This study investigates the use of different strategies for translating puns in Alice’s Adventures in Wonderland. The material chosen for this study consist of the two Swedish translations by Nonnen (1870/1984) and Westman (2009). Six puns were selected for the analysis which greatly relies on Delabastita’s (1996) eight strategies for translating puns, and Newmark’s (1988) translation methods. The analysis shows that Westman empathises with the readers of the TT while Nonnen empathises with the ST. This entails that Westman tends to use a more ‘free’ translation and is more inclined to adapt the ST puns to make them more visible for the readership of the TT. The priority for Nonnen, on the other hand, is to remain faithful to the contextual meaning of the ST. Paradoxically, to be faithful to the ST does not necessarily entail that the translator respects the semantic aspects of the ST, but that they adapt the culture of the ST to better fit the cultural and linguistic framework of the TL. Since Westman adapts the ST puns so that they are still recognised by the reader of the TT, her translation appears to be more suitable for the TL readership than Nonnen’s.

<p>The purpose of this study is to present and analyze the translation of seven selected concessive conjuncts – anyway, however, although, though, still, nonetheless and yet – in Dan Brown’s novel Angels and Demons translated by Ola Klingberg, by means of a comparative method combined with a qualitative analysis. Background and theory are mainly based on Altenberg (1999, 2002) for the conjuncts and Ingo (1991) for translation strategies. The aim is fulfilled by answering the three research questions: 1. How does Klingberg translate the seven selected concessive conjuncts into Swedish? 2. What factors influence the choice of translation alternative? 3. What kinds of strategies does Klingberg use? The main result is that the conjuncts translate into many different alternatives, although most frequently into the Swedish adversative men, followed by a Swedish concessive like ändå. However, the analysis of anyway is inconclusive because there were not enough tokens. The main conclusion is that translation is a difficult area to be involved in since numerous aspects affect the choice of translation alternative, even though it is shown that it is definitely possible to translate more or less ‘correctly’. A second conclusion is that some words are more likely to be translated with a particular word than others.</p>

The purpose of this study is to present and analyze the translation of seven selected concessive conjuncts – anyway, however, although, though, still, nonetheless and yet – in Dan Brown’s novel Angels and Demons translated by Ola Klingberg, by means of a comparative method combined with a qualitative analysis. Background and theory are mainly based on Altenberg (1999, 2002) for the conjuncts and Ingo (1991) for translation strategies. The aim is fulfilled by answering the three research questions: 1. How does Klingberg translate the seven selected concessive conjuncts into Swedish? 2. What factors influence the choice of translation alternative? 3. What kinds of strategies does Klingberg use? The main result is that the conjuncts translate into many different alternatives, although most frequently into the Swedish adversative men, followed by a Swedish concessive like ändå. However, the analysis of anyway is inconclusive because there were not enough tokens. The main conclusion is that translation is a difficult area to be involved in since numerous aspects affect the choice of translation alternative, even though it is shown that it is definitely possible to translate more or less ‘correctly’. A second conclusion is that some words are more likely to be translated with a particular word than others.

<p>This essay is a qualitative descriptive translation study concerning two translations of Shakespeare’s Romeo and Juliet into Swedish. The purpose of the study is to investigate the translational behaviour of the translators and the translation norms that govern this behaviour.</p><p>By thoroughly analysing stretches of the play, the study will attempt to locate translation shifts (linguistic changes) that occur in the translation from the source text to the target text. These changes are connected with the translators’ fidelity towards e.g. the metre of the verse or the sense transfer of puns. The analysis also comprises a survey of the translation norms that the translators adhere to. These norms, stated by the translators themselves, are connected to their translation approach. Thus, the study will reveal the differences of translation behaviour and analyse them from a wider perspective. The translations were made around 1840 and in 1982, respectively. The considerable space in time in itself suggests that linguistic differences will occur. However, the study will also find differences as regards the purposes of the translations. The older translation appears to be performed in a tradition of fidelity to the written text and its literary qualities, whereas the modern translation clearly has the purpose of being used for the stage performance. The latter is stated by the translator himself, who also argues that Shakespeare is to be considered drama and not literature.</p>

