This thesis examines the translation of cultural elements from Norwegian to Italian. The analysis is made on the basis of theories of translation studies and focuses on the realia found in the contemporary Norwegian novel Svøm med dem som drukner, written by Lars Mytting and published by Gyldendal in 2014. The initial hypothesis of the work was that in the Italian translation the geographical-cultural aspects would be dominant and the plot and psychological aspects subdominant; that is, a hierarchy of dominants opposite of that of the original in Norwegian. The thesis presents the results of analytical parallel reading of the original Svøm med dem som drukner and the Italian version Sedici Alberi from 2017, translated by Alessandro Storti. During the parallel reading words and phrases specific to the Norwegian language culture (realia) were collected and grouped according to the type of realia (geographical, ethnographical or political/social as suggested by Osimo) and the translation strategy used (transcribing, creation of a new word or calque, using a different related word from the source language etc. as suggested by Osimo). While some of the strategies lead to bringing the translation close to the original (adequacy), others make the word or phrase, to a varying extent, consistent with the target culture (acceptability). The results obtained confirm the original hypothesis that Sedici Alberi would be an “adequate” translation. Further work in this area could focus on the analysis of style and language in the same translation, to see whether also these aspects conform with the translation being “adequate”.

In this thesis the translation of cultural elements from Italian to Swedish is examined. The study is based on the analysis of the realia found in the Italian novel Le otto montagne, which was written by Paolo Cognetti and published in 2016 by Einaudi. The analysis is based on theories of translation studies. The thesis presents the results of analytical parallel reading of the original Le otto montagne and the Swedish version De åtta bergen, which was translated by Malin Emitslöf and published by Contempo förlag in 2018. The original hypothesis was that the strategies chosen by the translator would show tendencies to aim for an adequate translation of the culture specific elements and the names. During the parallel reading phrases and words specific to the Italian language culture (realia) were collected. The elements of realia which were found were first grouped according to type of realia. The next step was to determine which method had been used by the translator, to render the specific element of realia into Swedish. The results obtained do not fully verify the original hypothesis, that the strategies chosen by the translator would in general show tendencies to aim for an adequate translation of the culture specific elements. However, when the culture specific element in question was connected to specific domains or subjects, this tendency to aim for an adequate translation was more distinct. These subjects were for instance traditional life in the mountains, alpinism etc, i.e. subjects with a strong connection to the mountains. As a complement to the results of the parallel reading, Malin Emitslöf, the translator, was asked to answer a number of questions regarding the translation, her background, etc. Her very helpful and comprehensive answers can be found in the appendix of this thesis. The answers to the questions in the interview suggest that the translator did not choose strategies or model readers consiously, but rather made the various choices during the translation process based on intuitive experience from previous work with translation, extensive exposure to the two language-cultures, the gut feeling, and a good instinct for language. Further work in this area could focus on the comparison of the translation of the elements of realia in the book (i.e. Le otto montagne) into different languages, for instance Swedish and Spanish. Another suggestion would be to compare the methods and experiences of two different translators, Malin Emitslöf e Aija Cirulis, by doing interviews with them both. They both have experience from translating a novel written by Paolo Cognetti, into Swedish. La Cirulis recently translated the book “Senza mai arrivare in cima” by Cognetti, into Swedish. (Contempo 2020). It would be interesting to make a comparison between their experiences, their methods and their strategies.

