehension of French) and Hedenberg with a reader with a greater interest in understanding the text without being disturbed by elements of French in the dialogue – and/or with a lesser knowledge of the French language.          Based primarily on the treatment the word “negro”, observations were made about the ageing of translations and the taboos they can reveal in a specific culture.

Este estudo parte de características das narrativas da escritora italiana Natalia Ginzburg (1916-1991) sublinhadas pela crítica especializada, como a abordagem de temas cotidianos, a presença de personagens embotados, a inexistência de atos melodramáticos e a ausência de grande tensão narrativa. O estilo da escritora é apresentado pela crítica como simples e direto, ocupando lugar secundário nas análises. Por isso, o objetivo central deste estudo é realizar uma análise estilística da obra de Natalia Ginzburg, destacando as técnicas narrativas empregadas. Para embasar esta abordagem discute-se o conceito de estilo simples proposto por Enrico Testa; os conceitos de sfondo, primo piano, ritmo narrativo, rilievo narrativo e tensão narrativa propostos por Harald Weinrich; e os conceitos de sumário narrativo e cena propostos por Norman Friedman. O estudo detalha a presença destas técnicas narrativas em dois romances de Natalia Ginzburg, Lessico famigliare e Le voci della sera, e as utiliza como principal forma de interpretação das narrativas da escritora. / This research starts with characteristics of Italian writer Natalia Ginzburg\'s (1916-1991) narratives highlighted by specialized critics, such as focus on everyday themes, the presence of blunted characters, lack of melodramatic acts, and the absence of narrative tension. The specialized critics presents the writer\'s style as simple and direct, holding a secondary position in the analyzes. Therefore, the central purpose of this research is to perform a stylistics analysis of Natalia Ginzburg\'s work, highlighting the narrative techniques adopted. To perform this approach the research discusses the concept of simple style by Enrico Testa; the concept of sfondo, primo piano, ritmo narrativo, rilievo narrativo and narrative tension proposed by Harald Weinrich; and the concept of summary narrative and scene proposed by Norman Friedman. The research details the presence of these narrative techniques in two novels, Lessico famigliare and Le voci della sera, and use them as main form of interpretation of the writers narratives.

Este estudo parte de características das narrativas da escritora italiana Natalia Ginzburg (1916-1991) sublinhadas pela crítica especializada, como a abordagem de temas cotidianos, a presença de personagens embotados, a inexistência de atos melodramáticos e a ausência de grande tensão narrativa. O estilo da escritora é apresentado pela crítica como simples e direto, ocupando lugar secundário nas análises. Por isso, o objetivo central deste estudo é realizar uma análise estilística da obra de Natalia Ginzburg, destacando as técnicas narrativas empregadas. Para embasar esta abordagem discute-se o conceito de estilo simples proposto por Enrico Testa; os conceitos de sfondo, primo piano, ritmo narrativo, rilievo narrativo e tensão narrativa propostos por Harald Weinrich; e os conceitos de sumário narrativo e cena propostos por Norman Friedman. O estudo detalha a presença destas técnicas narrativas em dois romances de Natalia Ginzburg, Lessico famigliare e Le voci della sera, e as utiliza como principal forma de interpretação das narrativas da escritora. / This research starts with characteristics of Italian writer Natalia Ginzburg\'s (1916-1991) narratives highlighted by specialized critics, such as focus on everyday themes, the presence of blunted characters, lack of melodramatic acts, and the absence of narrative tension. The specialized critics presents the writer\'s style as simple and direct, holding a secondary position in the analyzes. Therefore, the central purpose of this research is to perform a stylistics analysis of Natalia Ginzburg\'s work, highlighting the narrative techniques adopted. To perform this approach the research discusses the concept of simple style by Enrico Testa; the concept of sfondo, primo piano, ritmo narrativo, rilievo narrativo and narrative tension proposed by Harald Weinrich; and the concept of summary narrative and scene proposed by Norman Friedman. The research details the presence of these narrative techniques in two novels, Lessico famigliare and Le voci della sera, and use them as main form of interpretation of the writers narratives.

Le thème des relations familiales est récurrent dans les œuvres de Natalia Ginzburg et de Marguerite Duras car il leur offre un cadre leur permettant d’interroger deux éléments de la construction narrative : la structure de l’œuvre et la syntaxe narrative.Cependant la singularité de leurs œuvres littéraires réside moins dans la reconstitution de vies familiales, que dans « l’image parlante » qu’elles en donnent. En effet, les deux romancières interrogent la réalité familiale comme lieu de remise en cause du langage. À travers les incompréhensions et les maux de la vie familiale, elles dénoncent en fait un phénomène qui dépasse le cadre restreint de la famille : l’inauthenticité du langage quotidien. Premièrement, il s’agit, dans cette étude, d’observer en quoi Natalia Ginzburg et Marguerite Duras refusent l’ordre narratif traditionnel lorsqu’il leur faut représenter le chaos de la vie familiale. Deuxièmement, nous montrons comment elles opérèrent une reconstitution du monde passant, d’un côté, par la création de liens de causes à effets entre les événements, et de l’autre, par l’entrée en crise du langage. Troisièmement, nous observons pour finir comment la recherche de l’unité familiale conduit les deux auteures à subvertir les normes du langage littéraire pour retrouver, dépasser et même abolir, le temps passé perdu. En somme, ce travail de recherche, effectué dans la cadre d’une cotutelle de thèse entre l’Université Lumière Lyon2 et l’Università degli studi di Torino a pour ambition salutaire de faire connaître un peu plus qu’elles ne le sont déjà, les œuvres de Natalia Ginzburg en France et celles de Marguerite Duras en Italie. / The theme of family relationships is recurrent in the works of Natalia Ginzburg and Marguerite Duras because it offers them a framework to question at least two elements of narrative construction: the structure of the work and the narrative syntax.However, the peculiarity of their literary works lies less in the description of family lives than in "the talking image" that they provide of these lives. Indeed, the two novelists look at the family as a means to question language. Through the misunderstandings and pains of family life, they emphasize in fact a phenomenon that goes beyond the narrow limits of the family: the falsity of everyday language.Firstly, in this study, we observe how Natalia Ginzburg and Marguerite Duras refuse the traditional narrative order when they need to represent the chaos of family life. Secondly, we show how they perform a reconstruction of the world proceeding through the creation of cause-effect links between the events, and through the breakdown of language. Thirdly, we see how the search for family unity led both authors to subvert the norms of literary language to rediscover, go beyond and even destroy the lost past.This research work was carried out in the framework of a joint PhD program of the University Lumière Lyon 2 and the Università degli studi di Torino ; in addition to the academic interest that it might generate, this thesis aims at making Natalia Ginzburg's works a little better known in France and those of Marguerite Duras a little better known in Italy.

Analisi del parere di lettura come genere editoriale e come strumento utile alla storia dell'editoria, della letteratura e alla filologia. / This study explains the implications of the study of the Einaudi judgements about new manuscripts as instrument of the history of publishers, of literature and philology.

The subject of this master's thesis called Family theme in Natalia Ginzburg's works is analysis of the chosen prosaic works of one of the biggest writers of the twentieth century, concentrated on the topic of the family. The introduction is a short presentation of the author (her biographical and bibliographical data). After that there is an analysis of her most known prosaic works with the family topic and with the topic of the relations in general. It is followed by more detailed analysis of her most known novel Lessico famigliare. In the final part, the work is concentrated on the biography of Manzoni's family in La famiglia Manzoni.