Stanley Chapman n’est pas un traducteur ni même un écrivain très connu. Le volume de ses écrits originaux, qui sont d’ailleurs difficiles voire impossibles à trouver, et des traductions à son actif reste mince. Peut-être serait-il même passé complètement inaperçu, sauf bien sûr chez ses compères du Collège de ’Pataphysique, de l’Oulipo et de l’Outrapo, s’il n’avait pas traduit deux romans phares de l’écrivain français Boris Vian: L’Écume des jours et L’Arrache-coeur. La prose singulière de Vian l’aurait-elle incité à passer à l’acte d’écriture qui trouve justement sa source et se déploie dans l’acte du traduire ? Par ailleurs, les affinités intellectuelles que partageaient Vian et Chapman pourraient-elles aussi être en cause dans cette expérience du traduire ? Henri Meschonnic et Antoine Berman nous informent que la critique de la traduction a le pouvoir de révéler le rapport intime entre la pensée, l’écriture et la traduction. À partir de la « poétique du traduire » de Meschonnic et de « l’analytique de la traduction » de Berman, ce mémoire interroge en quoi Heartsnatcher, la traduction anglaise de L’Arrache-coeur, peut être considérée comme un acte de « traduire-écrire ». Étayée des notions de rythme et de signifiance, notre critique identifie les stratégies qui émergent de cette activité de création qu’est la traduction et par le fait même, révèle la manière particulière dont Stanley Chapman est parvenu à traduire L’Arrache-coeur. / Stanley Chapman is not a well known translator or writer. The sum of his original works, which are difficult – when not impossible – to find, and of his translations is modest. He would probably have gone completely unnoticed by the literary establishment – beyond the literary circle of the Collège de ’Pataphysique, the Oulipo and the Outrapo – had he not translated two of the French writer Boris Vian's most famous novels : L'Écume des jours (Froth on the Daydream) and L’Arrache-coeur (Heartsnatcher). Has Vian's singular prose incited Chapman to the act of writing, an activity which springs from, and unfolds in, the act of translating ? Moreover, could the intellectual affinities Vian and Chapman shared have also been a factor in this translating experience ? According to Henri Meschonnic and Antoine Berman, a translation criticism reveals the close interaction of thought, writing and translating. Using Meschonnic's « poetics of translation » and Berman's « translation analysis », this memoir will endeavour to determine how Heartsnatcher, the English translation of L’Arrache-coeur, can be considered an act of « translating-writing ». Taking into account such concepts as rhythm and significance (signifiance), our criticism will identify the crucial strategies that arise from this act of creation that is translation, and in so doing, will reveal the particular manner in which Stanley Chapman translated L’Arrache-coeur.

Ce mémoire interroge la posture d'adaptateur de Boris Vian, encore fort méconnue. En 1953, il a repris à son compte la littérature arthurienne afin d'écrire – en réponse à une commande de la part du Festival dramatique de Caen – une pièce de théâtre, Le Chevalier de Neige. Par la suite, cette pièce est devenue un opéra, produit à Nancy en 1957. Malgré le succès de ces deux spectacles, le souvenir de cette œuvre n'a pas dépassé la mort de son auteur. Il n'en reste aujourd'hui que les textes et les partitions musicales, puisqu'aucun des spectacles n'a été enregistré. L'objectif de ce mémoire est de mettre en lumière ce travail d'adaptation et de réécriture d'un auteur phare du XXème siècle, connu principalement pour ses romans et ses chansons, et qui a consacré ses dernières années à la création d'une œuvre globale alliant texte, musique et art de la scène. Qu'est-il possible de savoir sur l'entreprise du Chevalier de Neige? Quel est le poids de l'intertexte médiéval et contemporain dans ces deux réécritures? Quels furent les procédés d'adaptation mis en œuvre dans l'élaboration de cette pièce, puis de cet opéra? C'est à toutes ces questions que nous nous proposons de répondre, afin de découvrir l'importance et l'intérêt du Chevalier de Neige dans le parcours littéraire de Boris Vian. / This masters thesis questions Boris Vian's unknown role of adapter. In 1953, he wrote a play – Le Chevalier de Neige – based on Arthurian literature, at the request of the organizers of Le Festival dramatique de Caen. This play later became an opera, performed in Nancy in 1957. In spite of the success of both shows, the memory of Le Chevalier de Neige did not last. Only the texts and music scores remain because none of the performances have been recorded. Thus, the main objective of this dissertation is to highlight the adapting and rewriting process of this well known author of the XXth century, mostly famous for his novels and songs, who furthermore dedicated his last years to a total work combining text, music and staging. A few questions need to be asked. What can be known of the elaboration of Le Chevalier de Neige? What is the importance of the medieval and contemporary intertext in both rewritings? And what are the adaptation processes implemented in each of these texts, the play and the opera? This thesis attemps to answer all of these questions, so as to discover the importance as well as the interest of Le Chevalier de Neige in Boris Vian's literary life.

