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.

This essay focuses on the cultural aspects of translation, mainly on the cultural-specific elements known as realia, when translating from Italian to Swedish. As the realia might be unknown to the reader of the target text and as they often have no exact correspondence in the target language, they often pose a challenge for the translator. The essay examines which strategies the translator has used to translate cultural-specific elements and the question is raised whether the translation, regarding the cultural aspects, is orientated towards the source culture (adequacy-orientated) or towards the target culture (acceptability-orientated). Three of the Neapolitan Novels written by pseudonymous Elena Ferrante, Storia del nuovo cognome (2012), Storia di chi fugge e di chi resta (2013) and Storia della bambina perduta (2014), serve as source text of the analysis. The Neapolitan setting of the novels make them specifically suitable for a study of cultural-specific elements. The study is qualitative and complemented with a quantitative part. It is based on Osimo’s (2011) strategies for the translation of realia. The analysis reveals that cultural-specific elements of the source text tend to be replaced with more generic and international expressions. Prioritizing the narrative over cultural-specific elements the translation shows a tendency towards acceptability.

This thesis examines the translation of culture-specific phenomena in children’s literature with a theoretical framework based on “translation studies”. In the translation of children’s literature, translators generally choose translations that brings the content closer to the target culture, creating an “acceptable” translation. At the same time, these choices distance the translation from the culture of the original text. The opposite, translations which remain faithful to the original, are called “adequate” with the terminology of translation studies.This thesis presents the result of the parallel reading of the original Madicken på Junibacken, a children’s book written by famous Swedish author Astrid Lindgren, and the Italian version, Martina di Poggio di Giugno, translated by Fiorella Onesti and Isabella Fanti (Salani, Gl’Istrici, 2003). During the reading of the two books, the phenomena specific to the Swedish language culture (realia, in translation studies’ terminology) were collected, listed, grouped according to type of realia (names of persons and places, food, idiomatic expressions, songs and games) and the translation strategy used. The grouping according to translation strategy took as its starting point the ten strategies described by Osimo (2008). The analysis confirmed the initial hypothesis that Martina di Poggio di Giugno would be, like many other translations of children’s books, an “acceptable” translation. A complimentary analysis of corresponding realia in two other translations of Astrid Lindgren books, the Italian versions of Pippi Longstocking and Bill Bergson, Master Detective, showed that one realia can be translated in different ways, leading to different results. The translations in the second phase of the analysis were deemed as slightly less “acceptable” and therefore closer to equivalence with the original texts.