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Esta tesina pretende investigar y analizar cuáles son las problemáticas relacionadas con la traducción de la literatura infantil, cuando el objetivo de la traducción sea enfatizar la cultura española, así como obtener una traducción al danés que sea legible y adoptado a los niños. La investigación está basada en mi propia traducción del libro infantil Nariz de payaso (2022) de Jordi Sierra i Fabra, enfocándose en los referentes culturales, tal como nombres, modismos, costumbres y tradiciones. Para realizar la traducción y el análisis, aplicaré estrategias de traducción de Hans Vermeer, Lawrence Venuti, Göte Klingberg, B.J. Epstein, Gillian Lathey e Isabel Pascua, entre otros. La traducción persigue obtener una extranjerización de los referentes culturales para no solo mantener, sino también subrayar la cultura española, mientras el lenguaje literario busca alcanzar una domesticación para adaptarse a la cultura danesa. El análisis demuestra que las estrategias de traducción aplicados para traducir los nombres y los referentes culturales han sido estrategias que pretenden mantener los elementos culturales, así como añadir una pequeña explicación. En cambio, la mayoría de los modismos han sido adaptados a la cultura danesa.

This thesis explores the differences in inclusive language surrounding the LGBT+ community in English and Danish, specifically in Young Adult-literature, both in and through translation. I argue that intersectional feminism and queer theory is needed in order to fully understand the depth behind inclusive language use in literature, and how this is transferred to a translation. By analysing the translation of LGBT+ related segments of Young Adult-book Loveless written by Alice Oseman in 2020, I argue that the language surrounding the LGBT+ community in Danish is not as liberated and reclaimed as it has become in English. It is explored if this potential lack of reclamation of queer labels in Danish affects a translation focusing on queer identity. It is examined how the translation is affected by the translator’s political agenda with the translation, as well as the possibility of self-censorship, the ethical considerations and the target audience that comes with Young Adult-books. This thesis analyses how, for example, the slow reclamation of the word ‘lebbe’ can lead to censoring of the word in the translation and how the educational value of Young Adult-books requires the translation to be a learning opportunity for younger generations. Through a thorough exploration of feminist translation ethics and the invisibility of the translator, I argue that translators, in general, need to be more visible through translation in order to create inclusive pieces of work, which adds an activistic element to the thesis.

The Wiskott–Aldrich syndrome (WAS) is an X-linked primary immune deficiency caused by a mutation in the WAS gene. This leads to altered or absent WAS protein (WASp) expression and function resulting in thrombocytopenia, eczema, recurrent infections, and autoimmunity. In T cells, WASp is required for immune synapse formation. Patients with WAS show reduced numbers of peripheral blood T lymphocytes and an altered T-cell receptor repertoire. In vitro ,their peripheral T cells show decreased proliferation and cytokine production upon aCD3/aCD28 stimulation. It is unclear whether these T-cell defects are acquired during peripheral activation or are, in part, generated during thymic development. Here, we assessed the role of WASp during T-cell differentiation using artificial thymic organoid cultures and in the thymus of humanized mice. Although CRISPR/Cas9 WAS knockout hematopoietic stem and progenitor cells (HSPCs) rearranged the T-cell receptor and differentiated to T-cell receptor (TCR) + CD4 + CD8 + double-positive (DP) cells similar to wild-type HSPCs, a partial defect in the generation of CD8 single-positive (SP) cells was observed, suggesting that WASp is involved in their positive selection. TCR repertoire analysis of the DP and CD8 + SP population, however, showed a polyclonal repertoire with no bias toward autoreactivity. To our knowledge, this is the first study of the role of WASp in human T-cell differentiation and on TCR repertoire generation., SCOPUS: ar.j, info:eu-repo/semantics/published

Although previous research on ethics demonstrates growing awareness that many agents or subjectivities besides translators and interpreters are involved in translation and interpreting processes, the consequences of this multiplicity for thinking about ethics in translation still lacks focused attention. In this introduction, we show how this special issue, titled Voice, Ethics and Translation, reduces this gap by highlighting the concept of voice and the idea that the world of translating and interpreting consists of many voices ‘having a say’. This carries with it the potential for negotiation, conflict and dissent regarding what constitutes good and bad translation and interpreting practice. The nine contributions discuss questions such as whose voices are involved in ethical negotiations, what is the nature of these negotiations, who has more power to have their voices heard, and whether translators and interpreters should be given more trust and responsibility. As evinced by these various contributions, a consensus seems to be emerging to the effect that rather than blindly following outside authorities in ethical matters, translators and interpreters need to be encouraged to independently reflect on a variety of voices on ethics and be actively conscientious and responsible in actual translation and interpreting situations.

