This work provides a survey of Dutch literature translated into Swedish between 1830 and 1995 in order to investigate the mechanisms and selection criteria that determined the reception given this literature in the Swedish literary field. The introduction briefly sketches intercultural relations between Sweden and the Low Countries until 1830. The second chapter traces the growth of Dutch as a subject in Swedish universities, and Dutch literature in Swedish reference works, literary histories, cultural publications, radio and television. To the extent that rules of secrecy have permitted, the Nobel Prize candidacies of Dutch and Flemish writers have also been examined. The third chapter provides a commentary on the appended bibliography of translations from Dutch into Swedish during the period 1830-1995. Tables indicate distributory percentages of translated works as regards men and women, Dutch and Flemish authors, or adult literature, children's literature and comic strips. A consideration of number of translated titles per author and works with the greatest number of editions allows us to determine the types of literature most sought after. A division into quality categories, presented in tabular form, indicates the relative distribution of translations from 1830 to 1995 into entertaining works and quality literature, respectively. The fourth chapter investigates the reception of five Dutch post-war authors in Sweden, based on analyses of book reviews and reader interviews. It becomes clear that medieval trade links between Scandinavia and the Low Countries had a linguistic impact, one that subsequently inspired Scandinavian philologists interested in Nordic languages, English and German to investigate Frisian, Low German and Dutch, as well. As a result, by the turn of the century Swedish university students of German were being taught Middle Dutch and Modern Dutch, as well. At the same time, Dutch influence on 17th-century cultural life in Sweden had become of major interest to cultural historians. The Dutch literature translated during that century was primarily moralistic and didactic, but during the latter half of the 19th century, translations began to appear of a more entertaining nature - historical novels and stories about the common people of the Netherlands and Flanders. In Swedish book reviews, these texts were frequently compared to Dutch painting. By the end of the 19th and early 20th century, translations included novels dealing with contemporary matters, such as the womens question, the peace movement and social issues such as socialism and colonialism. A small group of academics and literary specialists were by then working for a literary Nobel Prize for the Dutch part of the world. Nevertheless, the translations produced during 1920-1950 were primarily a question of entertaining literature. During the 1930s more translations began to appear of literature for children and adolescents, a movement that intensified during the 50s, so that today such areas account for more than half of the literature translated from Dutch. From the 1930s until her retirement in 1961, the Dutch foreign lecturer Martha A. Muusses played a central role for Swedish awareness of serious Dutch - although not Flemish - literature. During the 60s, deliberate Dutch and Flemish economic commitments produced an increase in the amount of serious literature translated from Dutch to Swedish. By the 70s this shift was facilitated by the growing number of enthousiastic translators, backed up by informative articles written by Dutch and Flemish professors. They were driven not least by the desire to see the Nobel Prize in literature at last go to a work in Dutch. Moreover, new enthousiastic supporters from the heart of the Swedish literary world would join them in the 80s and 90s. Although the Swedish translations from Dutch still contain large elements of children's literature, anti-war tracts, works of social criticism, literature about the situation of women, and works dealing with the lives and customs of the people in the Netherlands and Flanders, a noticeable shift has taken place towards the type of literature appreciated by literary critics - nor is this latter type without its appreciative readers in the public at large. In sum, the reception of Dutch literature in Sweden from the 19th century to 1995 has primarily shifted from literature of a moral and religious nature, via a literature of entertainment, to a more serious literature, a shift in wich the commitment of translators and Dutch and Flemish cultural intermediaries, together with economic support, has played a crucial role.