The purpose of this study is to analyze two literary translations of Astrid Lindgren’s Pippi Långstrump (Lindgren, 1945) from Swedish into English.  The study compares the British and the American English translations of neologisms, nonce words and proper nouns.  The primary data chosen for this study are the Swedish children’s book Pippi Långstrump (1945), written by Astrid Lindgren, and its 1954 British translation, by Edna Hurup, as well as the 1977 American English translation, by Florence Lamborn.  The method used in this study is qualitative, and consists of an in-depth analysis of representative examples of neologisms, nonce words and proper nouns.  Three research questions aimed at finding out what translation procedures were used, whether there were any differences between the two translations, and whether there were any semantic changes in the two translations.  The conclusion is that the most common translation procedure used is equivalence.  The most distinguishing difference between the two translations is that the American English translation seems to stay more true to the original text, whereas the British translation has a greater respect for the target text reader, in the sense that it is more culturally adapted than the American English translation.  There were no major semantic changes in the samples from the two translations, with the exception of a few examples.  In conclusion, both translators manage to maintain the atmosphere of the original text.

<p>The purpose of this study is to analyze two literary translations of Astrid Lindgren’s <em>Pippi Långstrump </em>(Lindgren, 1945)<em> </em>from Swedish into English.  The study compares the British and the American English translations of neologisms, nonce words and proper nouns.  The primary data chosen for this study are the Swedish children’s book <em>Pippi Långstrump </em>(1945), written by Astrid Lindgren, and its 1954 British translation, by Edna Hurup, as well as the 1977 American English translation, by Florence Lamborn.  The method used in this study is qualitative, and consists of an in-depth analysis of representative examples of neologisms, nonce words and proper nouns.  Three research questions aimed at finding out what translation procedures were used, whether there were any differences between the two translations, and whether there were any semantic changes in the two translations.  The conclusion is that the most common translation procedure used is equivalence.  The most distinguishing difference between the two translations is that the American English translation seems to stay more true to the original text, whereas the British translation has a greater respect for the target text reader, in the sense that it is more culturally adapted than the American English translation.  There were no major semantic changes in the samples from the two translations, with the exception of a few examples.  In conclusion, both translators manage to maintain the atmosphere of the original text.<strong></strong></p><p><strong> </strong></p>

This essay is a qualitative descriptive translation study concerning two translations of Shakespeare’s Romeo and Juliet into Swedish. The purpose of the study is to investigate the translational behaviour of the translators and the translation norms that govern this behaviour. By thoroughly analysing stretches of the play, the study will attempt to locate translation shifts (linguistic changes) that occur in the translation from the source text to the target text. These changes are connected with the translators’ fidelity towards e.g. the metre of the verse or the sense transfer of puns. The analysis also comprises a survey of the translation norms that the translators adhere to. These norms, stated by the translators themselves, are connected to their translation approach. Thus, the study will reveal the differences of translation behaviour and analyse them from a wider perspective. The translations were made around 1840 and in 1982, respectively. The considerable space in time in itself suggests that linguistic differences will occur. However, the study will also find differences as regards the purposes of the translations. The older translation appears to be performed in a tradition of fidelity to the written text and its literary qualities, whereas the modern translation clearly has the purpose of being used for the stage performance. The latter is stated by the translator himself, who also argues that Shakespeare is to be considered drama and not literature.

