Syftet med denna studie är att analysera hur döden skildras i 2018 års illustrerade nyutgåva av Bröderna Lejonhjärta. Boken, skriven av Astrid Lindgren, utgavs först 1973, och är i denna nyutgåva illustrerad av Jesper Waldersten. Genom upprepad läsning och tematisk analys har tre områden valts ut för en mer ingående analys – närmare bestämt berättarteknik, bildspråk samt ett antal illustrationer. Illustrationerna har sedan analyserats med ikonografisk analys följt av en övergripande intermedial analys av text och bild för att utröna huruvida de samspelar med varandra. Gemensamt för alla tre analysområden är att de visar på en ständig framåtrörelse som bidrar till att döden skrivs fram allt tydligare ju längre in i berättelsen man kommer. Berättar-jaget går från att vara rädd för döden till att i princip omfamna den och bildspråket går från implicita, religiösa anspelningar om paradiset till explicita, upprepade dödsskildringar. Samtidigt rör sig illustrationerna från ljus och hopp till ett kargt, suggestivt mörker. Resultatet blir att döden skrivs fram med symboler, religiösa konnotationer, liknelser och metaforer som i sin tur förstärks ytterligare genom illustrationerna. Studien avslutas med en didaktisk reflektion som belyser de olika tolkningarna som kan göras av Bröderna Lejonhjärta. Här diskuteras även vikten av att arbeta med boken i undervisningen som ett sätt att möjliggöra för diskussioner av stora frågor om livet och döden – något som även återspeglas i Lgr22.

Ce mémoire est une étude traductologique du suédois au français, concernant les mots inventés par Astrid Lindgren dans Ronya fille de brigand et spécifiquement les invectives, les jurons et les êtres (personnages inventés). Nous avons étudié les stratégies utilisées par la traductrice (selon Vinay et Darbelnet), la proximité avec la langue source ou la langue cible et le problème spécifique de traduire un livre pour la jeunesse du suédois au français. Notre conclusion est que les stratégies sont parfois difficiles à cerner mais que ce sont surtout des stratégies indirectes, que le texte est proche de la langue cible et qu’il y a un remplacement des mots inventés par des mots courants de la langue cible. Notre conclusion est que s’il n’existe pas une express ion identique dans la langue cible, il est probable que le traducteur remplace l’expression en question par une expression courante. / This essay is a translation study from Swedish to French concerning the invented words by Astrid Lindgren in Ronia, the Robber’s Daughter, in particular the swear words, invectives and spirits (invented figures). Our study examines the strategies used by the translator according to Vinay and Darbelnet, the closeness to the source language or the target language and the specific problems when translating a book for children from Swedish to French. Our conclusion is that the strategies sometimes are difficult to encircle and that the indirect strategies are more frequent. We noticed also that the text, concerning these words, is closer to the target language and that there is a replacement of the invented words of more standard words in the target language. Our conclusion is that if it does not exist an identical expression in the target language, it is likely that the translator replaces this expression with a more common one.

This essay aim to explore how human and nature is presented in Bröderna Lejonhjärta and Ronja Rövardotter, by Astrid Lindgren. It also tries to answer the question how the relationship between the two is shaped; can any hierarchic structures be exposed in the relationship, and how do these, in that case, appear? The essay also problematize words and concepts along the way, such as nature, anthropocentrism and ecocentrism. The method for this study is an ecocritical theoretical base, with thematic analyzes of the books, regarding plot, relationships between characters and their surroundings, and also linguistic narratological techniques, such as the use of metaphorical elements. The different thematic episodes are put in relation to theories about vital materialism, presented in Vibrant Matter – A Political Ecology of Things, by Jane Bennett. I also do a comparative analysis between the two books by Lindgren, with the purpose of highlighting important differences and similarities. The essay ends by discussing how the main characters can be seen as very caring in their relationship to their surroundings, and how one, by applying the theories presented by Bennett, can interpret this caring as a strive towards existing in harmony with, and equal to, nature; a sort of mode or view that Bennett describes as a horizontal position. During the discussion I describe how this strive and position is expressed, and how these are interacting with cyclical systems such as the changes of the seasons and shift between life and death. The books as literature for children, and the main characters as children, is discussed in relation to this, supported by the text “När du är bättre än vi – Jantelagen, skammen och barnlitteraturen” by Maria Jönsson, from the book Du ska inte tro att du är något – Om Jantelagens aktualitet. / Denna uppsats behandlar och syftar till att undersöka hur människa och natur skrivs fram i Bröderna Lejonhjärta och Ronja Rövardotter, av Astrid Lindgren. Den försöker även att svara på hur relationen mellan dessa ser ut; huruvida man kan se hierarkiska strukturer i förhållandet, samt hur dessa i så fall ter sig. Uppsatsen gör det även till sin uppgift att längs vägen problematisera begrepp som bl.a. natur, antropocentrism, ekocentrism. Metoden för studien är en ekokritisk hållning, som går ut på olika tematiska nedslag i de båda verken, där handling, karaktärers förhållande till varandra och till sin omgivning, samt språkliga berättartekniska grepp så som användning av metaforiska inslag, lyfts och analyseras. De olika tematiska avsnitten prövas även mot Jane Bennetts vitala materialitetsteorier som presenteras i Vibrant Matter – A Political Ecology of Things. En komparativ analys görs mellan de båda verken av Lindgren, i syfte att synliggöra viktiga likheter och skillnader. Uppsatsen avslutar med att diskutera hur man kan se ett, hos huvudkaraktärerna, påtagligt vurmande för omgivningarna, samt hur man genom att applicera Bennetts teorier kan tolka detta vurmande som en slags strävan mot att existera likställt med naturen, ett slags läge som Bennett beskriver som det horisontella planet. Under diskussionen lyfter jag hur denna strävan och detta läge yttrar sig, samt hur dessa samspelar med cykliska system, så som årstidernas växlande, samt skiftet mellan liv och död. Verken som barnlitteratur och huvudkaraktärerna som barn lyfts och diskuteras i relation till detta med hjälp av Maria Jönssons ”När du är bättre än vi – Jantelagen, skammen och barnlitteraturen”, ur Du ska inte tro att du är något – Om Jantelagens aktualitet.