The aim of this dissertation is to give a detailed analysis of the Dutch verb komen ‘come’ and the Swedish verb komma ‘come’ based on a systematic comparison. Focus has been placed on grammatical polysemy and the study is written within the framework of cognitive linguistics. Both verbs can be defined as corresponding to a complex category consisting of a prototypical meaning and other meanings which can be central or peripheral in relation to the prototype. Two monolingual corpora consisting of newspaper texts were used as sources of data: INL 27 Miljoen Woorden Krantencorpus 1995 and Press 95, 96, 97 Concordances in Göteborg University’s Bank of Swedish. A sample of 1,490 tokens of komen and 1,518 tokens of komma was taken from the two corpora. When analyzing the two verbs and their context the following ten variables were taken into consideration: 1) physical movement, 2) animate or inanimate subject, 3) adverbial, 4) future reference 5) bounded or unbounded aktionsart, 6) ingressive meaning, 7) accidentality, 8) infinitive marker, 9) predictive and/or intentional meaning, and 10) causativity. The results indicate that komen and komma have the same prototypical meaning. However, the semantic extensions from the prototype differ between the two verbs. If we consider the two verbs in a network, the meanings of komen and komma occupy different positions relative to the prototype. On the one hand, when Dutch komen is a copulative verb and/or occurs in lexicalized verb phrases, the resultative meaning is more central, while the aspectual meaning is peripheral. On the other hand, the temporal meaning of Swedish komma, as a future auxiliary verb, holds a more central position than the resultative meaning which is more peripheral. Nevertheless, Dutch komen, which is not considered a future auxiliary verb, but is rather an aspectual auxiliary verb shows similarities in the present tense (komen te + V2) with the Swedish kommer att construction (a true future auxiliary verb). That is, Dutch komen can have clear future reference, but in a limited context. Whereas Dutch komen is categorized as a copulative verb, the Swedish komma is not considered a copulative verb. Nevertheless, it is clear from the corpus that Swedish komma has a copula-like function, but in a limited context. Finally, it has become clear that komen and komma have undergone somewhat different grammaticalization processes even though both verbs contain similar meanings.

Denna uppsats undersöker en barnbokstrilogi, som skrevs av Sonja Berg Pleijel under sjuttiotalet, och som utspelar sig under de sista åren av nederländskt kolonialt styre i nuvarande Indonesien, och under tiden för den japanska invasionen. I uppsatsen undersöker jag hur två av modernitetens utopier kontrasteras emot varandra, den ena är idén om ett gott kolonialt styre, och den andra är idén om en värld där rättvisa och frihet råder. I alla tre böcker visas exempel upp på varför ett etiskt kolonialt styre varken är möjligt eller önskvärt, och hur utopin om en rättvis värld kan realiseras inom den enskilde människan, även om den inte kan realiseras i världen. För att komma åt dessa frågor kommer jag att sätta boken i ett historiskt idésammanhang, och diskutera de tankar som hörde till de ethische politiek, som var den officiella koloniala policyn i Nederländerna under den tid som boken utspelar sig. Dessa idéer uttrycks ibland av bokens karaktärer, och dessa argumenteras alltid emot eller avslöjas som ohållbara eller felaktiga. Jag kommer dessutom att jämföra bokserien med några barnböcker som gavs ut i Nederländerna under trettio- och fyrtiotalet, och som var tydligt inspirerade av denna tankeströmning. Genom att jämföra Sonja Berg Pleijels böcker med dessa blir argumenten emot denna idéströmning i dessa böcker, och därmed analysen av de två kontrasterande modernitetsprojekten ännu tydligare. Dessutom sätter jag in Sonja Berg Pleijels böcker i det svenska sjuttiotalssammanhang i vilket de skrevs.

Denna kandidatuppsats består av en längre översättning i form av en undertextning från nederländska till svenska, samt en kommentar till översättningen. Källtexten utgörs av inslaget De online fabeltjesfuik (ordagrant ’fabelryssjan’) ur det nederländska satiriska nyhetsprogrammet Zondag met Lubach. I kommentarsdelen beskrivs den teoretiska bakgrunden bakom den översättningsprincip och rangordning av översättningsprioriteringar som styrt undertextningsarbetet. Därefter behandlas ett urval av översättningsproblem samt strategierna för att lösa dem, med ett särskilt fokus på kulturella referenser och humor. Det största problemet utgörs dock i slutändan av översättningsformens egna begränsningar när det kommer till tid och utrymme, vilka styr alla andra översättningsval. / This bachelor’s essay consists of a longer translation in the form of Dutch-to-Swedish subtitles, including a section commenting on the translation. The source text is made up of the segment De online fabeltjesfuik (literally ‘the fable fyke’) from the Dutch satirical news show Zondag met Lubach. The comment section describes the theoretical background behind the translation principle and the translation priorities which have guided the subtitling. Then a sample of translation problems along with the strategies used to solve them are presented, focusing on cultural references and humour. The largest issue remains the inherent limitations of subtitling as pertains to time and space, which influence all other translation choices made.