Lo scopo della tesina è comparare, alla luce della cornice teorica che esiste nel campo della ritraduzione, le due traduzioni in lingua svedese del romanzo Il Gattopardo di Giuseppe Tomasi di Lampedusa. I metatesti svedesi sono la prima traduzione del 1960 di Eva Alexandersson e quella del 2016 di Viveca Melander. Le due traduttrici svedesi usano due versioni differenti del prototesto: la versione d'origine del 1958 e la versione riveduta del 1969. Quindi, all'inizio di questo lavoro. è stata in primo luogo fatta un'analisi comparativa di un estratto delle due versioni del prototesto. L'analisi dimostra differenze più frequenti tra le due versioni di quanto fosse precedentemente indicato nella bibliogafia a riguardo. In secondo luogo. viene condotta un'analisi del lessico della traduzione della Alexandersson per indagnare in che modo un invecchiamento del lessico di quella traduzione possa motivare una ritraduzione del romanzo. Vengono esaminati 18 lemmi del primo capitolo della traduzione della Alexandersson ed è esplorata la presenza di questi lemmi in due versioni della Svenska Akadmiens Ordlista: la versione 9 (del 1950) e la versione 14 (del 2015). Usando questo metodo non è risultato possibile dimostrare in maniera conclusiva un invecchiamento del lessico. In terzo luogo, è analizzato in che modo la teoria proposta da Antoine Berman sul carattere della ritraduzione, quella di avere lo scopo di essere più fedele della prima traduzione al testo di origine, possa applicarsi alle traduzioni svedesi di Il Gattopardo. Sono paragonate dal punto di vista lessicale e sintattico 14 frasi dei prototesti e delle due traduzioni in lingua svedese. Viene mostrato che la seconda traduzione è più prossima al prototesto. Queste osservazioni danno quindi appoggio alla teoria di Berman. / The aim of this thesis is to compare, considering the theoretical framework that exists in the field of retranslation, the two translations into Swedish of Giuseppe Tomasi di Lampedusa's novel Il Gattopardo (The Leopard). The Swedish texts are the first translation from 1960 by Eva Alexandersson and the one from 2016 by Viveca Melander. The two Swedish translators use different versions of the source text: the original version from 1958 and the revised version from 1969. Therefore, at the outset of this work, a comparative analysis is made of an excerpt of these two versions of the source text. The analysis shows that there are more differences between the versions than has previously been reported in the literature. Secondly, an analysis of the translation by Alexandersson is made in order to examine to which extent an ageing of the vocabulary of this translation could justify a retranslation of the novel. 18 headwords from the first chapter of Alexandersson's translation of the novel are investigated, and their existence in two editions of Svenska Akademiens Ordlista: version 9 (1950) and 14 (2015) is examined. Using this method, it was not possible to conclusively prove an ageing of the vocabulary. Thirdly, it i investigated to which extent the theory proposed by Anoine Berman on the character of retranslation, i.e. to have the tendency and function to get closer to the source text, is applicable to the Swedish translations of Il Gattopardo. 14 sentences from the source text and the two translations are compared from lexical and syntactic points of view. It can be shown that the second translation is closer to the source text. These observations thus give support to Berman's theory.

La tesi si concentra su un'analisi traduttologica di come la lingua sarda, la lingua italiana, i realia (parole che denotano elementi culturospecifici senza corrispondenza nella linguacultura del metatesto) e i modi di dire funzionalmente simili ai realia, nel romanzo “Padre padrone. L’educazione di un pastore” di Gavino Ledda, vengono resi da Ingrid Börge nella traduzione in svedese “Padre padrone (Min far, min herre) En herdes fostran”. Il libro, scritto in italiano, contiene inoltre molte frasi ed espressioni in lingua sarda. Di conseguenza ci sono due lingueculture da riprodurre o riversare nel libro svedese. Ci sono anche alcuni realia propri della linguacultura originale (sia nel sardo che nell’italiano) e dei modi di dire culturospecifici che non hanno corrispondenze precise nello svedese. I realia e i modi di dire funzionalmente simili rappresentano per definizione una sfida e un “translation crisis point” per il traduttore. Questo ne fa anche un oggetto di analisi particolarmente interessante. Considerando le sfide che l’oggetto di studio pone, la tesi cerca di analizzare la resa strategica di questo tipo di elementi. Una domanda fondamentale alla quale si è cercato di dare risposta è se la traduttrice abbia adottato approcci diversi nel trasporre in svedese la lingua e la linguacultura sia dal sardo che dall’ italiano – per esempio valutando se vi sia una variazione nell’uso di strategie più adeguanti o accettabili nei due domini culturali. Viene fornita una breve panoramica della teoria della traduzione. Il metodo per l’analisi è basato soprattutto su una versione ottimizzata della tassonomia di strategie traduttive presentata da Osimo per rendere i realia nel metatesto. Per l’analisi dei modi di dire viene usato un modello presentato da Ingo. È stata anche realizzata una raccolta di informazioni aprendo un dialogo con la traduttrice. La conclusione tratta dalla analisi è che le strategie usate sono di tendenza maggiormente adeguante per la linguacultura sarda e accettabile per quella italiana. Questo è rispecchiato ulteriormente dalla scelta di non tradurre il sardo che risulta criptico anche per il lettore italiano. Anche l’ipotesi di partenza sulla resa dei realia e dei modi di dire viene confermatadalla analisi: per i realia e modi di dire italiani la strategia tende all’accettabilità. / This thesis focuses on a translatological analysis of how the Sardinian language, the Italian language, realia (words that denote cultural-specific elements without correspondence) and idiomatic expressions functionally similar to realia, in the novel ”Padre padrone. L’educazione di un pastore” by Gavino Ledda, are rendered in the Swedish translation ”Padre padrone (Min far, min herre) En herdes fostran” by Ingrid Börge. The novel, written in Italian, also contains many sentences and expressions in the Sardinian language. Consequently, there are two languacultures to be reproduced or conveyed into the Swedish version. There are also realia proper to the original languaculture (in both Sardinian and Italian) and culture-specific idiomatic expressions for which there is no precise equivalent in Swedish.Functionally similar, realia and idiomatic expressions, by definition, represent a challenge and “a translation crisis point” for the translator. This also makes their analysis particularly interesting. Considering the challenges, the thesis tries to analyse the strategy used for these types of elements. A basic question is whether the approach has been different when transferring the language and languaculture from Sardinian and from Italian – for example by assessing whether there is a variation in the use of more adequate or acceptable strategies in the two cultural domains. A brief overview of translation theory is provided. The method for the analysis is mainly based on an optimized version of the taxonomy of translation strategies presented by Osimo for rendering realia in the metatext. For the analysis of idiomatic expressions, a model presented by Ingo is used. Some dialogues with the translator have also taken place. The conclusions drawn from the analyses are that the strategy used for Sardinian languaculture tends mostly towards adequacy and the strategy used for Italian languaculture tends mostly towards acceptability. This is further reflected by the choice not to translate Sardinian, which could be experienced as cryptic even for the Italian reader. The analyses also confirm the hypotheses on the rendition of realia and idiomatic expressions: for Italian realia and idiomatic expressions the strategy tends towards acceptability.

