<p>Uppsatsen ingår i kursen Skapande svenska C, 30 hp,inom ämnet Litteraturvetenskap vid Umeå universitet</p>

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The aim of this dissertation is to examine how the lyrical subject is presented in Tomas Tranströmer’s poetry and prose.  Crucial concepts such as the lyrical subject, autobiography, and the memoir are thoroughly discussed and defined based on modern research. The first chapter is devoted entirely to Tranströmer’s prose. Unlike previous studies, this dissertation seeks to establish the genre to which the poet’s memoirs belong. The comparative analysis I use in my dissertation enables us to see both the differences and the similarities in the way that Tranströmer presents the lyrical subject in his prose and poetry. I have taken into account the motifs used by Tranströmer in his memoirs as well as in his poetry. The next chapter discusses the Swedish reception of modernism, a literary movement, which also according to Tranströmer himself, greatly influenced his literary debut in Sweden in the 1950s. The subsequent chapters of my dissertation are devoted to an analysis of Tomas Tranströmer’s poems, which I classify on the basis of how they express the lyrical subject. I analyze both the way the lyrical subject is expressed and its place in the poem. Even though Tomas Tranströmer often uses his own experiences in his works, he transforms them in order to make them more universal. Thus, the lyrical subject is not identical with the poet himself. At the same time, the way the lyrical subject is expressed in a poem highlights its personal character. In the conclusion of the dissertation it is argued that further research is needed to establish whether the selection of Tomas Tranströmer's poems made by the editors of various anthologies may have influenced the reception of his poetry as being objective and impersonal.

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Zusammengefasst lässt sich sagen, dass ein klar überwiegender Teil der Übersetzungen in der ZS Eins-zu-Eins-Entsprechungen sind. Die enge sprachgeschichtliche Verwandtschaft des Schwedischen mit dem Deutschen zeigt sich hier sehr deutlich. Ein kleinerer Anteil sind Einszu-Viele-Entsprechungen. Es gibt deshalb Eins-zu-Viele-Entsprechung, da es in der AS oft viele Entsprechungen für ein Wort/Substantiv in der ZS gibt. Zum Beispiel haben wir das Verb „se“ im Schwedischen, was man im Deutschen mit „sehen“, „gucken“, „schauen“ oder „blicken“ usw. übersetzen kann. Es kommt auf den Zusammenhang an, in welchem Kontextdas Wort steht und welchen Übersetzungsstil der Übersetzer/ die Übersetzerin wählt, wenn er/sie auf die verschiedenen Äquivalenzforderungen Rücksicht nimmt, wie z.B. Reim oder Alliteration. In den untersuchten Texten habe ich einige Fehler bzw. Abweichungen gefunden. Es handelt sich nicht um schwerwiegende Fehler, sondern eher um Kompromisse, damit sich der Textflüssiger liest. Gelegentlich muss man sehen, welches Wort besser passt, um bei derÜbersetzung pragmatische und formale Äquivalenzforderungen erfüllen zu können. Ich habe lediglich eine Hinzufügung gefunden, die im Grunde genommen eine kontextbezogeneVerdeutlichung ist.

The purpose of this study is to explore how memory functions ecologically in the poetry of Tomas Tranströmer. The term ecology is useful because of its connotative associations with the natural world as well as its broader definition of being a network of relationships as they function within and relate to their environment. Throughout his oeuvre, Tranströmer positions memory as being an external presence with which he interacts primarily because he honors it as a living being and he feels a poetic responsibility to it. As such, he grapples with the challenges of representation, particularly the limitations of language. Ultimately, he employs an ecopoetic strategy in honoring his duty to memory and creating poems that are themselves ecological milieux in which such memories can live on.