An ongoing debate within the field of Second Language Acquisition (SLA) discusses the possibility of universal developmental stages in the interlanguage of second language learners. Processability Theory (PT) is one of the theories that enhances this way of thinking about second language acquisition. The belief is that learners go through the same stages of development when learning a new language. An ongoing process in PT is the construction of these developmental stages for individual languages, but today there is still much work needed in this area. The purpose of this thesis is to construct the developmental stages for Dutch, based on an error analysis of second language learners’ interlanguage. The data was collected from Swedish students learning Dutch on a university level. The students were interviewed once per month, and three times in total, so that no developments in their interlanguage could be missed. The data is processed according to the emergence criterion, resulting in developmental tables of the learners’ progress. The result of these interviews provides for the outline on how one acquires Dutch, and together with a grammatical analysis of Dutch word order procedures and morphology, a developmental hierarchy for the acquisition of Dutch according to PT is constructed. / I den här studien undersökas den nederländska språkinlärningsprocessen inom ramen av Processbarhetsteorin (PT). PT antar att inlärningsprocessen sker genom universella stadier. Dessa har skapats och forskats för flera olika sprak, men inte för nederländska. I den här uppsatsen kommer den nederländska morfologin och ordföljden att analyseras enligt PT’s stadier, och skapas en hierarki för nederländska. Samtidigt blir hierarkin testad genom en longitudenell studie av inlärningsprocessen av svenska studenter som lär sig nederländska. Dessutom diskuteras frågan om möjlig transfer från både det första och andra språket. Sen debatteras frågan om emergence criterion och procentsatser, och därmed skillnaden mellan språkinlärning och språkbehärskning. Resultatet är en granskning av den egna skapade hierarkin, och möjliga förklarningar för deras inlärningsprocess.

This thesis considers the translation of Dutch and Flemish picture books into Swedish from 1995 to 2006. The main aim of the thesis is to study what meaning the notion translation takes on where picture books are concerned and how the translation practice for picture books is influenced by international co-productions. The thesis includes a bibliographical study and a larger case study of the Dutch picture book artist Dick Bruna and his internationally renowned picture books about the rabbit Miffy in Swedish translation. Working within the theoretical frame of descriptive translation studies (DTS), I describe and analyse picture book translation as a phenomenon and a practice that occurs at a certain moment in time in a certain sociocultural context. Using the model of Toury (1995), I study translation norms governing the selection and translation of Dutch and Flemish picture books and of Bruna’s picture books about Miffy in particular. Toury’s model is largely designed for the analysis of written texts. As picture book texts combine both verbal and visual modes of expression, I use multimodal analysis combining the social semiotic visual grammar of Kress & van Leeuwen (2006) with systemic functional linguistics (SFL) as a tool to analyse the translation of picture book texts. By combining DTS and SFL, I study translation as a cultural and social semiotic practice. The analyses in the thesis indicate that picture book translation can be characterised as an international, target culture-oriented and multimodal translation practice. The multimodal translation analysis shows that, while translated picture books have the same images as their source text due to co-production, images can be combined with different social meanings, as for instance images of children and interaction with the reader, expressed in the written text. Images can also assume different meaning potentials and also referential interplay and plausible reading paths between words and images can change.