In this thesis a comparison is being made between two different translations into Swedish of the Italian novel Lessico famigliare by Natalia Ginzburg from 1963. The first translation (Familjen) was published in 1981 and was made by Ingalisa Munck and the second (Familjelexikon) was made by Johanna Hedenberg and published in 2021. Due to the limited scope of the project, samples to be studied based on qualitative analysis have been chosen from the source text. The main focus has been on the strategies employed by the translators when it comes to culturespecific elements, how they have chosen to deal with dialects and idiolects in the novel, and how they have chosen to deal with foreign words in the text. Some other aspects have also been taken into account, such as rhythm and structure of the text for instance. One aim has been to see if it were possible to discern to what extent, on the basis of the chosen strategies, the translated texts could be considered as adapted to the receiving culture (strategy of acceptability) or as preserving the languageculture of the source text. However, great attention has also been directed towards other factors such as differences due to the time span between the two translations or the individuality of the translator.          The analysis has shown that both of the translators show tendencies to move between the above-described attitudes toward the original text, but that the translation by Munck from 1981 shows less adherence to the original text and a more open attitude to freer translation alternatives. The most obvious example of this is the total restructuring of portions of the source text, reconstruction of sentences and formation of new paragraphs. The translation by Hedenberg demonstrates a will to adhere the source text in all these respects, sometimes also replicating its musicality, rhythm and alliterations. However, as shown by the comparison between individual examples, elements of the two attitudes can be found in both translations. It is not possible to reach a full conclusion based on a qualitative analysis.           Furthermore, the rendition of foreign words suggests that the translators have been working with different types of model readers in mind: Munck with a reader that values the mixing of languages in the novel and the rendering of the bourgeoise Italian culture of the Levi family (and/or with a greater comprehension of French) and Hedenberg with a reader with a greater interest in understanding the text without being disturbed by elements of French in the dialogue – and/or with a lesser knowledge of the French language.          Based primarily on the treatment the word “negro”, observations were made about the ageing of translations and the taboos they can reveal in a specific culture.