This Bachelor of Arts paper in Media and Communication Studies from Stockholm University examines the image of Russia in Sweden in 1986 and 1993. I studied the Chernobyl disaster in 1986 in Pripyat, Ukraine in the former Soviet Union and the crisis in the White house in Moscow in today’s Russia in 1993. The aim of this paper is to examine how the view on former Soviet Union and today’s Russia was portrayed in Sweden after the dissolution of the Soviet Union in 1991. I have analysed 20 articles from Dagens Nyheter (DN) and Svenska Dagbladet (SvD). I have used “framing” as a method for analysing the articles in relation to Swedish foreign politics and foreign journalism. My research questions are following: what kind of problems, identifying causes, moral judgements and improvements to solutions were found in the investigated articles? What differences, if any, were discovered between DN and SvD’s journalism?   The results of my study showed that DN focused on general news reporting regarding the Chernobyl disaster and Sweden’s critique to the Soviet Union and the poor maintenance of the nuclear power station in a larger extent than SvD. Sweden was the first country to reveal abroad that they had discovered nuclear radiation on Swedish soil. DN framed, among others, how the Soviet Union was incapable of solving the Chernobyl crises on their own. SvD focused on how Sweden was affected by the Chernobyl disaster and the nuclear radiation. SvD framed how the Soviet Union kept quiet during the aftermath and how the Soviets tried to “conceal” information. Both DN and SvD framed the Soviet Union as “unpredictable”. After the crisis in the White house in Moscow DN and SvD were milder in their criticism towards Russia since there was a political and journalistic hope in Sweden that Russia would become a democratic country. Swedish foreign correspondents could therefore in 1993 create their own image of Russia since the Swedish foreign policy was not as clear after the events in Moscow in 1993 as they were after the Chernobyl disaster in 1986. Both newspapers focused on how Boris Yeltsin struggled to solve the crisis and Russia was now torn between the nostalgic Soviet communism and a new democratic Russia. DN and SvD received continually information about the events taking place in Moscow and reported how Russia was torn between a new tsar Russia/a new Soviet Union and a democratic Russia.

Traducteur au pays des merveilles est une exploration de la traduction de L’écume des jours (1947) de Boris Vian. Les deux traductions du livre, Froth on the Daydream (1967) (Mood Indigo) de Stanley Chapman et Foam of the Daze (2003) de Brian Harper, font l’objet d’une comparaison portant sur les éléments propres à l’écriture de Vian. La première partie porte, de manière générale, sur les tendances des traducteurs et les critiques des textes traduits. La deuxième partie met l’accent sur les références culturelles et leurs traductions dans l’avant-propos et le premier chapitre. Ensuite, trois méthodes de création des néologismes (proposées par Jacques Bens) servent de point de départ à une exploration du langage « vianesque » dans la troisième partie. L’analyse de l’écriture de Boris Vian dans L’écume des jours ainsi que des méthodes des traducteurs, nous permet d’observer les effets de style émanant des trois textes. Traducteur au pays des merveilles explores the translation of Boris Vian’s L’écume des jours (1947). The two translations of the book, Froth on the Daydream (1967) (Mood Indigo) and Foam of the Daze (2003), are compared here in regards to particular elements of Vian’s writing. The first part examines in a general manner, the tendencies of the translators and the critique of the translated texts. The concentration of the second part is on the cultural references from the foreword and the first chapter as well as their translations. Three methods for creating neologisms (put forth by Jacques Bens) then serve as a starting point for the exploration of the “vianesque” language in the third part. By analysing Boris Vian’s writing in L’écume des jours as well as the methods of the translators, we are able to observe the stylistic effects that are produced by the three texts. / Graduate / 0290 / 0679 / angus.celine@gmail.com