Denna kandidatuppsats undersöker den nederländska kompositören Jacob van Eycks verk Der Fluyten Lust-hof och den variationsstil som används inom verket. Detta skedde genom studier av Ruth van Baak Griffioens avhandling Jacob van Eyck’s Der Fluyten Lust-Hof och Thiemo Winds avhandling Jacob van Eyck and the Others samt egna studier av variationerna inom verket. Detta kulminerade i sju egenskrivna variationer över den svenska psalmen Den blomstertid nu kommer i Jacob van Eycks ikoniska stil. Genom arbetet har jag uppnått en ökad förståelse om van Eycks liv, hans variationsteknik samt en friare interpretation och stilistisk säkerhet vid framtida framförande av hans musik / This essay investigates the Dutch composer Jacob van Eycks work Der Fluyten Lust-hof and the style of diminution which is used within the work. Previous works about Jacob van Eyck, such as Jacob van Eyck’s Der Fluyten Lust-Hof by Ruth van Baak Griffioen and Jacob van Eyck and the others by Thiemo Wind, as well as my own studies of the work are consulted in the studying of van Eycks variation style. This culminated in seven variations of the Swedish psalm Den blomstertid nu kommer written by my own hand in Jacob van Eycks iconic style. Throughout this work I have gained a better understanding about van Eycks life, his diminution technique as well as achieved a freer interpretation and stylistic confidence when preforming van Eycks music. / <p>Alicia Petersson (1998-)</p><p>Variationer i Jacob van Eycks variationsstil över Den blomstertid nu kommer </p><p>Alicia Petersson, blockflöjt</p>

Studien undersöker hur de engelska slanguttrycken och talspråksmarkörerna i ungdomsromanen Paper Towns av John Green översatts till nederländska och svenska. En analys av slanguttrycken och talspråksmarkörerna i romanens första kapitel, utifrån Lambert &amp; van Gorps modell (1985), visar vilka översättningsstrategier som översättarna valt och vilka översättningsnormer dessa är ett uttryck för. Resultatet visar att översättningarnas preliminära data pekar mot en adekvansinriktad översättningsstrategi. På mikronivå visar resultatet en mer acceptansinriktad översättningsstrategi vid översättning av slang och talspråksmarkörer, med en något större källspråksinriktning i den nederländska översättningen. / The study investigates how slang and spoken language markers in English in the Young Adult novel Paper Towns by John Green have been translated into Dutch and Swedish. An analyse of the expressions found in the first chapter of the novel, based on the method created by Lambert and van Gorp (1985), shows the translation strategies and the underlying translational norms. The results of the analysis of the preliminary data of the translations points towards adequate translation strategies. At a micro level, the results indicate more acceptable translation strategies regarding the translation of slang and spoken language markers, with slightly more source-orientation in the Dutch translation.

Astrid Lindgren is arguably the most famous Swedish author of all times, known for her chil­dren’s books about Pippi Longstocking, the Brothers Lionheart, Ronia the Robber’s Daughter, and many more. Subsequently, her works have been translated into over a hundred languages. In Sweden her books are recognized for their peculiar, playful language, and immersive imag­ination. This paper is examining how that style of writing is translated to other languages. Spe­cifically, Lindgren’s last novel Ronja Rövardotter (1981) and its translations to English, Ronia the Robber’s Daughter (1985), and Dutch, Ronja de Roversdochter (1982), are compared ac­cording to the particular elements that the novel uses to build its own unique feeling: the style of the narrator; the language of the characters; the names; and the illustrations. In the source text these four aspects collaborate to create a medieval fairy tale-like atmosphere, which espe­cially is accomplished by the transformative language which combines older colloquialisms and dialectic words with a poetic phrasing, which is simultaneously unique for this literary work and deeply rooted in Swedish tradition. This is difficult to properly translate to other languages, as it is built upon playfulness with a certain language and culture. Therefore, even though both translations are perfectly valid and retell the story adequately, they both are incapable of fully translating the style of the original. Besides that, other (more deliberate) changes are resulting in a different reading experience – i.e., the inclusion of illustrations, the narrator’s oral (origi­nal)/textual (translated) language, and whether Ronia flees from wild ‘vittror’ (north-Swedish gnome-like creatures), harpies, or bird–witches. Altogether, the English Ronia and the Dutch Ronja are significantly different from the Swedish Ronja, with their own styles, but attributed to the same original author.