This article investigates the relationship of literary translators with ‘their’ authors and with the source text. The issue has been dealt with from different theoretical perspectives. I will focus instead on the practitioners’ own views, setting these against the scholarly voices and looking for possible similarities and discrepancies. In 1998, Simeoni stated that ‘the more vocal calls for translational emancipation’ had originated not among the translators themselves, but among ‘peripheral observers’, such as translator scholars. Does this claim still hold true, or are translators nowadays more concerned about emancipation, more prone to claim ownership and/or authorship than previous generations? A first glance at the results of a survey among literary translators in Scandinavia seems to indicate that they are not: most respondents apparently do not perceive the translated text as ‘their text’. The free text comments, however, reveal a more differentiated picture. My claim is that to understand literary translators’ ethical stance vis-à-vis the text they are working on, and to give them the rightful credit for their work, we need to revise some of the traditional dichotomies within translation studies, such as creativity versus fidelity, and take a more nuanced stance towards the notions of ownership and authorship.

Although previous research on ethics demonstrates growing awareness that many agents or subjectivities besides translators and interpreters are involved in translation and interpreting processes, the consequences of this multiplicity for thinking about ethics in translation still lacks focused attention. In this introduction, we show how this special issue, titled Voice, Ethics and Translation, reduces this gap by highlighting the concept of voice and the idea that the world of translating and interpreting consists of many voices ‘having a say’. This carries with it the potential for negotiation, conflict and dissent regarding what constitutes good and bad translation and interpreting practice. The nine contributions discuss questions such as whose voices are involved in ethical negotiations, what is the nature of these negotiations, who has more power to have their voices heard, and whether translators and interpreters should be given more trust and responsibility. As evinced by these various contributions, a consensus seems to be emerging to the effect that rather than blindly following outside authorities in ethical matters, translators and interpreters need to be encouraged to independently reflect on a variety of voices on ethics and be actively conscientious and responsible in actual translation and interpreting situations.

The aim of this study is to shed light on questions of “multiple translatorship” and particularly on translation collaboration processes. The empirical material consists of more than three hundred e-mails exchanged between two co-translators who translated Claudio Magris’s novel Alla cieca (2005) into Danish. The theoretical framework presents a double perspective through which the e-mail correspondence is studied: on the one hand, as an ethnographic “thick description” (focusing on translation as an event), with the aim of uncovering who the agents involved are, how they interact, and what their impact is on the final product; and on the other, as a “think-aloud correspondence” (focusing on translation as a cognitive act), with the aim of shedding light on the two translators’ strategies of problem solving and decision-making.

Voices – marks of the tangle of subjectivities involved in textual processes – constitute the very fabric of texts in general and translations in particular. The title of this book, Textual and Contextual Voices of Translation, refers both to textual voices, that is, the voices found within the translated texts, and to contextual voices, that is, the voices of those involved in shaping, commenting, or otherwise influencing the textual voices. The latter appear in prefaces, reviews, and other texts that surround the translated texts and provide them with a context. Our main claim is that studying both the textual and contextual voices helps us better understand and explain the complexity of both the translation process and the translation product. The dovetailed approach to translation research that is advocated in this book aims at highlighting the diversity of participants, power positions, tensions, conflicts, and debates and how they both textually and contextually materialize as voices before, during, and after the translation process.

This paper examines how much the traditional image of the solitary literary translator still holds true. Changes in professional associations and modes of communication are influencing how translators communicate and collaborate with other translators. This paper presents the results of a questionnaire on collaboration within literary translation in Scandinavia. Concepts from Community Studies, such as generalized reciprocity, interpersonal trust and active participation, are employed to discuss whether literary translators feel like members of a community, lone wolves, or simply lonely.

Translations participate in the construction of the images of foreign cultures, and texts that reinforce the national stereotypes are often those selected for translation. Are there recurrent features in Italian literary texts translated into Danish that reveal what is perceived as ‘typically’ Italian in the eyes of Danes? I will look at translations of contemporary Italian narrative, relying primarily on the website of the Danish public libraries, bibliotek.dk, that contains keyword categorizations and evaluations produced by the librarians in order to “mediate” between the foreign texts and the Danish readership. The paper will draw on the notions of image construction and national stereotypes (cf. Beller & Leerssen 2007) and of the metynomic nature of translation (cf. Tymoczko 1999).

