Síntesis: El presente estudio trata de un análisis contrastivo de las traducciones al español de los libros Madicken publicada en 1960 y Bröderna Lejonhjärta publicada en 1973 de Astrid Lindgren. El análisis está basado en siete fenómenos lingüísticos que son: adaptación, adición, equivalencia de uso, errores lexicales, expresiones idiomáticas, omisiones y registro. Este análisis muestra que la hipótesis se cumple con respecto al libro Bröderna Lejonhjärta, pero no así con el libro Madicken. Es decir, que a pesar de existir diferencias semánticas y pragmáticas representadas por los siete fenómenos lingüísticos estudiados, la traducción del libro Bröderna Lejonhjärta transmite bien el sentido cultural e histórico de la obra; sin embargo, en la traducción al español del libro Madicken existen diferencias semánticas y pragmáticas, pero la traducción de este no logra transmitir el sentido histórico y cultural de la obra. La conclusión es que estos cambios han hecho que la traducción de Madicken no represente realmente la cultura y trasfondo histórico contenidos en la obra. Hipótesis: Existen diferencias idiomáticas tanto semánticas como pragmáticas (la semántica es 'el estudio del significado de los signos lingüísticos y de sus combinaciones' y la pragmática es 'la disciplina que estudia el lenguaje en relación con los usuarios y las circunstancias de comunicación') entre los libros Madicken y Bröderna Lejonhjärta, de la autora sueca Astrid Lindgren, y sus respectivas traducciones al español: Madita, traducida por Herminia Dauer en 1983, y Los hermanos Corazón de León, traducida por Lucio Salas en 1986, ambas traducciones publicadas en España. A pesar de ello, los traductores logran su objetivo de transmitir al lector, principalmente a los niños, el ambiente cultural e histórico suecos de las novelas originales.

This study focuses on comparing two different versions of Pippi Longstocking translated into English on a structural level. With the help of the research of the known linguistics John Catford and Paul Vinay & Jean-Louis Darbelnet, we compare how the two different translators, Tiina Nunnally (2007) and Florence Lamborn (1950) have translated the same book. This study compares these two translations for grammatical features and word choices on a structural level, for example use of verb tense and differences in Vinay & Darbelnet’s modulation. It also studies how the translators have done differently regarding Catford’s structural shifts. The essay also briefly looks at the cultural differences between the countries and how they have been translated. The aim of this project is not to determine which translation is better, but to compare and describe any differences and similarities found. It will look at how the two translators have handled the same problems differently (or similarly). The translations by Florence Lamborn and Tiina Nunnally have much in common, but in our result and analysis we present the differences.

The dissertation examines how the Swedish cultural code, contained in books by Astrid Lindgren, was transferred into the Polish linguistic and cultural domain. The research reveals how the Polish cultural filter affected the image of Swedish reality in the translations. The analysis took into account the transfer of both verbal and visual aspects of the cultural elements. A smooth transfer was achieved in the following sphere: changes in the linguistic code between interlocutors from different social strata; the way in which people from the privileged classes were addressed; the transfer of the verbal folklore of children. The folklore of Swedish and Polish children was shown to be more or less congruent, which may indicate the existence of a universal, transnational children’s code. The reconstruction of intertextual references was achieved in relation to the Bible. References to world literature succeeded in crossing the cultural border only partially. The complexity of the cultural code of the original led to an exoticization of the translated text. The colloquial language and dialect of the original, reflecting the structure of Swedish society failed to find its way into the translations. Emotionality in the form of expression, typical of Polish culture, caused the translations to be characterized by the use of diminutives. The emphasis on the emotional element is also visible in the enormous diversification of the verba dicendi in the translations, which also makes the text more expressive. The linguistic and stylistic conventions of the target language (i.e. Polish) caused the translations to depart from Lindgren’s simple and repetitive style. The addition of footnotes in the translations demonstrates the strong didactic tendencies in literature for children in Polish culture. They did not enrich the text of the translation, however, with any new information. The transfer of the visual element in the first translations was characterized by polonization and folkoricization. Scenes that show children at work and portray village life were subjected to a form of purification, so that the small-town milieu—in contrast to the village—was shown to advantage through its visualization. The typical rural buildings and the costumes of their inmates were transmitted via a strategy of folkloricization: by drawing on the relatively well-regarded peasant culture of the Podhale region of Poland.

