Die Diplomarbeit \"Übersetzung moderner arabischer Lyrik am Beispiel der Songtexte von Arabic-Rock-Bands\" beschäftigt sich mit der Frage, wie man einen arabischen Rocksong so ins Deutsche übertragen kann, dass er genreintern so originalgetreu wie möglich nachspielbar bzw. nachsingbar ist. Als mögliche Herangehensweise an das Übersetzen von Songtexten im Allgemeinen und Texten arabischer Rockbands im Besonderen beleuchtet diese Arbeit einzelne Schritte und Aspekte des Songtextübersetzens und untersucht die stilistischen Mittel, die in den Songtexten von Rockbands Verwendung finden.

Die Diplomarbeit \"Übersetzung moderner arabischer Lyrik am Beispiel der Songtexte von Arabic-Rock-Bands\" beschäftigt sich mit der Frage, wie man einen arabischen Rocksong so ins Deutsche übertragen kann, dass er genreintern so originalgetreu wie möglich nachspielbar bzw. nachsingbar ist. Als mögliche Herangehensweise an das Übersetzen von Songtexten im Allgemeinen und Texten arabischer Rockbands im Besonderen beleuchtet diese Arbeit einzelne Schritte und Aspekte des Songtextübersetzens und untersucht die stilistischen Mittel, die in den Songtexten von Rockbands Verwendung finden.

This bachelor’s thesis investigates the transformation of a musical composition when its lyrics are translated from the written original language into another. It examines how creating a new composition based on the translated lyrics, aspiring to maintain the language’s natural melodic flow, impacts the character of the composition.  Utilizing diverse composition methods and techniques revolving around lyrics, I have composed a series of six compositions. This collection consists of an equal distribution of lyrics in the Swedish and the English languages, allowing for a comparative analysis of how the choice of language influences the harmonic, melodic, and emotional dimensions of each piece, despite the lyrics having the same content. The culmination of this venture was presented at my Bachelor’s recital held at the University of North Texas. / <p>When Sunny Gets Blue (musik: Marvin Fisher text: Jack Segal)</p><p>När sol går i moln (Märta Dahlsytöm)</p><p>You’re A Ten (Märta Dahlström)</p><p>Du är en tia (Märta Dahlström)</p><p>Skynda långsamt (Märta Dahlström)</p><p>Hurry Slowly (Märta Dahlström)</p><p>Ellen (Märta Dahlström)</p><p>Medverkande musiker: Märta Dahlström, sång och komposition, Isaiah Nygard, Piano Paul Briggs, Bas, Michael Rodenkirch, trummor.</p><p></p><p>Märta Dahlström Senior Recital / Examenskonsert:</p><p>https://www.youtube.com/watch?v=KWgnq49MyIs</p>

This thesis defines ‘classical lyricism’ as any mode of appropriation of Greek and Latin monodic lyric whereby a poet may develop a wider discourse on poetry. Assuming classical lyricism as an internal category of enquiry, my thesis investigates the presence of Sappho and Catullus as lyric archetypes in Italian and North American poetry of the 20th century. The analysis concentrates on translations and appropriations of Sappho and Catullus in four case studies: Giovanni Pascoli (1855-1912) and Salvatore Quasimodo (1901-1968) in Italy; Ezra Pound (1885-1972) and Anne Carson (b. 1950) in North America. I first trace the poetic reception of Sappho and Catullus in the oeuvres of the four authors separately. I define and evaluate the role of the respective appropriations within each author’s work and poetics. I then contextualise the four case studies within the Italian and North American literary histories. Finally, through the new outlook afforded by the comparative angle of this thesis, I uncover some of the hidden threads connecting the different types of classical lyricism transnationally. The thesis shows that the course of classical lyricism takes two opposite aesthetic directions in Italy and in North America. Moreover, despite the two aesthetic trajectories diverging, I demonstrate that the four poets’ appropriations of Sappho and Catullus share certain topical characteristics. Three out of four types of classical lyricism are defined by a preference for Sappho’s and Catullus’ lyrics which deal with marriage rituals and defloration, patterns of death and rebirth, and solar myths. They stand out as the epiphenomena of the poets’ interest in the anthropological foundations of the lyric, which is grounded in a philosophical function associated with poetry as a quest for knowledge. I therefore ultimately propose that ‘classical lyricism’ may be considered as an independent historical and interpretative category of the classical legacy.