<p>The aim of this study is to compare metaphors from the 1970 edition of Joseph Conrsd's Heart of Darkness (originally published in 1902) with their Swedish translations in Mörkrets Hjärta, by Einar Hecksher (2006), to see how mwtaphors have been translated from English into Swedish, i.e. to see if there are any structural differences which cause semantic differences to the metaphors. By comparing the original metaphors with their translations, it is possible to point to difficulties, which may cause problems in the translation process. One example indicates that homonyms can be a problem. Nearly all of the English metaphors have been translated as metaphors in Swedish as well. About half of the metaphors studied have been semantically changed in their translations, yet without any pragmatic differences compared to the originals. It seems not that important which theory about metaphors (e.g. Lakoff, Leech, Levinson, Black) is more 'applicable' than the others with regard to translation. The result of translation of metaphors is more likely due to the translator's perception of the source language, rather than to theories about metaphors per se.</p>

The aim of this study is to compare metaphors from the 1970 edition of Joseph Conrsd's Heart of Darkness (originally published in 1902) with their Swedish translations in Mörkrets Hjärta, by Einar Hecksher (2006), to see how mwtaphors have been translated from English into Swedish, i.e. to see if there are any structural differences which cause semantic differences to the metaphors. By comparing the original metaphors with their translations, it is possible to point to difficulties, which may cause problems in the translation process. One example indicates that homonyms can be a problem. Nearly all of the English metaphors have been translated as metaphors in Swedish as well. About half of the metaphors studied have been semantically changed in their translations, yet without any pragmatic differences compared to the originals. It seems not that important which theory about metaphors (e.g. Lakoff, Leech, Levinson, Black) is more 'applicable' than the others with regard to translation. The result of translation of metaphors is more likely due to the translator's perception of the source language, rather than to theories about metaphors per se.

This essay discusses the subject of translating a French book about the French cuisine into Swedish. The author is Gérard Depardieu, a famous French actor with a keen interest in the French culinary art and culture. The book is about simple, classic, French cooking. While translating, we had some difficulties translating some cultural expressions or words that do not have an equivalence in Swedish, and therefore we had to find another solution than literal translation that would allow us to retain the cultural sense. To our help, we used the theories of Jean-Paul Vinay and Jean Darbelnet who discuss equivalence, explication, modulation and adaptation, which are different methods of translating a foreign culture to a target language. We also used the expressions foreignization (where you break target conventions by retaining a foreign cultural element in the original way) and domestication (where you translate the foreign element to something that exists in the target culture to minimize the strangeness). Our goal was to adapt the translated text to a Swedish reader, but at the same time keep as much of the French culture and Depardieu's style as possible.

Ce mémoire est une étude traductologique du suédois au français, concernant les mots inventés par Astrid Lindgren dans Ronya fille de brigand et spécifiquement les invectives, les jurons et les êtres (personnages inventés). Nous avons étudié les stratégies utilisées par la traductrice (selon Vinay et Darbelnet), la proximité avec la langue source ou la langue cible et le problème spécifique de traduire un livre pour la jeunesse du suédois au français. Notre conclusion est que les stratégies sont parfois difficiles à cerner mais que ce sont surtout des stratégies indirectes, que le texte est proche de la langue cible et qu’il y a un remplacement des mots inventés par des mots courants de la langue cible. Notre conclusion est que s’il n’existe pas une express ion identique dans la langue cible, il est probable que le traducteur remplace l’expression en question par une expression courante. / This essay is a translation study from Swedish to French concerning the invented words by Astrid Lindgren in Ronia, the Robber’s Daughter, in particular the swear words, invectives and spirits (invented figures). Our study examines the strategies used by the translator according to Vinay and Darbelnet, the closeness to the source language or the target language and the specific problems when translating a book for children from Swedish to French. Our conclusion is that the strategies sometimes are difficult to encircle and that the indirect strategies are more frequent. We noticed also that the text, concerning these words, is closer to the target language and that there is a replacement of the invented words of more standard words in the target language. Our conclusion is that if it does not exist an identical expression in the target language, it is likely that the translator replaces this expression with a more common one.

Studien undersöker i hur stor utsträckning de skandinaviska översättarna använder samma metoder när de översätter. För att kunna studera detta undersöks den danska, norska och svenska översättningen av den franska romanen L’élégance du hérisson med hjälp av Vinay och Darbelnets (1958/1977) metodologi. I studien kommer också översättarna till tals om de situationella faktorer som kringgärdat översättningsprojektet. Det största fokuset ligger på de indirekta översättningsmetoderna, eftersom det är dessa som visar på de största skillnaderna. Resultaten visar att översättarna väljer samma metoder i 42 % av den totala översatta textmassan. Resultaten visar också att den danska översättningen har störst användning av indirekta översättningsmetoder och därmed också är den måltext som avviker mest från källtexten, medan den norska måltexten är rik på så kallad traduction littérale och ligger närmast källtexten. / The study investigates to what extent the Scandinavian translators use the same methods when translating. The Danish, Norwegian and Swedish translations of the French novel L’élégance du hérisson are analyzed using Vinay and Darbelnet’s (1958/1977) methodology. In the present study the translators are also questioned about so called situational factors that might have influenced the translation process and its outcome. There is a major focus on the methods that are characterized by indirect translation, since these in a clear way indicate differences. Results show that the translators use the same methods in 42 % of the cases in the analyzed material. Results also show that the indirect translation methods are widely used in the Danish target text and it hence also distances itself the farthest from the source text, whereas the Norwegian target text is rich in litteral translation and closest to the source text.

This study focuses on comparing two different versions of Pippi Longstocking translated into English on a structural level. With the help of the research of the known linguistics John Catford and Paul Vinay &amp; Jean-Louis Darbelnet, we compare how the two different translators, Tiina Nunnally (2007) and Florence Lamborn (1950) have translated the same book. This study compares these two translations for grammatical features and word choices on a structural level, for example use of verb tense and differences in Vinay &amp; Darbelnet’s modulation. It also studies how the translators have done differently regarding Catford’s structural shifts. The essay also briefly looks at the cultural differences between the countries and how they have been translated. The aim of this project is not to determine which translation is better, but to compare and describe any differences and similarities found. It will look at how the two translators have handled the same problems differently (or similarly). The translations by Florence Lamborn and Tiina Nunnally have much in common, but in our result and analysis we present the differences.

Эта магистерская диссертация посвящена исследованию и сопоставлению переводческих трансформаций в рамках теорий Ж.-П. Вине и Ж. Дарбельне и Л. С. Бархударова с целью выявления особенностей каждой из них на фоне друг друга. Материалом сопоставительного анализа послужили монологи доктора Уотсона в первой главе рассказа А. К. Дойла «Скандал в Богемии». / This master’s thesis studies and compares translation transformations within the theories of J.-P. Vinay, J. Darbelnet and L. S. Barkhudarov in order to find out some of the peculiarities of said theories compared to one another. The analysis is based on comparing the translation of Dr. Watson’s monologues in the first chapter of the short story «A Scandal in Bohemia» by A. C. Doyle with the English source text.