Given its early connection to western science fiction, it is not entirely surprising that contemporary Chinese science fiction (csf) frequently references the "west" in general and Greek mythology in particular. The three works that I analyze in this paper are Xia Jia's "Psychology Game," Gu Shi's "Chimera," and Egoyan Zheng's The Dream Devourer. These three texts utilize Greek mythology in different ways, to different degrees, and with different purposes, and yet they all use Greek mythology to visually disrupt their respective texts. Xia Jia ends "Psychology Game" with a direct Greek-language quotation. Throughout "Chimera," Gu Shi quotes Chinese translations of Greek texts. Finally, in The Dream Devourer, Egoyan Zheng's references to Greek myth are more playful and extensive. Although Zheng names certain significant characters in his novel after figures in Greek mythology, the connections to those figures are rarely explicit and are often twisted or inverted. By analyzing these three texts together we can more clearly see the overarching connection that Greek mythology has to contemporary csf. Although multilingual references are not new to Chinese literature, the Greek references commonly found in csf are likely foreign not only to their Chinese-language audience, but to their Anglophone audience as well. As such, there is a very distinct visual divide between the Chinese-language references and the Greek or Roman script in these texts. Though each script remains clearly discernable, they are connected by the interweaving of the languages and by the text itself, the final result being a literary "cyborg" that unites supposedly binary aspects of "East" and "West." As Donna Haraway claims in her "Cyborg Manifesto," the cyborg represents the rejection of rigid binaries and two-word definitions. She claims, "We are cyborgs. The cyborg is our ontology; it gives us our politics. The cyborg is a condensed image of both imagination and material reality" (50). By combining Greek, Roman, and Chinese scripts these authors simultaneously represent and complicate the dichotomy of "East" and "West," acknowledging how these supposedly distinct cultures have blended.

Since GDPR was introduced back in 2018, it has become the major tool for protection ofpersonal data within the EU. However, the framework has been seen to impede innovation.Startups are characterized as both striving for innovation, but also being dependent oncollaborations for the purpose of progress. This thesis aims at exploring how startups translateGDPR, that is how they have chosen to design and fit the framework into the operation, howthey perceive that the translation design has affected their collaborations, and lastly howstartups understand GDPR as a framework. The study finds that due to resource scarcity andfuture uncertainty, startups translation of GDPR will vary from every situation. The empiricalmaterial did not reveal any perceptions of the GDPR translation negatively impacting startups’collaborations; however, it was perceived that the translation of the framework may facilitatecounterparts’ willingness to enter a collaboration with the startup. Lastly, GDPR was perceivedto be rather vague, allowing it to more easily to be translated by the startup companies.

Given its early connection to western science fiction, it is not entirely surprising that contemporary Chinese science fiction (csf) frequently references the "west" in general and Greek mythology in particular. The three works that I analyze in this paper are Xia Jia's "Psychology Game," Gu Shi's "Chimera," and Egoyan Zheng's The Dream Devourer. These three texts utilize Greek mythology in different ways, to different degrees, and with different purposes, and yet they all use Greek mythology to visually disrupt their respective texts. Xia Jia ends "Psychology Game" with a direct Greek-language quotation. Throughout "Chimera," Gu Shi quotes Chinese translations of Greek texts. Finally, in The Dream Devourer, Egoyan Zheng's references to Greek myth are more playful and extensive. Although Zheng names certain significant characters in his novel after figures in Greek mythology, the connections to those figures are rarely explicit and are often twisted or inverted. By analyzing these three texts together we can more clearly see the overarching connection that Greek mythology has to contemporary csf. Although multilingual references are not new to Chinese literature, the Greek references commonly found in csf are likely foreign not only to their Chinese-language audience, but to their Anglophone audience as well. As such, there is a very distinct visual divide between the Chinese-language references and the Greek or Roman script in these texts. Though each script remains clearly discernable, they are connected by the interweaving of the languages and by the text itself, the final result being a literary "cyborg" that unites supposedly binary aspects of "East" and "West." As Donna Haraway claims in her "Cyborg Manifesto," the cyborg represents the rejection of rigid binaries and two-word definitions. She claims, "We are cyborgs. The cyborg is our ontology; it gives us our politics. The cyborg is a condensed image of both imagination and material reality" (50). By combining Greek, Roman, and Chinese scripts these authors simultaneously represent and complicate the dichotomy of "East" and "West," acknowledging how these supposedly distinct cultures have blended.