Il fenomeno “Don Camillo” Un’analisi della grande popolarità dei film di Don Camillo in Italia e all’estero negli anni 1952-1965 La tesi poggia sull'analisi del film Don Camillo (1952) come modello per i successivi quattro film sul prete discusso Don Camillo. Le cinque commedie su Don Camillo sono state create da tre diversi registi su un periodo di 14 anni: Don Camillo (1952) e Il ritorno di Don Camillo (1953) dal regista Julien Duvivier; Don Camillo e Peppone L'Onorevole (1955) e Don Camillo Monsignore ... ma non troppo (1961) dal regista Carmine Gallone; e Il compagno Don Camillo (1965) dal regista Luigi Comencini. La sub-analisi dei film mostra come tutti i film costituiscano una serie. La fonte letteraria e le sceneggiature per i film sono stati ideati da Giovannino Guareschi, che è stato uno scrittore controverso nella cultura italiana. Applicando il suo umorismo caratteristico, Guareschi, sia come scrittore sia come vignettista, caricaturista e soggettista, poneva domande critiche sulle potenze sociali. Le storie di Don Camillo sono apparse nella rivista satirica Candido (1946 - 1961) e sono state molto popolari. Le tante piccole storie sono state poi raccolte nei libri che a loro volta sono stati tradotti in più di ottanta lingue. L'analisi mostra come è costruito il film, mentre la sub-analisi degli stessi mostra come la fonte letteraria sia stata adattata alla forma cinematografica. Considerando la realtà politica e storica dell’Italia dagli anni 40’ agli anni 50’, cerco di spiegare la grande popolarità dei film. I film sono guardati sia da un punto di vista storico che filmico ed il genere è fissato. La critica contemporanea dei film è inclusa per spiegare la popolarità nazionale e internazionale. Alla fine è stata compresa la posizione dei film più recentemente. La tesi mostra come i film producono controversie politiche quotidiane realistiche e divertenti dal punto di vista della gente comune. Il modello, i libri, sono conosciut

The translation of cultural titles, e.g. of books or films, creates linguistic changes and fixed patterns. But what changes and why? The relation between intra- and extra-translational changes is examined, and the main reasons found for these modifications are: a) audience nursing and b) economic interests. The sheer existence of a possibility for change is responsible for the changes analysed. The translation situation creates a new possibility for modifying the title, and this situation is very often exploited, even if there is absolutely no linguistic or cultural motive for it: external powers change the titles. Key words: titles, cross-linguistics, translation, Danish-German-English, patterns, constructions, Published 2013

Coining the concept of “multiple translatorship,” this introduction discusses the multiple ways in which the translator’s agency is intertwined with that of other parties in the process of bringing the translation into the world. Multiple translatorship is considered from three perspectives: multiple translatorship in the translation process (exploring the intricate web of relations between those involved in the translation event), multiple translatorship in the translation product (tracing possible influences in paratexts and preliminary drafts), and authority and authorship in multiple translatorship.

Translation Studies now recognizes that translators are not the only agents involved in translation. Authors and editors provide suggestions and instructions. Publishers have considerable power over the final text and how it is presented to the public. While it is well-known that translations are often censored in totalitarian regimes, less attention has been paid to the way commercial interests can interfere with the work of translation in ‘free’ societies. Using the concept of ‘voice’ to explore contexts where multiple agents interact, this volume makes a major contribution to our understanding of the processes through which authors, publishers, editors, directors, and critics can affect translation. Empirical studies from historical and contemporary settings examine forms of collaboration and negotiation, or conflict, with special attention to the multiple voices in theatre translation.

This is the second of two volumes of essays grown out of a conference on authorial and editorial voices in translation held by the international research group Voice in Translation at the University of Copenhagen in 2011. Using the concept of ‘voice’ to explore contexts where multiple agents interact, this volume makes a major contribution to our understanding of the processes and practices through which editors and publishers affect translation. Essays examine the modalities of editing in contexts of rewriting, retranslation, autobiography, and colonialism, and publisher practices with respect to prefacing, book format, titling and marketing. Contributors draw on empirical research in different historical and contemporary settings involving a rich variety of languages, including Danish, English, Finnish, French, German, Indonesian, Italian, Swedish, and Turkish.