The book Paegŭi Kŭrimja (One Hundred Shadows) written by Hwang Jungeun (Hwang Jŏngŭn) was published in 2010 and translated by Jung Yewon (Chŏng Yewŏn) in 2016 after its success throughout South Korea.  It does not yet exist an official translation in Swedish and therefore, in order to make a comparative analysis about the differences in translation between Korean, English and Swedish, which is the author of the present thesis’ native language, the author have translated a part of the book (pages 1-40) during a course in Korean literature translation into Swedish. This thesis will be specifically focused on how the Korean onomatopoeias in the book have been changed through translation and what difference that creates for the meaning and nuance of the source text. This thesis uses a comparative qualitative method to examine how the onomatopoeias in the book have been affected by the English and the Swedish translations where the author found that there were some onomatopoeias that were more affected by translation than others, whereas omission was found to be the most used translation strategy, which resulted in some loss of nuance, but that no meaning was lost when omitting or changing the onomatopoeias. This thesis also compares the differences of the English and Swedish translations which were also considered to be minimal and disregarding one’s personal stylistic choice, the author found both translations to be appropriate and was therefore also not considered to affect the text in a significant way. The author hopes that further research about onomatopoeias and their place in translation will be studied in the future, as well as translation between Korean-English and Korean-Swedish to further expand and discover the Korean-English and Korean-Swedish literature area.

Zugl.: Madison, Univ. of Wisconsin, Diss.

Made available in DSpace on 2016-04-26T20:19:32Z (GMT). No. of bitstreams: 1 Kun Young Yu.pdf: 738962 bytes, checksum: 7f8ae8dc1a8ea3f259e76465208eef4c (MD5) Previous issue date: 2010-11-05 / The present research aims at analyzing the Korean bioethics through the analysis of the historical, social, cultural and philosophical elements of the country to understand how such elements influenced in the constitution of bioethics in that country. The work is started through the study of scandal perpetrated by the major scientist of the country in the area, Professor Hwang Woo Suk, and by analyzing the social and political impact of such event we learnt about the values that guided the local bioethics, which are pragmatism and its strong social appeal. We will see how this science was skillfully handled for propagandistic purposes by the local government, upon attribution of a patriotic character to its development and the complicity with which an entire nation embraced this "national project" under which they placed expectations much beyond the medical benefits initially targeted. In the analysis of the factors that participated in the formation of this unique bioethics, we will analyze the association of the bioethical researches to the economic plans of the government, the influence of the several social and philosophical elements such as cultural hedonism, the local culture of pragmatic and empiric nature, the Silhak, the economic influence of the research for the community capitalism practiced in the country, and the patriotic appeal attributed thereto by the historical factors and principles such as Social Darwinism. The analysis of the aforementioned elements helps us to understand how a country so advanced in the researches on the biotechnology area, has a bioethics that is so weak in ethical content, that in last analysis it was responsible for the outbreak of the fraud in the stem cells cloning research / A presente pesquisa tem por objetivo analisar a bioética coreana através da análise dos elementos históricos, sociais, culturais e filosóficos do país para entender como tais elementos influíram na constituição da bioética naquele país. Inicia-se o trabalho através do estudo do escândalo protagonizado pelo maior cientista do país na área, o Professor Hwang Woo Suk, e analisando a implicação social e política de tal evento, aprendemos sobre os valores que nortearam a bioética local, que são o pragmatismo e o seu forte apelo social. Veremos como esta ciência foi habilmente manuseada para fins propagandísticos pelo governo local, ao atribuir caráter patriótico ao seu desenvolvimento e a cumplicidade com que toda uma nação abraçou este projeto nacional sob o qual depositaram anseios muito além dos benefícios médicos que se propunha alcançar inicialmente. Na análise dos fatores que participaram na formação desta bioética singular analisaremos a vinculação das pesquisas bioéticas aos planos econômicos do governo, a influência de vários elementos sociais e filosóficos como o hedonismo cultural, a filosofia local de cunho pragmática e empírica, o Silhak, a influência econômica das pesquisas pelo capitalismo comunitário praticado no país, e o apelo patriótico atribuído ao mesmo pelos fatores históricos e princípios como o Darwinismo Social. A análise dos elementos mencionados acima ajuda a entender como um país tão avançado nas pesquisas na área de biotecnologia, possui uma bioética tão fraca em conteúdo ético, que em última análise foi a responsável pela eclosão da fraude nas pesquisas de clonagem de células-tronco

