The purpose of this paper is to examine translation norms, strategies and solutions in chapter XIII Westbottom and Lapland in The Further Adventures of Nils (Lagerlöf, 1911). In the foreword to the English translation of the novel, the translator writes that some of the purely geographical matter has been eliminated in the translation, and that cuts have been made where the descriptive matter is only of local interest. This statement raised questions about the intended readerships and the purposes of the original novel and the translation, respectively. Are these the same in the two texts, or are they different? Further questions were raised regarding the initial norm of the translator. Has she aimed for domestication or foreignization in the text? In this paper, two domains were chosen as fields of study: proper nouns and the lexical fields of water, heights and flat land. Through an analysis of coupled pairs from the chosen domains, it was concluded that the translator’s initial norm was foreignization, but that there are also many examples of domestication in the text. It was also shown that while the original novel has two clearly stated purposes, namely of being a geography book for Swedish school children as well as a novel with high literary standards, the educational purpose is not as pronounced in the translation. However, the inclusion of a Table of Pronunciation displayed an educational addition to the translation, which is not part of the original novel. Keywords: translation, Lagerlöf, English, Swedish, initial norm, domestication, foreignization.

This thesis focuses on documentaries by North African women, who have been marginalised within the limited space of the field of African filmmaking. I illustrate how North African cinema has suffered from neglect in studies on African as well as Arab culture and particularly African and Arab cinema. I discuss the work of four pioneering women documentary makers in Egypt, Tunisia, Algeria and Morocco. Consecutively I will discuss Ateyyat El Abnoudy, Selma Baccar, Assia Djebar and Izza Génini’s work. My approach is transnational and Bakhtinian in the sense that I am an outsider looking in. I promote a constant self-awareness as a Western European and an academic interested in the area that is defined as the Middle East. Like the documentary makers, I take the nation state as a starting point so as to understand its effects, in order to be able to critique it and place the films in a transnational context. The documentaries in this thesis illustrate that films of a socio-political nature contest the notion of a singular national identity and can become a means of self-definition. Asserting one’s own cultural and national identity, and subjectively offering the spectator an individual’s interpretation of that self-definition, is a way towards female emancipation. Going against the grain and avoiding stereotypes, evading censorship and dependence on state control, these directors find ways to give a different dimension to their identity. Analysing the work of these four pioneering filmmakers, I uncover diverse female subject matters treated by a similar aesthetic. I argue that through overlooked cinematic techniques, they succeed in subverting the censor and communicating a subtle but convincing critique of the patriarchal system in their respective countries. Their preoccupation with representing ‘the other half’ puts a new and under-explored spin on perceptions of anti-establishment filming with subtly emancipating consequences. I suggest that their common aesthetic is one that develops moderation in terms of context, content and style. There is a cinematic way of implicitly subverting not only the (colonial) past but also the (neo-colonial) present which goes further than re-inscription or compensation: new modes of resistance co-exist with the more rebellious and heroic ones. These women’s films rewrite, imply and contemplate rather than denounce and attack heroically. They do not reject as much as interrogate their situations, counting on the empathic and intersubjective abilities of the spectator. A relationship of trust between director, subject and spectator is crucial if we want to believe in the subalterns’ aptitude for voicing issues and gazing back. I reveal a different approach to communication beyond the verbal, and a belief in the subjects’ capacities to speak and listen. This is echoed in the filmmaker’s sensitive analysis of the subjects’ expression and voice and the non-vocal expression – the gaze. The intended outcome is dependent on the willingness of the spectator to take part in the intersubjective communication triangle. I conclude with the idea that moderation is the foundational concept of a post-Third Cinema transnational aesthetic in North Africa. Ateyyat El Abnoudy, Selma Baccar, Assia Djebar and Izza Génini are pioneers of women’s filmmaking in North Africa, who opened up a space for underrepresented subjects, voices and gazes.

The Nashville Civil Rights Movement was one of the most dynamic local movements of the early 1960s, producing the most capable student leaders of the period 1960 to 1965. Despite such a feat, the historical record has largely overlooked this phenomenon. What circumstances allowed Nashville to produce such a dynamic movement whose youth leadership of John Lewis, Diane Nash, Bernard LaFayette, and James Bevel had no parallel? How was this small cadre able to influence movement developments on local and a national level? In order to address these critical research questions, standard historical methods of inquiry will be employed. These include the use of secondary sources, primarily Civil Rights Movement histories and memoirs, scholarly articles, and dissertations and theses. The primary sources used include public lectures, articles from various periodicals, extant interviews, numerous manuscript collections, and a variety of audio and video recordings. No original interviews were conducted because of the availability of extensive high quality interviews. This dissertation will demonstrate that the Nashville Movement evolved out of the formation of independent Black churches and college that over time became the primary sites of resistance to racial discrimination, starting in the Nineteenth Century. By the late 1950s, Nashville’s Black college attracted the students who became the driving force of a local movement that quickly established itself at the forefront of the Civil Rights Movement. Nashville’s forefront status was due to an intentional leadership training program based upon nonviolence. As a result of the training, leaders had a profound impact upon nearly every major movement development up to 1965, including the sit-ins, the Freedom Rides, the March on Washington, the birth of SNCC, the emergence of Black Power, the direction of the SCLC after 1962, the thinking of Dr. Martin Luther King, Jr., the Birmingham campaign, and the Selma voting rights campaign. In addition, the Nashville activists helped eliminate fear as an obstacle to Black freedom. These activists also revealed new relationship dynamics between students and adults and merged nonviolent direct action with voter registration, a combination considered incompatible.

This thesis categorises some characteristic features in the 20th century Lutheran theology, in order to create a picture of the Lutheran theology and Lutheran pre-understanding of life which leave its marks on Selma Lagerlöf as well as on other contemporary expressions of faith and worldviews. Four Lutheran figures of thought are examined as undercurrents in the discourse of the writings of Selma Lagerlöf. They are a) The understanding of Word and Faith, which includes the understanding of justification by faith. b) Faith in God as Creator and in his providence. c) The doctrine of vocatio and God's two regiments. d) The theology of the Cross that emphasises the descent of God and God's taking part in the human life. This investigation has shown that the epic of Lagerlöf can be read in terms of Lutheran theology. The religious roots of Selma Lagerlöf are often described as ”a nothing” - a traditional background, a friendly non-doctrinal piety, and so forth. But this inconspicuous and unconscious religious background has a content, namely the Lutheran faith in the culture and society in which she grew up. Some of the great novels such as The story of Gösta Berlings saga, Jerusalem and The wonderful adventures of Nils and some stories, sagas and legends are investigated. The study shows how the Lutheran understanding of life is expressed in these texts and their interpretation of the reality.

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