The subject of this thesis is the translation of wordplays and cultural words in a German tourist brochure into Swedish. The overall aim was to examine which strategies were used to translate them and how the skopos, i.e. the purpose, and the text type affected these choices. Translating wordplays is known to be notoriously difficult, and this is also brought to light in this thesis. Even though 55% of the wordplays could be translated into a wordplay, 32% could not. In a few cases the strategy wordplay à related rhetorical device (for example rhyme, metaphor or irony) was used in order to retain the vocative purpose of the wordplay. A stronger way to ensure and preserve the vocative function in the target text was by using the strategy non wordplay à wordplay, a so-called compensatory strategy – a strategy sometimes deemed necessary. Cultural words are concepts that demand a certain amount of knowledge of the reader. The aim was to examine if these concepts, such as material culture (for example food and towns) and ecology, should be translated by source-text oriented, or rather by target-text oriented translation strategies. The results show that both strategies are indispensable in order to fulfil the skopos of a tourist brochure. However, the target-text oriented strategies, such as generalization and substitution, dominated with 52%. The source-text oriented strategies were used in only 38% of the cases. In some cases the cultural word was translated by an official equivalent, i.e. neither a source- nor target-text oriented strategy.

The Internet – when defined as a massive, uncontrolled database of information – is not a reliable source of information. Despite this, it has developed into the default terminology tool for most translators today. This study explores what criteria are used by translators to define website credibility and whether translation experience affects the criteria used. Three groups of differently experienced translators were asked to translate two technical texts from English to Swedish and document the websites they visited. The documentation was used as the basis for follow-up interviews, where the translators were asked to argue for their choices. The results show a significant similarity in application of criteria between student and experienced translators, indicating that other factors than experience are at play. Moreover, source text complexity does not affect the criteria used but rather to what extent research is performed. These results can be used to encourage further research into the information search behavior of translators.

This study analyses the various culture-specific items known as realia words from the Italian novel Accabadora, written by Michela Murgia (2009) and translated into Swedish by Barbro Andersson (2012). Moreover, this paper also examines the various translation strategies used in rendering the specific culture items and their grade of frequency based on Jan Pedersen’s model. Finally, this study aims at testing the validity of Pedersen’s translation strategy model mainly aimed for subtitling and audio-visual translations on a literary text. A total of 160 culture specific items were identified and further subcategorized based on Bruno Osimo’s (2011) classification of realia. The ethnographic, geographic, social-political categories as well as the Sardinian realia were mostly translated by means of source text-oriented strategies while the category of idiomatic expressions displayed a slightly different outcome in which the target-text strategies were the most predominant but still featured by source target-text oriented strategies. The most frequent translation strategy in the first category was retention and direct translation whereas in the category of idiomatic expressions, cultural substitution and paraphrase followed by retention were the most frequently used strategies. Finally, the possible reasons for the choice of source-text versus target-text oriented strategies were further discussed. / Questo studio analizza i vari termini culturospecifici conosciuti come "realia" rinvenuti nel romanzo di Michela Murgia (2009) tradotto in svedese da Barbro Andersson (2012). Inoltre, questa tesi intende esaminare le varie strategie traduttologiche adoperate in modo da rendere i realia nella traduzione in svedese e la loro frequenza basato sul modello di Jan Pedersen. L’ulteriore obiettivo di questo studio è di testare la validità del modello delle strategie traduttologiche di Pedersen, le quali sono principalmente disegnate per le traduzioni dei sottotitoli audio visivi su un romanzo letterario. Un totale di 160 termini culturospecifici sono stati individuati e categorizzati secondo la classificazione dei realia di Osimo Bruno (2011). I realia etnografici, geografici, socioeconomici insieme ai realia sardi sono stati tradotti principalmente applicando strategie rivolte verso l’adeguatezza mentre le espressioni idiomatiche hanno mostrato un risultato leggermente diverso in quanto è emersa una forte tendenza di strategie volte verso l’adeguatezza, ma allo stesso tempo caratterizzata da una forte presenza di strategie volte verso l’accettabilità. Le strategie più adoperate nella prima categoria sono risultate retention e direct translation mentre nella categoria delle espressioni idiomatiche hanno avuto la predominanza le strategie traduttologiche come cultural substitution e paraphrase seguita da retention. Infine, lo studio analizza i vari motivi di tali scelte traduttologiche rivolte verso l’adeguatezza anziché l’accettabilità.