In questo lavoro si cerca di applicare i principi teorici e i metodi del filosofo e traduttologo franco-canadese Antoine Berman a uno studio comparativo di quattro traduzioni (tedesca, inglese, danese ed italiana) del volume di racconti El Llano en llamas, di Juan Rulfo. L'applicazione della griglia analitica di Berman mira ad identificare i processi di trasformazione linguistica e culturale - ai quali i traduttori devono cedere nell'affrontare un'opera di pensiero e lingua stranieri, e le negoziazioni necessarie per travasare lo stile e i micro-universi testuali di Rulfo alle quattro lingue di arrivo. L'obiettivo è di misurare l'operatività di questa metodologia per un'analisi comparativa che mira a stabilire come e in che misura i testi rulfiani siano stati trasposti. Di fronte alle tendenze che mettono al centro la leggibilità di una traduzione e la considerazione delle competenze e attese del lettore di arrivo, Berman offre una prospettiva di tipo ermeneutico che si basa sulla nozione di 'ospitalità linguistica': l'obiettivo della traduzione non è quello di rendere comprensibile, di annettere, l'estraneo, bensì quello di accoglierlo in quanto estraneo per arricchire l'orizzonte di arrivo. / This work seeks to apply the theoretical principles and methods of the French-Canadian philosopher and translation theorist Antoine Berman to a comparative study of four translations (German, English, Danish and Italian) of Juan Rulfo's El Llano en llamas. The application of Berman's analytical grid aims at identifying the processes of linguistic and cultural transformation to which the translators cede when dealing with a work conceived and written in a foreign language. The analysis thus focuses on describing the negotiations needed to transfer Rulfo's style and his textual micro-universes to the four target languages. The main objective is to measure the efficacy of this methodology for a comparative analysis aimed at establishing how and to what extent Rulfo's texts have been transposed. In contrast to theoretical approaches where the readability of a translation and the consideration of the target reader's competences and expectations are the main focus, Berman offers a hermeneutical perspective based on the notion of 'linguistic hospitality': the aim of translation is not that of making the foreign comprehensible, of annexing it, but rather that of hosting it as something foreign in order to enrich the target horizon.

This essay focuses on the cultural aspects of translation, mainly on the cultural-specific elements known as realia, when translating from Italian to Swedish. As the realia might be unknown to the reader of the target text and as they often have no exact correspondence in the target language, they often pose a challenge for the translator. The essay examines which strategies the translator has used to translate cultural-specific elements and the question is raised whether the translation, regarding the cultural aspects, is orientated towards the source culture (adequacy-orientated) or towards the target culture (acceptability-orientated). Three of the Neapolitan Novels written by pseudonymous Elena Ferrante, Storia del nuovo cognome (2012), Storia di chi fugge e di chi resta (2013) and Storia della bambina perduta (2014), serve as source text of the analysis. The Neapolitan setting of the novels make them specifically suitable for a study of cultural-specific elements. The study is qualitative and complemented with a quantitative part. It is based on Osimo’s (2011) strategies for the translation of realia. The analysis reveals that cultural-specific elements of the source text tend to be replaced with more generic and international expressions. Prioritizing the narrative over cultural-specific elements the translation shows a tendency towards acceptability.

This thesis examines the translation of culture-specific phenomena in children’s literature with a theoretical framework based on “translation studies”. In the translation of children’s literature, translators generally choose translations that brings the content closer to the target culture, creating an “acceptable” translation. At the same time, these choices distance the translation from the culture of the original text. The opposite, translations which remain faithful to the original, are called “adequate” with the terminology of translation studies.This thesis presents the result of the parallel reading of the original Madicken på Junibacken, a children’s book written by famous Swedish author Astrid Lindgren, and the Italian version, Martina di Poggio di Giugno, translated by Fiorella Onesti and Isabella Fanti (Salani, Gl’Istrici, 2003). During the reading of the two books, the phenomena specific to the Swedish language culture (realia, in translation studies’ terminology) were collected, listed, grouped according to type of realia (names of persons and places, food, idiomatic expressions, songs and games) and the translation strategy used. The grouping according to translation strategy took as its starting point the ten strategies described by Osimo (2008). The analysis confirmed the initial hypothesis that Martina di Poggio di Giugno would be, like many other translations of children’s books, an “acceptable” translation. A complimentary analysis of corresponding realia in two other translations of Astrid Lindgren books, the Italian versions of Pippi Longstocking and Bill Bergson, Master Detective, showed that one realia can be translated in different ways, leading to different results. The translations in the second phase of the analysis were deemed as slightly less “acceptable” and therefore closer to equivalence with the original texts.