Sammandrag Denna studie behandlar Corporate Social Responsibility (CSR) inom den svenska banksektorn, en sektor där ansvarsfrågor traditionellt inte uppmärksammats då banker inte ansetts ha stor inverkan på samhälls- och miljöproblem. Företag generellt förväntas idag aktivt arbeta med CSR-frågor, dock förekommer en strategi att kommunicera CSR istället för att agera, i syfte att stärka legitimiteten i varumärket. Studien belyser frågor kring CSR inom banksektorn, då det idag finns indikationer på att även banker måste arbeta med frågorna. Studien undersöker varför SEB, en av Sveriges storbanker, arbetar med CSR, hur de anpassar CSR till sin unika verksamhet och hur de väljer att kommunicera arbetet i syfte att skapa sig förtroende och legitimitet gentemot omvärlden. För att undersöka detta har en kvalitativ fallstudie genomförts, med intervjuer på SEB och Svenska Bankföreningen. De slutsatser som dras av studien är att det idag finns tendenser som visar att CSR blivit en institutionaliserad norm inom bankväsendet. SEB strävar efter att integrera hållbarhetsarbetet i sin kärnverksamhet för att uppnå långsiktighet. Resultaten visar även att SEB kommunicerar sitt hållbarhetsarbete med försiktighet. Samtidigt rapporterar hållbarhetsteamet till kommunikationschefen, något som tyder på att frågan är viktig ur ett kommunikations- och imageperspektiv. / Abstract Purpose: This study aims at analyzing Corporate Social Responsibility (CSR) in the financial sector. CSR has been under debate and companies are expected to manage their businesses responsibly. Companies’ tendency to communicate about, but not act in these questions have been discussed and criticized. Companies often see CSR as a communicational issue and as a strategy to build a legitimate brand. The financial sector has not been subject for these kinds of discussions since they are not considered to have a great impact on societal issues, especially not environmental issues. Therefore, this study aims at shedding new light on CSR-issues in the financial sector, since today there are indications that also banks should pay attention to these questions. By studying one of Sweden’s four major banks, SEB, the authors examine why SEB works with CSR, how they translate CSR to fit their unique business, and how they communicate their CSR-commitments to gain trust and legitimacy. Method: To examine this, a qualitative case study has been made, and a semi-structured interview method has been used to collect material. This method has been supplemented with secondary material like annual reports and other. Results: In conclusion, the authors see proof that CSR has been institutionalized within the banking sector. SEB has put much emphasis on integrating their sustainability commitments into their core business, both by integrating responsibility aspects into the daily activities, and by developing concrete projects with responsibility profiles. This is done to create a long-term sustainable platform on which SEB:s business can grow. The results also show that SEB communicate their sustainability commitments with caution. However, the sustainability team reports to the chief of communications, which suggests that this question is of importance from a communications- and brand image perspective. Their strategy to “act first, talk after”, is a strategy that can be successful from a legitimacy point of view.

Drama translation is an area in the discipline of Translation Studies that has been neglected compared with the translation of other literary texts, especially in the South African context. This dissertation contributes to this neglected area by exploring to what extent and how the principles associated with foreignisation, dynamic equivalence and shift theory can aid in the process of translating a literary text, specifically a dramatic text, from Afrikaans into English. This dissertation also discusses translation challenges specific to the translation of the source text, Deon Opperman’s Kaburu, from Afrikaans into English. The source text, Kaburu, was selected because of the playwright’s interesting use of the Afrikaans language and the numerous culture-specific references in the text. In addition, it was theorised that a larger global audience would be able to relate to the international themes of identity and migration while being exposed to themes pertaining to socio-political issues that are prevalent in contemporary South Africa, such as crime, land disownment, name changes and political programs to redress the injustices of the past. In order to retain the culture-specific nature of the text, the decision was made to produce a foreignised translation of the source text. Numerous examples of challenges encountered during the production of the target text are provided and discussed. The examples and discussions provided demonstrates that the theoretical concepts of equivalence, domestication and foreignisation and shift theory can be useful tools in analysing and producing solutions for dealing with challenging translation in a literary translation between Afrikaans and English. / MA (English), North-West University, Potchefstroom Campus, 2014