1991年底蘇聯的解體，使得俄羅斯的政治體制由一黨專政走向多元民主，其經濟體制也從過去以社會主義所有制轉變為市場經濟體制。在俄羅斯進行政經轉型的初期，國際貨幣基金會（International Monetary Fund；以下均簡稱為IMF）以龐大的金援為後盾，介入俄羅斯的政經發展，對俄羅斯的制度抉擇有著深遠的影響。因此，本文旨在透過剖析IMF1992年至1999年間援俄計劃的形成過程、內容、俄羅斯決策當局對IMF援俄計劃的回應，以及影響俄羅斯決策當局的因素，探究IMF援俄計劃與俄羅斯政經發展的互動關係。 本論文主要採用「系統理論」(the Systems Theory)的研究途徑，探討IMF的援俄計劃與俄羅斯政經發展的互動關係。其中，以「議價模式」(the Bargaining Model)說明在IMF援俄計劃的形成過程中，IMF的組織成員，主導IMF政策走向的美國、英國等已開發國家，以及俄羅斯當局三者的角力過程。最後，再以「克里姆林宮政治研究途徑」(Kremlin Politics approach)敘探俄羅斯決策當局回應IMF要求時的考量因素。在此研究架構下，本論文第一章除說明研究動機與目的、研究架構與途徑、研究限制外，還介紹與研究題目相關的文獻，並指出過去文獻所未考量之處，以做為論文研究之基礎；第二章續述IMF的運作概況，探討影響IMF援俄計劃形成的可能因素；第三章闡述俄羅斯的初始條件、IMF援俄計劃的內容、俄羅斯當局的回應，以及IMF援俄計劃所帶來的成效與弊端；第四章則論述1992年至1999年俄羅斯的政經發展，並指出IMF的援俄計劃對俄羅斯政經發展的影響；第五章為結論。 本論文的結論是，雖然俄羅斯的政經發展會相互影響，但是對俄羅斯的決策當局而言，政治的穩固比經濟發展路線的選擇更為重要。IMF在1992年至1999年間許多關鍵時刻對葉爾欽表示支持，使葉爾欽在多次的政爭中仍得以保有政權；而葉爾欽為獲得IMF的金援，自然會推動其所要求的市場經濟體制。因此，儘管俄羅斯的經濟改革迭有波折，但是市場經濟體制在俄羅斯生根已是無庸置疑。 / The collapse of the Soviet Union has led Russia from one-party dictatorship to plural democracy in politics and from socialistic ownership to free-market system in economy. During the initial period of Russia’s political and economical transformation, International Monetary Fund, backed up by the huge-amount loans, interfered with Russia’s political and economical developments, giving impact upon the choice of institutions in Russia. Therefore, this thesis is aimed to understand the interacting relationships between IMF’s aid program and Russia’s political and economical developments, by analyzing the forming process and content of IMF’s aid program toward Russia from 1992-9, the response of the Russian authorities toward IMF’s aid program, and the factors that influenced the Russian authorities to make their policies. The thesis adopts the Systems Theory as its research approach to discuss the interacting relationships between the IMF’s aid program and Russia’s political and economical developments. Meanwhile, I use the “Bargaining Model” to explain the wrestling process among IMF’s staff and personnel, the countries dominating IMF’s direction of policies, like the US and the UK, and the Russian authorities. Finally, I further focus on the factors that the Russian authorities considered in response to IMF’s demands. The first chapter includes the research motives and objectives, the research frameworks and approaches, the research restrictions, and the relevant literature. The second one mentions the general situation of IMF and the factors that may influence the forming of the IMF’s aid program toward Russia. The third one specifies the initial conditions in Russia, the content of the IMF’s aid program, the Russian authorities’ responses, and the effect and the problems that the IMF’s aid program may bring out. The fourth one points out the impact that the IMF’s aid program put upon the Russia’s political and economical developments. The fifth one is the conclusion. The conclusion is that though politics and economy influence each other in Russia, the stable political situation is more important than the choice of economic developments for the Russian authorities. IMF’s support for Boris N. Yeltsin on many key occasions from 1992 to 1999, allowed him to retain his power. And Yeltsin naturally promoted the market economy that IMF required for getting its loan. Therefore, despite the continuing difficulties in Russia’s economic reform, it’s no doubt that the market economy has taken root in Russia.

The aim of this diploma thesis is the artistic and theoretical elaboration of the film of the genre of science fiction according to the book of Arkadije and Boris Strugacki. The thesis consists of two main parts, the theoretical and the own design of an art concept. The theoretical part deals with the definition of the science fiction genre, its historical development and also the analysis of creative approaches in the appearance of a foreign planet or the world of the future in Russian cinematography. I decided to analyze the variety of approaches in several selected films, where I focused on their art page, the use of the atmosphere and the film environment. The artistic part of the work contains its own art concept of the film.

