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The article investigates Swedish translations of French pop songs. The collected material (50 original songs and 50 Swedish cover versions) has been found in the database SMDB (Svensk Mediedatabas) and by using the reference site Discogs. All songs date from the “phonogram era” between the 1930s and the early 2000s. The results indicate that some Swedish target lyrics faithfully transfer the semantic meaning and the effect produced by the source texts – they hence fall into the category of “near-enough translations”. Other texts show no resemblance to the source lyrics and may therefore be described as “replacement texts” or “all-new target lyrics”. The study also highlights various stratagems that translators use to attract the interest of their target audience. They may, for instance, transfer the story to the target culture or they can choose to add French references to make the translated lyrics sound more “exotic” to the Swedish listener. Résumé L’article examine les traductions suédoises de chansons populaires françaises. Le matériel collecté (50 chansons originales et 50 reprises suédoises) a été trouvé dans la base de données SMDB (Svensk Mediedatabas) et en utilisant le site de référence Discogs. Toutes les chansons datent de « l’ère du disque » des années 1930 jusqu’au début des années 2000. Les résultats indiquent que certaines paroles cibles suédoises transfèrent fidèlement le sens sémantique et l’effet produit par les textes sources – elles entrent donc dans la catégorie des « traductions suffisamment proches » des versions originales. D’autres textes ne montrent aucune ressemblance avec les paroles sources et peuvent donc être décrits comme des « textes de remplacement » ou des « nouvelles paroles cibles ». L’étude met également en lumière diverses stratégies que les traducteurs utilisent pour attirer l’intérêt du public cible. Ils peuvent, par exemple, transposer l’histoire dans la culture cible ou choisir d’ajouter des références françaises pour rendre les paroles traduites plus « exotiques » pour l’auditeur suédois. Mots-clés: Études sur la traduction de chansons; Paroles de chansons; Chanson populaire française; Traduction suédoise

Copyright of Carnets: Revue Electronique d'Etudes Françaises / Revista Electrónica de Estudos Franceses is the property of Associacao Portuguesa de Estudos Franceses (APEF) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A lead tablet from Apollonia in Illyria exhibits the last strophe of a paean to Asclepios, that is transmitted in its entirety on inscriptions from four other cities. This article presents some alternative readings of the new fragmentary version and analyses its variants through the prism of the interaction between the local dialect of the Corinthian colony and the literary Doric of traditional choral lyric. Moreover, some linguistic discrepancies between the different versions of the hymn may have been conditioned by specific local characteristics of religious songs. [ABSTRACT FROM AUTHOR]

Copyright of Synergies Europe is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Écrans is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acta Universitatis Lodziensis: Folia Litteraria Romanica is the property of Wydawnictwo Uniwersytetu Lodzkiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study aims to describe the lexical diction contained in the lyrics of the songs Springs and Tears, Doom, Drought, Disaster, Son of an ape, Dog and Garbage, and On the Beach by Rhoma Irama. The research data is in the form of song lyrics from the seven songs. The methods used in this study include three strategic stages, namely the data collection stage, data analysis, and the presentation of data analysis results. The results showed that the seven song lyrics used as the object of the study used lexical diction in the form of synonyms, antonyms, homonyms, homophones, homographs, hyponyms, hypernyms, and polysemes.

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper presents a little book belonging to Alexandru Borza, a very important scientist of the University from Cluj (Romania), who was also preoccupied with young people's education through means of music, that is with the help of the lyrics of the songs. [ABSTRACT FROM AUTHOR]

Copyright of Acta Universitatis Lodziensis: Folia Litteraria Romanica is the property of Wydawnictwo Uniwersytetu Lodzkiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

“Where are we now?” was the question David Bowie asked in a music video directed by American plastician Tony Oursler, and released in 2013. Over the years, Bowie created many avatars, notably thanks to music videos, and in 2016, he would even metaphorically depict his own death in Lazarus. In Where are we now?, he highlighted the questions of disappearance and posterity in particular. On a formal level, the video refers to two genres which can seem very opposite: on the one hand, lyric videos, that are official textual music videos, featuring the lyrics of the illustrated song; on the other hand, video installation and contemporary art. This paper proposes to analyse this music video in the light of equivocality, ambiguities and duplications within a dense network of signs. It will also consider the hybridization, of genres and of Bowie’s body and self-representation as well. The writing of lyrics on screen, which is specific to lyric video as a genre, seems an invitation to interpretation. Specifically, the importance given to the text leads to notice the gradual fading of Bowie himself, as a singer, behind his own song. In the end of the video, he will indeed totally disappear from the screen – a disappearance that echoes afterwards with Bowie’s actual death, a few years later.

This paper aims at analyzing the acceptance of elementary school students of song lyrics containing national characters. The study was employed using research and development method, and this paper is the result of the interview related to the learning of nine song lyrics containing national characters. The results showed that all students had no difficulty in learning the vocabulary in the lyrics. However, the students were generally passive when asked about the meaning of the lyrics, hence the ability of students in singing the songs does not represent their understanding of the content of the lyrics. The implication of this research is that students always love songs and can sing songs, but it does not guarantee that students really understand the contents of the song.

This paper aims to describe a sample of community translation: the web site Lyrics Translate. com, which offers translation for lyrics. Community translation consists of the translation of a large volume of content due to the collaboration of a group of amateur translators in Internet and it is characterized by the lack of a professional who guarantees the quality of the final product. The power and reach of amateur translation is surprising. The willingness of translators to work on a project without direct financial compensation is a widespread reality. Translators are motivated by recognition from the community, a sense of accomplishment that comes from improving as a translator and from enjoyment of the material they're translating. Using French translations into Spanish language from the web site Lyrics Translate.com, we analyze their performance and the way in which users accomplish the task of translation. With this purpose, we will address some questions such as who are the translators, why they do that, the working languages and, specially, the quality of the translated material. Little attention has been paid to this newborn phenomenon of web sites offering translations carried out by amateur translators. However, these virtual communities around translation are widely spread in the cyberspace and, what is more, these new translating practices have already become a challenge for the future of translation professional work. [ABSTRACT FROM AUTHOR]

In this article, by the light of sociology of the amateurs and sociology of social representations, we propose to study Bruce Springsteen's place in rock culture. As a professional rocker--in contrast with the figures of the pioneer and decadent--he embodies the legacy and the pursuit of rock by being a messenger and perpetuating the myth of social origin. To catch the structure of his imaginary, the notions of dynamical "deep-root", authenticity, present and brotherly pact will serve our narrative discourse and argumentation. We will see that the role of the rocker is to consolidate the social link and thus to cement and perpetuate rock tribe and culture. The musical repertoire, lyrics, journalistic treatment and the discourses of the amateurs will illustrate this perspective. [ABSTRACT FROM AUTHOR]