Syftet med den här studien är att analysera vilka initiala och operationella normer som har använts vid översättningar till tyska av sångboksuppslag till visor skrivna av Astrid Lindgren. Modellerna som har använts är hämtade från Franzon (2009), Franzon (2016) och van Meerbergen (2010). Frågeställningarna berör musikalisk rytm, retoriska stilmedel inom texterna samt interaktionsgraden i text och bild med läsaren. Syftet är även att se hur aktiva respektive passiva huvudpersonerna i böckerna är. Resultaten visar att översättningarna av beskrivande visor med långa verser tenderar att bli kortare och mycket förändrade i jämförelse med översättningarna av visor med korta verser och en mindre beskrivande natur. Interaktionsgraden med läsaren är för det mesta låg i både text och bild i käll- och måltexterna. Huvudpersonerna i de tyska översättningarna är även mer aktiva i det tyska översättningarna än i de svenska originalen. / The aim of this study is to analyse which initial and operational norms that were used in the German translation of pages from a songbook written by Astrid Lindgren. The models that are used are taken from Franzon (2009), Franzon (2016) and van Meerbergen (2010). The research questions concern musical rhythm, rhetorical methods within the text, the interaction level between images and text and the reader. The purpose is also to see how active or passive the main characters in the books are portrayed. The results show that translations of describing songs with long verses tend to become shorter and very changed compared to translations of songs with short verses and with a less describing nature. The interaction level with the reader is mostly low in both source and target texts and images. The main characters are also more active in the German translations than in the Swedish originals.

Abstract The aim of this study is to investigate how a picture book for children is transformed into an easy-to-read version for children who have just started reading. I examine two versions of Emil of Lönneberga. One of the books is the orginal picture book of Emil in Lönneberga and was written by Astrid Lindgren (1963), while the other is an easy-toreadversion of the book, as adapted by the author Helena Renvall (1977). I have conducted a comparative study as a text and picture analysis of the material, with the focus on the adaptation of the original story. The adaptation in this case is a revision intended to make the story easier to read and more accessible to today’s children. The most important finding of the study is that easily read information is not just a matter of simplifying the text; the form of both text and pictures is adapted. The text is characterized by simpler words and shorter sentences. The pictorial material has been increased and the originally black and white pictures have been given added red colour. Otherwise, most of the layout has been changed for several reasons, but generally speaking so that the relation between text and pictures on each spread will function inthe most easy-to-read way possible.