Drama translation is an area in the discipline of Translation Studies that has been neglected compared with the translation of other literary texts, especially in the South African context. This dissertation contributes to this neglected area by exploring to what extent and how the principles associated with foreignisation, dynamic equivalence and shift theory can aid in the process of translating a literary text, specifically a dramatic text, from Afrikaans into English. This dissertation also discusses translation challenges specific to the translation of the source text, Deon Opperman’s Kaburu, from Afrikaans into English. The source text, Kaburu, was selected because of the playwright’s interesting use of the Afrikaans language and the numerous culture-specific references in the text. In addition, it was theorised that a larger global audience would be able to relate to the international themes of identity and migration while being exposed to themes pertaining to socio-political issues that are prevalent in contemporary South Africa, such as crime, land disownment, name changes and political programs to redress the injustices of the past. In order to retain the culture-specific nature of the text, the decision was made to produce a foreignised translation of the source text. Numerous examples of challenges encountered during the production of the target text are provided and discussed. The examples and discussions provided demonstrates that the theoretical concepts of equivalence, domestication and foreignisation and shift theory can be useful tools in analysing and producing solutions for dealing with challenging translation in a literary translation between Afrikaans and English. / MA (English), North-West University, Potchefstroom Campus, 2014

Despite the fact that Massive Open Online Courses (MOOCs) have been seen as a new global education phenomenon over the last decade, MOOCs are still in the early stage of its development in Sweden. MOOCs are being adopted into the Swedish context through the application of translation theory. This process of translation has been a slow process in Sweden.  The aim of this thesis is to describe how a global idea is translated to Swedish context, and explore the reasons behind the slow pace of that process in that country, thus contributing to empirical research of the role of actors in the process of translating an idea. Why and how does a university respond to an emerging global idea? In the process of translating and spreading the MOOCs phenomenon at Swedish HEIs, what has been the role of various actors, and their activities involved in this process? Qualitative research is based on one case study, with abductive reasoning.  The translation of MOOC in Sweden is an active, complicated process, and involves a number of actors such as professors, researchers, government, education authorities and students whose activities actively edit, contextualize, and circulate the concept of MOOCs into Swedish HEIs. The findings indicate that the translation process is still slow and undirected due to the lack of support for management and leadership at all levels. However, indicators are that MOOCs will eventually be fully implemented at Swedish Higher Education Institutions, and will be developed as a national platform in Sweden.

Syftet med denna studie är att undersöka hur Scania har gått tillväga vid översättning av Lean samt hur organisationen håller denna reform vid liv. Det började på sent 80-tal då Scania hade hög personalomsättning som ledde till sjunkande kvalite och missnöjda kunder. Ledningen på Scania skickade en grupp till Toyota för att ta inspiration och kunskap om hur Toyota arbetade med Lean. Vilket resulterade i att Scania påbörjade sitt första Lean projekt. Det första Lean projektet utvecklades vidare vilket resulterade till slut i Scania production system som är Scanias version av Lean. Ända sedan 90-talet har Scania arbetet utifrån Lean och för att det aldrig ska prioriteras bort och glömmas bort har Scania en del metoder som de arbetar med för att ständigt hålla Lean vid liv. Bland annat punkt ronder, standardiserat ledarskap och ständig utveckling av Scaniahuset som är en illustration av Scania production system. Studien är en fallstudie och genomfördes genom semistrukturerade intervjuer på en tillverkande avdelning på Scania, även interna dokument analyserades i syfte att få en mer nyanserad uppfattning av Scaniahusets delar och punktronder. Vi har utgått ifrån översättningsteori samt tidigare forskning om Lean vid utformning av frågebatteri samt vid analysering av den insamlade data. / The purpose of this study is to examine how Scania has proceeded in the translation of Lean and how the organization keeps this reform alive. It started in the late 80s when Scania had high staff turnover that led to declining quality and customer satisfaction. The management at Scania sent a group to Toyota for inspiration and acquire knowledge about how Toyota worked with Lean. This resulted in Scania starting its first Lean project. The first Lean project was further developed, which ultimately resulted in the Scania production system, which is Scania's version of Lean. Ever since the 90s, Scania’s work has been Lean based and for it to never be deprioritized and forgotten, Scania has some methods that they work with to keep Lean alive. For instance, rounds, standardized leadership and constant development of the Scania house which is an illustration of Scania production system. This case study was conducted through semi-structured interviews at a manufacturing department at Scania. Internal documents were also analyzed in order to gain a more nuanced view of Scania’s various parts and rounds. We, when designing our questions and in the analysis of the collected data, have our basis in a translation theory and previous research on Lean.

