| 1. |
- Alfvén, Valérie, 1978-, et al.
(författare)
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Almapriset lyfter världens barnböcker
- 2021
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Ingår i: Dagens arena.
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Tidskriftsartikel (populärvet., debatt m.m.)abstract
- Den franske författaren Jean-Claude Mourlevat var i stort sett okänd i Sverige innan han fick Almapriset. När engelska dominerar översättningar av barn- och ungdomslitteratur är Almapriset viktigt för att lyfta böcker på andra språk, skriver Valérie Alfvén och Charlotte Lindgren.
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| 2. |
- Alfvén, Valérie, Biträdande lektor, 1978-
(författare)
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Coming to light? Transcreating Anne of Green Gables to French
- 2022
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- “Anne of Green Gables” (1908) by L.M Montgomery has been translated into French four different times (1924, 1964, 1986 and 2020). However, it was not until the success of the Netflix series “Anne with an E” (2017) that Montgomery's text really became a success among French young readers. It took almost eighty years for the books to be published in its entirety (1986) and the text was retranslated in 2020 with a clear reference to Netflix on the cover. This paper seeks to investigate how the French translation of “Anne of Green Gables” from 2020 relates to the retranslation hypothesis (Berman 1990) and to the concept of transcreating which is “often appl[ied] in advertising and marketing context” (Pedersen 2014). I will focus on the newest translation of the first volume of the book series, but I will also compare to the older translations from 1964 and 1986. My research questions are therefore: How much does the Netflix series (marketing context) affect the translation itself? Is there room for transcreating and how does it take place? I will rely on Korzeniowska who assumes that transcreating takes “place when a translator recreates the given text for a specific audience, this mainly being within the field of advertising, when promoting brand-related products or preparing video games for foreign markets, etc.” (2000:73). I will also use the retranslation hypothesis by Berman (1990) and Chesterman, which presumes that “later translations tend to be closer to the source text” (Chesterman 2004:8). Many studies show that this hypothesis holds, but that it has no universal value. It seems that in the case of translation of “Anne of Green Gables” to French, transcreating makes the text readable for a young public, even if it takes liberties with the original text, and by this way brings it back to light.
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| 3. |
- Alfvén, Valérie, 1978-
(författare)
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Contemporary Translated Children’s Literature in Sweden : with focus on French-speaking literature
- 2021
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Ingår i: IBBY - International Board on Books for Young People.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- This article sheds light on translated children’s literature in Sweden during the period 2015-2020. A relatively large portion of children’s literature in Sweden (36% according to 2020 data published by The Swedish Institute for Children's Books), from toddler books to young adult literature, comes from translations. It has been shown in polysystem research in particular (see Even-Zohar 1979; 1990), that countries such as Sweden, so-called ‘semi-peripheral’ (Heilbron 2000) or with a so-called ‘dominated language’ (Casanova 2002, 9), are known to import a lot of literature because, for example, their internal production is rather limited, which a priori is not the case in Sweden.We first present a panorama of what kinds of books are translated to Swedish and from which languages. We focus then on the particular position of French speaking (broadly defined) children’s literature in Sweden, the global phenomena of the series and the emerging wimmelbooks in which French illustrators. We observe that even if Sweden has a larger national production, there is still an important number of translated picturebooks, in which French illustrators may fill a vacuum.
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| 4. |
- Alfvén, Valérie, 1978-, et al.
(författare)
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Contemporary translated children’s literature in Sweden with a focus on literature from French-speaking regions
- 2022
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Ingår i: STRIDON: Studies in Translation and Interpreting. - : University of Ljubljana. - 2784-5826 .- 2784-5826. ; 2:1, s. 79-95
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Tidskriftsartikel (refereegranskat)abstract
- This article sheds light on translated children’s literature in Sweden during the period 2015−2020. A relatively large portion of children’s literature in Sweden (36% in 2020), from books for toddlers to young adult literature, comes from translations. It has been shown in polysystem research, that ‘semi-peripheral’ countries such as Sweden, or places having a so-called ‘dominated language’, are known to import much literature because, for example, their internal production is rather limited, which a priori is not the case in Sweden. We first present a panorama of the kinds of books that are translated to Swedish and the languages they are translated from. We then focus on the particular position in Sweden of African children’s literature from French-speaking regions and assume that French is used as a tool that enables this literature to reach a Swedish audience, as part of the global phenomena of serial books and the emerging wimmelbooks. We conclude that even if Sweden’s national production is greater than book importing and translation, there is still a not insignificant number of translated picturebooks through which authors and illustrators from French-speaking regions occupy a stable share of this production, and may in this way transport cultural values from more peripheral countries.
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| 5. |
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| 6. |
- Alfvén, Valérie, 1978-
(författare)
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Defying norms through unprovoked violence : The translation and reception of two Swedish young adult novels in France
- 2020
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Ingår i: Children’s Literature in Translation. - Leuven : Leuven University Press. - 9789462702226 - 9789461663207 - 9789461663269 ; , s. 263-276
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Bokkapitel (refereegranskat)abstract
- This chapter examines the translation and reception of two Swedish young adult novels – Spelar död [Play Dead] and När tågen går förbi [When the Trains Pass By] – published in France in the 2000s. Both books use unprovoked violence in a realistic genre for adolescents, something no French author had dared to do previously. The two novels ignited a moral panic in France that led to heated debates in the French literary field. This chapter retraces the stormy reception of these novels in France and analyzes the constraints to which translations of unprovoked violence are often subject, especially when translated from a source culture whose norms are more liberal than the target culture. Linking translation strategies with reception, this chapter uses Even-Zohar’s polysystem theory to determine how the two novels became ‘innovative’ (in Even-Zohar’s sense of the term) in the French literary field in the 2000s.