When war broke out in Europe in 1939 a mother of two, the thirty-three-year-old Astrid Lindgren, begun keeping a journal. In this diary she wrote about the events of the war, the decisions of the government of Sweden and her own personal life in Stockholm. With a micro historical approach and with a theoretical framework from history of emotions this study aims to explore Lindgren´s emotional life and her emotions towards the changing aspects of the ordinary life, her government´s political agenda, and towards the international players and victims of the second world war. With the use of William K. Reddy´s terminology of emotive and emotional navigation as well as Hugo Nordland´s emotional strategies as analyzing tools the results showed that Lindgren´s initial emotion towards the ordinary life, now affected by the war, was despair, expressed in emotives such as chock, sadness and despondency. The emotion later shifted to gratitude (towards her own privileged situation) and blues (caused by war fatigue), existing simultaneously. The most common emotion expressed correlating to the Swedish government is the emotion of trust. Lindgren´s main emotions towards the victims of the war was compassion. At multiples times, in her diaries, she expressed pity for those who suffered and gratitude for not being among them. The emotions she expressed correlating to the great powers of the war was hate (Germany), fear (Soviet Union) and contempt (Italy). But she also felt conflicted when faced with the fact that she might have to make a choice between Germany and the Soviet Union. The fear of the Russians trumped her loathing of the Nazi regime, but when she gained a greater knowledge of the German atrocities, she came to regard both regimes as equally horrible. The frequent use of certain emotives (such as confidence, gratitude and pity) indicates an emotional navigation to consolidate her feelings and avoid other less desirable emotions. In the same way the uses of biblical metaphors, comparisons of beasts and the reference to brotherly love gives proof of emotional strategies in her handling of undesirable feelings such as hatred and shame. Lastly, this study concludes in a didactical discussion arguing that Astrid Lindgren´s war diaries is a material of great value when teaching of and developing a historical consciousness.

Title: Facemasks or antidepressants?    The purpose of this study is to investigate how Indy Beauty communicates on their website and in their first campaign as a means of establishing customer involvement. Therése Lindgren is one of many influencers whom have created or acquired their own brand. Therése uses herself as the face of brand and relies on her own social platforms to advertise her products. To further clarify the study’s purpose two question statements: “In what way does the usage of rhetoric and visual expressions convince the consumer to “Love Yourself”?” and “How do they use mental illness in their strive to create relationships with the consumer?”. To analyse the two question statements we have used theories regarding rhetoric, semiotic, Customer Relationship Management and Customer Involvement Management. The foundation of this study are texts from Indy Beauty’s website together with Indy Beauty’s first advertising campaign. This has been analysed through a qualitative content analysis based on rhetoric analysis and visual social semiotic analysis. The combination of these methods enabled us to answer both question statements within the purpose of this study. Our results show that Therése Lindgren’s own experience of mental illness provides her with a legitimacy and ethos to communicate the “Love yourself” message. Both texts from the website and the advertising campaign portrays Indy Beauty’s products as the solution to mental illness through the usage of both rhetoric and visual expressions. The message itself “Love yourself” can be interpreted contradictory and falls within the framework of femvertising. The consumer is told to “Love yourself” exactly as you are but you still need to use the company’s products to alter and enhance your outside appearance. Our conclusion is that the community and kinship that Indy beauty creates with its consumer, where mental illness is the common denominator, can be disputed about whether its main point is patronage or whether it is just a means to an end for the company to sell its products.

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The purpose of this study is to analyze two literary translations of Astrid Lindgren’s Pippi Långstrump (Lindgren, 1945) from Swedish into English.  The study compares the British and the American English translations of neologisms, nonce words and proper nouns.  The primary data chosen for this study are the Swedish children’s book Pippi Långstrump (1945), written by Astrid Lindgren, and its 1954 British translation, by Edna Hurup, as well as the 1977 American English translation, by Florence Lamborn.  The method used in this study is qualitative, and consists of an in-depth analysis of representative examples of neologisms, nonce words and proper nouns.  Three research questions aimed at finding out what translation procedures were used, whether there were any differences between the two translations, and whether there were any semantic changes in the two translations.  The conclusion is that the most common translation procedure used is equivalence.  The most distinguishing difference between the two translations is that the American English translation seems to stay more true to the original text, whereas the British translation has a greater respect for the target text reader, in the sense that it is more culturally adapted than the American English translation.  There were no major semantic changes in the samples from the two translations, with the exception of a few examples.  In conclusion, both translators manage to maintain the atmosphere of the original text.

<p>The purpose of this study is to analyze two literary translations of Astrid Lindgren’s <em>Pippi Långstrump </em>(Lindgren, 1945)<em> </em>from Swedish into English.  The study compares the British and the American English translations of neologisms, nonce words and proper nouns.  The primary data chosen for this study are the Swedish children’s book <em>Pippi Långstrump </em>(1945), written by Astrid Lindgren, and its 1954 British translation, by Edna Hurup, as well as the 1977 American English translation, by Florence Lamborn.  The method used in this study is qualitative, and consists of an in-depth analysis of representative examples of neologisms, nonce words and proper nouns.  Three research questions aimed at finding out what translation procedures were used, whether there were any differences between the two translations, and whether there were any semantic changes in the two translations.  The conclusion is that the most common translation procedure used is equivalence.  The most distinguishing difference between the two translations is that the American English translation seems to stay more true to the original text, whereas the British translation has a greater respect for the target text reader, in the sense that it is more culturally adapted than the American English translation.  There were no major semantic changes in the samples from the two translations, with the exception of a few examples.  In conclusion, both translators manage to maintain the atmosphere of the original text.<strong></strong></p><p><strong> </strong></p>