As attention on the music of Mieczysław Weinberg (1919-1996) has increased in the years after his death, so has the need for an analytical study of his musical style and language. This thesis surveys Weinberg’s changing style through a genre that spans almost his entire output: the string quartet. His close friendship and artistic affinity with Shostakovich helps make his music accessible to a wider audience, though closer examination reveals Weinberg’s individuality and a quite distinct language from that of his mentor. In support of this contention, a wide range of analytical approaches is deployed in this dissertation, along with a pragmatic methodology for presenting a holistic overview of Weinberg’s quartets. Weinberg’s quartet cycle occupies an important place in twentieth-century music, with parallels to Shostakovich, Bartók, and other Soviet composers, including Myaskovsky, Shebalin, Levitin, and Boris Chaykovsky; correspondences and distinctiveness are explored in the second chapter. The third chapter surveys Weinberg’s musical narratives, with recourse to theories from Kofi Agawu, Boris Asafiev, and Jacques Derrida. Form is the focus of the fourth chapter, where ideas from Mark Aranovsky, and James Hepokoski and Warren Darcy are deployed to highlight Weinberg’s problematising of traditional forms in his music. Chapter five explores Weinberg’s multi-faceted approach to harmony, with concepts expanded from Lev Mazel, Yury Kholopov, and the neo-Riemannian school of analysis. The picture that emerges is of Weinberg’s individuality and distinctive voice, manifested in a controlled experimentalism and a tendency towards extended lyricism. His affinity with better-known composers may prove an approachable entry-point for wider audiences, but many of the most striking elements in his quartet cycle are of his own invention. His quartets stand as an important contextual dimension for understanding Shostakovich’s cycle, and also for appreciating the broader repertoire of Soviet chamber music. As his centenary approaches, engagement with Weinberg’s music continues to increase: this thesis provides contexts and analysis-based conclusions to complement this ongoing revival.

In their book, Fairclough and Fairclough (2013) claim that political leaders’ main role is to make choices in difficult situations. Due to the coronavirus outbreak worldwide, every political leader was called to make difficult decisions and to announce them to their respective public. As a result, there is plenty of new data to be analyzed from a linguistic perspective. The goal of this study is to explore and analyze Boris Johnson’s ten first speeches on Covid-19 addressed to the nation between the 3rd and 23rd March 2020 (from herd immunity policy to strict lockdown). The corpus was examined in terms of lexicon structures (personal pronouns and verbs) and syntax structures (modal verbs), which, according to van Dijk (1997), are persuasive techniques. The findings suggest that the extensive use by Boris Johnson of the personal pronoun ‘we’ (exclusive) as well as the use of the personal pronoun ‘I’ show his active involvement in the fight against Covid-19. This involvement is also corroborated through (a) his use of event verbs, which indicate a continuous action; and (b) his selection of modal verbs of obligation, which mostly follow the personal pronouns that refer to the Prime Minister and/or the decision makers. This paper concludes that syntax and lexicon structures were used in Boris Johnson’s speeches as tools of persuasive techniques.

A comparative content analysis was conducted to determine whether the Russian (ITAR-TASS) and the American (UPI) wire service coverage of President Boris Yeltsin in the April 25, 1993, referendum was balanced and unbiased. Also, the amount of space dedicated to this topic was measured. Study results indicate that ITAR-TASS was more critical of Yeltsin prior to the referendum than UPI, and that there was no statistically important difference between the two wire services in their post referendum coverage. UPI articles were almost 30% longer than the ITAR-TASS articles. Each UPI article was on an average more than 220 words longer than were the ITAR-TASS articles.

The aim of this bachelors thesis has been to examine and analyse the framing used when reporting about Boris Johnson in context with Brexit in both Swedish and British media coverage. The research questions examined in this study were: In what way is Boris Johnson framed in British and Swedish media coverage surrounding Brexit in his first three weeks as prime minister? What could explain the possible differences that occurs between the Swedish and British media coverage? I have in combination with a qualitative text analysis as well as framing theory and news valuation theory analysed material from four major news papers. Two news papers from Sweden, Dagens Nyheter and Aftonbladet. As well as two from Great Britain, The Guardian UK and The Sun UK. One of each county’s news paper focuses on qualitative and objective journalism and one from each country which can be regarded as a tabloid, evening paper, from these four news papers a total of 12 articles, three from each paper was selected. To arrive at my conclusion every article was analysed trough what frame, conflict, personification or elite person, Boris Johnson was portrayed as well as if the frames felt clear, subtle or well as if any frame could not be found in the text. Through the analysis I found the result to be that every article had personified Boris Johnson with Brexit, even if the article did not directly have a focus on the Brexit conflict. The personification is a constant backgrung trough every individual article. Secondly I found that the frames through which the newspapers portrayed conflict differed, depending from which country the news paper reported from. The Swedish news papers portrayed conflict through a broader perspective, having a stronger focus on Brexit as a concept whilst the British newspaper framed conflict in a much more detailed way. Focusing on more detailed topics with higher interest for the british population.