Este estudo combina as áreas de Teoria da Tradução e Estudos da Imagem, propondo a análise da ilustração literária como um tipo de tradução (intersemiótica) do texto, nos livros ilustrados. Para tanto, a ilustração é primeiramente visualizada na sua relação com a literatura. São discutidos os tipos de associação em que a imagem pode incorrer com o texto, a maneira como os elementos imagéticos são utilizados na construção significativa, os princípios que regem a representação visual e a função da ilustração no livro ilustrado, para que se possam estabelecer os parâmetros para a sua consideração como tradução. Desse modo, na parte intermediária do estudo, as ilustrações são visualizadas essencialmente na condição de tradução e são sugeridos os fundamentos que a estabelecem como tal e as principais maneiras por meio das quais podem traduzir o texto. Na parte final, os resultados são aplicados às ilustrações em obras traduzidas do corpus de pesquisa, selecionadas entre os clássicos ilustrados da literatura em língua inglesa. / This study involves the fields of translation studies and visual studies, suggesting an analysis of book illustration as a form of (intersemiotic) translation of the text in illustrated books. Firstly, it examines book illustration in its relationship to literature, by discussing the types of association in which they can engage, the ways through which pictorial elements are used in meaningful constructions, norms guiding visual representation and the function of illustration. This is aimed especially at establishing the grounds for viewing illustration as translation. In the second section of the study, illustration is examined exclusively as translation, by discussing the reasons why it can be regarded as such and the ways through which the pictures translate the text. In the final section, the results are applied to book illustrations in translated versions of the works under consideration, which include well-known illustrated novels originally written in English.

Este estudo combina as áreas de Teoria da Tradução e Estudos da Imagem, propondo a análise da ilustração literária como um tipo de tradução (intersemiótica) do texto, nos livros ilustrados. Para tanto, a ilustração é primeiramente visualizada na sua relação com a literatura. São discutidos os tipos de associação em que a imagem pode incorrer com o texto, a maneira como os elementos imagéticos são utilizados na construção significativa, os princípios que regem a representação visual e a função da ilustração no livro ilustrado, para que se possam estabelecer os parâmetros para a sua consideração como tradução. Desse modo, na parte intermediária do estudo, as ilustrações são visualizadas essencialmente na condição de tradução e são sugeridos os fundamentos que a estabelecem como tal e as principais maneiras por meio das quais podem traduzir o texto. Na parte final, os resultados são aplicados às ilustrações em obras traduzidas do corpus de pesquisa, selecionadas entre os clássicos ilustrados da literatura em língua inglesa. / This study involves the fields of translation studies and visual studies, suggesting an analysis of book illustration as a form of (intersemiotic) translation of the text in illustrated books. Firstly, it examines book illustration in its relationship to literature, by discussing the types of association in which they can engage, the ways through which pictorial elements are used in meaningful constructions, norms guiding visual representation and the function of illustration. This is aimed especially at establishing the grounds for viewing illustration as translation. In the second section of the study, illustration is examined exclusively as translation, by discussing the reasons why it can be regarded as such and the ways through which the pictures translate the text. In the final section, the results are applied to book illustrations in translated versions of the works under consideration, which include well-known illustrated novels originally written in English.