Syftet med den här studien är att utföra en text- och bildanalys av Astrid Lindgrens böckerLotta på Bråkmakargatan (1961) och Alla vi barn i Bullerbyn (1947). I studien undersökshuvudkaraktärerna med inriktning på Lotta och Lisa ur ett genusperspektiv och jämför derasgenuskonstruktion, och hur de framställs i anknytning till de genusnormer som förekommer ibarnlitteratur. I studien undersöks även illustrationerna av karaktärerna ur ett genusperspektivoch avslutningsvis tillämpas begreppet critical literacy och läroplanens värdegrundsuppdrag ianknytning till undervisningen med syftet att uppmärksamma genus i barnlitteraturen.I studien tillämpas en kvalitativ textanalys och en kvantitativ analys, samt en komparativmetod då jag jämför huvudkaraktärerna. För att kunna undersöka huvudkaraktärerna Lottaoch Lisa ur ett genusperspektiv och jämföra deras genuskonstruktion, och hur de framställs isamband med de normer som förekommer i barnlitteratur uppmärksammas, bland annat,litteraturvetaren Maria Nikolajevas sammanställning av de genusnormer som förekommer ibarnlitteratur.Slutsatsen av studien är att Lotta framställs som både normbärande och normbrytande utifrånsin könstillhörighet, och Lisa framställs som normbärande och förmedlar ett traditionelltkönsmönster i anknytning till Nikolajevas sammanställning av genusnormer. Slutsatsen är attAstrid Lindgrens böcker med fördel kan användas i undervisningen för att belysa genus dåböckerna framhåller olika sidor av genuskonstruktioner och detta anser jag är bra för barn attmöta.

Before the publication of the short story collection Skolbagateller medan jag försökte skriva till min överordnade in 1972, Torgny Lindgren's authorship was characterized mainly by political criticism and satire. In both reception and later studies, Skolbagateller has also been seen mainly as a political and satirical work, depicting the bureaucracy and loneliness in the Swedish school system of the 1970s, while Lindgren's later works tend to discuss existentialistic and theological questions. While reading the earlier published theses about Lindgren's works, especially Ingela Pehrson's Livsmodet i skrönans värld from 1993, I realized how big of an influence Kierkegaard had been to the author. With this in mind, it seemed as if Skolbagateller depicts existential questions that go deeper than the political satire. The main issue of this essay is the lack of interpersonal contact that Skolbagateller depicts, and why this seems to be so closely connected to the school system. The short story collection is studied from an existential point of view, based on Kierkegaard's concept of anxiety. The concept of sin is examined by a comparison between the secular system on which Lindgren's school is based, and the Christian system in which Kierkegaard founded his existentialism. The prose of the short stories is examined with the help of literary theory, such as James Joyce's concept of epiphany, and Roman Jakobson's view on the metonymically constructed language of the realistic prose, and the metaphorically structured language of lyrical works. The analysis shows that the school in Skolbagateller is metonymically connected to the secular society, and by extension to the mere concept of society. The secular ideas the school teaches prohibit the individual and spiritual development of the persons that are part of the school system and the socially evaluated concept of sin causes anxiety. The secular ideals of stability and uniformity leads to a worldview where humans are seen as mere physical and rational beings, leading to a socially constructed determinism where change is impossible. The theme is depicted by metonymically written repetitions and "reader epiphanies", that are accomplished by allegorical stories. In these, the characters are confronted with a problem that makes them doubt the school system, but in the end, they still choose to accept the rules without further reflection.

This licentiate-thesis, Stories About a red Cottage, is an attempt to combine cultural theory with a didactic method applied to Swedish as a field of study. With the two notions intertextuality and the foreign as a starting point, I discuss the importance of how an idyllic view of Sweden affects students studying Swedish as a foreign language as part of their studies in Scandinavistics. The students are familiar with the German culture and well aware of the legends and the myths about Sweden which are distributed via German media. At the same time they are shaping new images of Sweden in the didactic interaction with the teachers. The study indicates that the encounter with a foreign culture requires preparation to question even what seems to be self-evident. Hence, the study proposes an intertextual approach when using texts for studies in foreign languages. The result also demonstrates that even if it is important that we critically analyze the stories we hear and our interpretations of them, it is as important that we demand the right to get lost in dreams, because this is where we find a part of the secret of the esthetical experience.

This master's thesis investigates the transmediations of Astrid Lindgren's Ronja the Robber's Daughter into a feature film by Tage Danielsson and an anime by Goro Miyazaki. Drawing on intermedial theory and analytical method, the analysis explores how the creatures called “murktrolls” and Ronja’s “scream of spring” are portrayed across these media adaptations. The thesis draws on Lars Elleström’s intermedial concepts, specifically the concept of “media transformation”. The analysis reveals how Danielsson condenses the presence of murktrolls, replacing them with “rumphumbs” and “grey dwarfs”, whereas Miyazaki expands the depiction of these mythical creatures. Both adaptations extend the significance of the “scream of spring”. The analysis can point towards a connection between murktrolls and the scream of spring, symbolizing themes of life, identity quest, and inspiration. Ilon Wikland's illustrations serve as pivotal source material, influencing the transmediations. In sum, the study highlights the dynamic interaction between the source and target media products. Kondo's anime images are notably grounded in Wikland's illustrations. By publishing the novel with these new images, that is adding a new version of the novel, the work is enriched, deepening the connection between the anime and the novel. There is also an interaction between the anime and the feature film; many details are transferred from the film to the anime. The thesis demonstrates that each transmediation shapes the overall understanding of the work by accentuating specific details from the novel. The anime and feature film, along with each reading of the novel, collectively reconstruct the narrative. These findings underscore the significance of transmediation, drawing attention to essential themes within the novel.

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.

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