This dissertation examines a range of musicals to understand how and why the features that make a musical a musical are used to tell history. I argue that the historical musical is a distinctive historiographic mode that intertwines these affordances to include multiple histories. In Soft Power (2018), a musical I explore in this dissertation, David Henry Hwang introduces the idea of the “delivery system” of the musical as a particularly effective way to tell stories in both cognitive registers and affective registers. As one of the characters in the musical states, “once those violins start playing, these shows go straight to our hearts.” Many of the most beloved and most experimental musicals from the canon depict and deal with historical events. I argue that the musicals I study interpret important historical events, and do so by means of their formal properties, often intertwining several layers of history which can be experienced simultaneously by an audience.This dissertation close reads two musicals per chapter based on their historical contexts, both when they are set and when they are written. These musicals are paired together based on their shared thematic/historical and formal concerns. Soft Power responds directly to the imperialist attitudes and multiple histories at work in The King and I (1951), while both musicals consider what it means to be an American across a wide expanse of time. I focus on 1776 (1969) and Hamilton (2015) and their responses to issues such as slavery, the role of women, and war as these responses are shaped by the politics and contexts of the moment in which they were written. I pair two shows by John Kander and Fred Ebb, Cabaret (1966) and The Scottsboro Boys (2010), due to their formal similarities in using the entertainment styles from the period in which the shows are set to comment on both entertainment and history. My final chapter pairs Pacific Overtures (1976) and Assassins (1990), shows co-written by John Weidman and Stephen Sondheim, both of which critique American mythologies of historical progress. Because of the many layers that make a musical (choreography, song, orchestrations, text, and stars to name a few) there are many possibilities for layering multiple histories into any one musical. In conclusion, musical theatre is often considered fun and pleasurable, which it absolutely can be, but it also does complex historical and political work using a surprisingly sophisticated historiography to do that work.

Adaptation Studies suffers from a deficiency in the study of black, brown, yellow, and red adaptive texts, adaptive actors, and their practices. Adaptive Acts intervenes in this Eurocentric discourse as a study of adaptation with a (queer) POC perspective. My dissertation reveals that artists of color (re)create texts via dynamic modes of adaptation such as hyper-literary allusion, the use of meta-narratives as framing devices, and on-site collaborative re-writes that speak to/from specific cultural discourses that Eurocentric models alone cannot account for. I examine multi-ethnic American adaptations to delineate the role of adaptation in the continuance of stories that contest dominant culture from marginalized perspectives. And I offer deep adaptive readings of multi-ethnic adaptations in order to answer questions such as: what happens when adaptations are created to remember, to heal, and to disrupt? How does adaptation, as a centuries-old mode of cultural production, bring to the center the voices of the doubly marginalized, particularly queers of color? The texts I examine as “adaptive acts” are radical, queer, push the boundaries of adaptation, and have not, up to this point, been given the adaptive attention I believe they merit. David Henry Hwang’s 1988 Tony award-winning play, M. Butterfly, is an adaptive critique of the textual history of Butterfly and questions the assumptions of the Orientalism that underpins the story, which causes his play to intersect with Pierre Loti’s 1887 novella, Madame Chrysanthéme, at a point of imperial queerness. Rodney Evans, whose 2004 film, Brother to Brother, is the first full-length film to tell the story of the black queer roots at the genesis of the Harlem Renaissance, uses adaptation as a story(re)telling mode that focalizes the “gay rebel of the Harlem Renaissance,” Richard Bruce Nugent (1906-1987), to Signify on issues of canonization, gate-keeping, mythologizing, and intracultural marginalization. My discussion of Sherman Alexie’s debut film, The Business of Fancydancing, is informed by my own work as an adaptive actor and showcases the power of adaptation in the activation of Native continuance as an inclusive adaptive practice that offers an opportunity for women and queers of color to amend the Spokane/Coeur d'Alene writer-director’s creative authority. Adaptive acts are not only documents, but they document movements, decisions, and sociocultural action. Adaptation Studies must take seriously the power and possibilities of “adaptive acts” and “adaptive actors” from the margins if the field is to expand—adapt—in response to this diversity of adaptive potential.