This work focuses on finding instruments which confer a lyrical character to the novel La última niebla of the Chilean writer María Luisa Bombal. The study is based on Emil Staiger's observations about basics concepts of poetic. Specifically, the work treats his concept of lyricism. B asically, the Swiss literary theorist underscored the role of the author, which must necesarilly cancel a distance between himself and his creation in order to achieve lyrical tone. All in all, this and other informations about the lyrical prose of the 20th century prove that lyricism depends especially on the representation of the entity of narrator. María Luisa Bombal as a cosmopolitan writer managed with her production to introduce new style of writing in backward Chilean literary scene. Obvisouly, the p resence of innovative elements such as a utilization of dream poetic or natural symbology takes part in final lyrical tone of the novel La última niebla, however, the most essential renovations within her production are the specific concept of narrator and narrative perspective.

(in English) The aim of this thesis is to analyse thoroughly the mythical approach and lyrical aspects in the writings of Elio Vittorini and subsequently to find the continuation of these tendencies in works by Vincenzo Consolo, Giuseppe Bonaviri and Gesualdo Bufalino. At first we briefly described the approach of mythical realism in the Italian and Sicilian literature of 20th century as a literary topos. Afterwards we focused on the individual authors who were already shortly introduced in biographical portraits, then we made the analyses of chosen novels of those four writers where we focused on the mythical and symbolical motives and the lyrical tendencies of their prose. In conclusion we made a comparative according to the results of our previous analyses and we shortly evaluated the image of Sicily emerging from literary output of those chosen authors.

I den här uppsatsen presenteras och diskuteras min översättning av den schweizisk-italienska författaren Fleur Jaeggys novell ”La vecchia vanesia” (”Den sista fåfängan”), den sista i hennes novellsamling La paura del cielo (Rädd för himlen) från 1994. Utöver översättningen ingår även en analys av källtexten, mitt översättningsteoretiska ramverk och översättningsprincip samt kommentarer på tematiskt uppdelade översättningsproblem som jag har stött på under arbetsprocessen. Frågor som tas upp i arbetet innefattar hur språket och stilen i novellen kan återges i måltexten med Eugene Nidas dynamiska ekvivalens som översättningsprincip. Det har framgått att det är viktigt att anpassa grammatiska och lexikala aspekter för att målspråket ska flyta på naturligt. Även stilistiska drag utgör viktiga delar av den emotionella tonen i källtexten och återges i måltexten i syfte att uppnå dynamisk ekvivalens. / In this essay, my translation of the Swiss-Italian author Fleur Jaeggy’s short story “La vecchia vanesia” (“Last vanities”) from the collection of short stories La paura del cielo (Last vanities) from 1994, is presented and discussed. A stylistic analysis of the source text, my theoretical framework and translation principle as well as comments on thematically categorized translation problems are also included in the work. Questions raised in the essay include how form as well as content can be rendered in the Swedish target text with the dynamic equivalence by Eugene Nida as a translation principle. The work has shown that to achieve a natural result, it’s crucial to adapt grammatical and lexical aspects to norms in the target language. Stylistic aspects constitute important parts of the emotional tone in the source text and are reproduced in the target text to achieve dynamic equivalence.