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| 7. |
- Alfvén, Valérie, Biträdande lektor, 1978-
(författare)
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(In)difference of translated Swedish children’s literature on the English-market : 2000-2022
- 2023
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Ingår i: International conference.
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Konferensbidrag (refereegranskat)abstract
- Despite that English book market is closed, in this meaning that translations are less numerous than the national production (Even-Zohar 1990), this presentation aims to show that Swedish literature for children’s and young adults succeed in finding its place – even small – in this well-known hermetic market. It means that there is a circulation of books from a semi-peripheral language (as defined by Heilbron 2000) and a consecrator country as Sweden is, to a hypercentral language and dominating global market. Since the thesis of Broomé (2014) which examined the role and function of Swedish fiction in English translation on the British book market at the beginning of 2000s, there are no specific studies and collected data in both United-Kingdom (UK) and United States (US) especially on translated children’s and young adult’s literature and even less from Sweden. This presentation feels this gap by mapping Swedish children’s and young adult literature translated into English. It presents as well data on which actors publish this literature in the aim to further understand how and what kind of Swedish children’s and young adult’s literature circulate and which actors may have an impact on their circulation. Mapping those translations flows is a way to determine how intensive the exchanges are but above all it is a way to find patterns in the translated production from Sweden to the English-speaking market and to understand what is circulating between those countries. A hypothesis is that books that fit certain stereotype or representations about Scandinavia are more easily published in these two English-speaking countries.
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| 8. |
- Alfvén, Valérie, 1978-
(författare)
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Kitty Crowther en Suède : renforcement du rôle de consécration suédois
- 2021
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Presentationen tar upp Kitty Crowthers reception i Sverige som visar sig vara mångfasetterad. Den belyser vidare Alma-prisets roll i konsekrationen av författaren men också ett svenskt barn- och ungdomslitterär fält som är i sökande av självständighet i fältet av världslitteraturen och hur receptionen av Crowther förstärker konsekrations instansen.
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| 9. |
- Alfvén, Valérie, 1978-
(författare)
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La question de la 'violence gratuite' et de l’ adolescent-bourreau dans les romans pour adolescents contemporains à travers l’étude de la réception de deux romans suédois en France : Définition problèmes, esthétique
- 2014
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- La littérature de jeunesse est une littérature traditionnellement sous surveillance mais, en France, elle tente de se dégager, depuis les trente dernières années, d’une fonctionnalité éducative et moralisante. Lorsque deux romans pour adolescents suédois Faire le mort de Stefan Casta et Quand les trains passent de Malin Lindroth paraissent en France au début des années 2000, le débat sur le « peut-on tout dire aux adolescents/enfants » se réanime et ces deux romans sont, avec d’autres accusés par la critique de contribuer à « noircir » la littérature de jeunesse, voire à la rendre « malsaine ». Qu’est-ce qui dérange dans ces deux romans venus du Nord et pourquoi cet accueil français ? Ces deux romans mettent en scène une violence relativement inédite en France, celle de la violence gratuite entre des adolescents. Depuis la parution de Sa Majesté des mouches de William Golding (1954) au début des années 2000, peu de romans ont osé mettre aussi clairement en scène des adolescents-bourreaux se déchainant violemment contre un des leur sans (à priori) raisons particulières. Devant la nouveauté de cette thématique si sensible mais plus tabou, nous nous proposons de nous interroger ici, et à travers la réception de ces deux romans, sur la notion de « violence gratuite » à l’aide notamment du philosophe René Girard et les conséquences que cela implique en littérature de jeunesse. Nous nous attacherons ensuite à l’esthétique de la violence dans ces romans et sa mise en place, en comparaison avec celle française, pour montrer comment finalement, malgré la sensibilité du sujet, se met en place un « respect du lecteur ».
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| 10. |
- Alfvén, Valérie, Biträdande lektor, 1978-, et al.
(författare)
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Le merveilleux voyage de l’album sériel entre la France et la Scandinavie : [The Wonderful Adventures of Picture Book Series between France and Scandinavia]
- 2023
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Ingår i: Strenae. - : OpenEdition. - 2109-9081. ; 22
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Tidskriftsartikel (refereegranskat)abstract
- This article studies the translation flows of picture book series between Scandinavia (Sweden and Norway) and France between 2011 and 2021. According to studies on literary flows, countries having so-called « dominated » and « peripheral » or « semi-peripheral » languages, for example Norway and Sweden, should import more literature from the core (France) than the other way around. However, the present study shows that this theory does not hold water regarding picture books for children aged 3-6 years, where the literary flows from the core to the (semi-)periphery are uneven, or even non-existing. We are able to ascertain that the status of the picture book series is maintained as they cross the borders between France and Scandinavia. Moreover, the series translated to French are almost always characterized by a high literary legitimacy (symbolic recognition of authors and works, limited number of titles per series, affirmation of graphic and authorial creativity), with often a representation of a Scandinavian perspective. The fact that the books originally are part of a series is rarely foregrounded as a marketing device in Scandinavia, but on the contrary, this could be the case in France. The translation flows concerning picture book series show that seriality, sales figures and literary legitimacy are compatible.
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