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Paratexts in Translation. Nordic Perspectives
- 2022
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Editorial collection (other academic/artistic)abstract
- As something that surrounds, extends, and presents a text to the world, the phenomenon of paratext is gaining more and more attention within the discipline of Translation Studies. This edited volume, with contributions by five Nordic scholars, aims to build on that attention by presenting five case studies on paratexts in translations into Danish, Norwegian, and Swedish. A special focus lies on the paratextual mechanisms at play when works from different source cultures are translated into a Nordic target context. The translated works under scrutiny belong to genres such as literary novels, non-fiction works, and religious texts, and the paratexts surveyed include footnotes, covers, blurbs, introductions, and literary reviews. The scholars represented in the volume all work in Translation Studies, or at the intersection between Translation Studies and other disciplines.
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- Pleijel, Richard, et al.
(author)
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Introduction
- 2022
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In: Paratexts in Translation. Nordic Perspectives / Richard Pleijel, Malin Podlevskikh Carlström (eds.).. - Berlin : Frank & Timme. - 1438-2636. - 9783732907779 ; , s. 9-19
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Book chapter (peer-reviewed)
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| 3. |
- Podlevskikh Carlström, Malin
(author)
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In Prosperous Sweden… Representations of Sweden in Russian Reviews of Swedish Crime Fiction 2000−2021
- 2024
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In: Mikael: Finnish Journal of Translation and Interpreting Studies. - 1797-3112. ; 17:1, s. 105-121
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Journal article (peer-reviewed)abstract
- Based on a corpus of 203 reviews published in Russian newspapers and periodicals between 2000 and 2021, this article investigates the image of Sweden in the Russian reception of Swedish crime novels. The analysis aims to answer the following research questions: 1) How are Sweden and Swedes described in Russian reviews of Swedish crime fiction in 2000–2021? 2) Is there any indication of the novel reviewed having influenced the critic’s perception of Sweden? Swedish crime fiction is a popular genre in Russia, and constitutes as much as 63% of all translated Swedish prose fiction published in Russia between 2010 and 2021, which makes this a highly relevant inquiry. The thematic analysis of the reviews revealed that previously established positive images of Sweden are often used ironically, in contrast to the gruesome crimes described in the novels. Furthermore, several reviews indicate that the novel reviewed had an impact on the critic’s view on Sweden. Additionally, some reviews display ideological interpretations, indicating that western values are to blame for the situations described in the novels. Based on the analysis, it seems that Swedish crime fiction does impact the image of Sweden in Russia, which might be problematic given the genre's popularity.
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| 4. |
- Podlevskikh Carlström, Malin
(author)
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It’s all about Russia: the reception of contemporary Russian literature in Sweden
- 2024
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In: Perspectives: Studies in Translation Theory and Practice. - 0907-676X .- 1747-6623.
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Journal article (peer-reviewed)abstract
- Based on a corpus of 377 reviews of 72 novels, this article analyzes how contemporary Russian literature is received and represented in Swedish reviews, in relation to both the Russian literary tradition, and to Russia. The results have been divided into three periods, 1994–2002, 2003–2011 and 2012–2020, and are organized around four themes: (1) contemporary Russian literature in Sweden; (2) contemporary Russian literature in general; (3) contemporary Russian literature in relation to the Russian literary tradition; and (4) contemporary Russian literature in relation to Russia. During the first period, the novels reviewed were described as a new post-Soviet literature portraying the shards of communist society. During the second period, there was a focus on social criticism, while at the same time the critics sensed new hope for Russian literature. The final period is seen as a resurgence of Russian literature, although in a new form. Vladimir Sorokin stands out as the central representative of contemporary Russian literature for the entire period analyzed. Furthermore, contemporary Russian literature is seen as increasingly relevant as Russia’s authoritarian tendencies increase. Finally, Russian literature is seen in Sweden as a source of information about Russia, and as literature in which Russia is the main character.
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| 7. |
- Podlevskikh Carlström, Malin
(author)
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Swedish Crime Fiction in Russia 1992–202. Publication, Marketing and Paratextual Framing
- 2023
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In: Samlaren. - Uppsala : Svenska Litteratursällskapet. - 0348-6133 .- 2002-3871. ; 144, s. 320-360
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Journal article (peer-reviewed)abstract
- Malin Podlevskikh Carlström, Department of Languages and Literatures, University of Gothenburg and School of Languages and Translation Studies, University of Turku “Swedish Crime Fiction in Russia 1992−2021. Publication, Marketing and Paratextual Framing” This article investigates the publication and paratextual framing of Swedish crime fiction in Russia in the period 1992–2021. Based on an analysis of publication data and the written peritexts of 230 editions, conclusions are drawn regarding: 1) publication patterns and trends; 2) representations of Swedish crime fiction; 3) representations of Swedish crime fiction authors; 4) representations of Sweden; 5) the marketing of Swedish crime fiction. The article also includes comparisons to the previously analyzed Soviet context. The publication of Swedish crime fiction in Russia has increased considerably during the period investigated. The boom in Swedish crime fiction reached the Russian market around 2010, which coincides with the publication of Stieg Larsson’s Millennium trilogy. In terms of editions, crime fiction is the most important genre of Swedish literature in Russia today. Sjöwall & Wahlöö, Mankell and Larsson are seen in Russia as important stages in the development of Swedish crime fiction. These three authors, who all write socially motivated crime fiction, are included in the top five for both the entire period analyzed, 1992–2021, and for the latest 15-year period, 2007–2021. While Sjöwall & Wahlöö were seen as the top writers of Swedish crime fiction during the Soviet period, this status has today been passed on to Stieg Larsson. Thus, social issues are still the cornerstone of Swedish crime fiction from a Russian perspective. The following aspects seem to be important for the marketing of Swedish crime fiction in Russia: 1) the novel itself (e.g. genre and plot); 2) aspects that signal the author’s consecration (e.g. awards and translations into other languages); 3) indications of the author being a bestseller, the best or number 1; 4) comparisons to other authors. While the Soviet publication of Swedish crime fiction was ideologically motivated, the Russian publication of Swedish works between 1991 and 2021 is varied and seems to be market oriented.
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| 8. |
- Podlevskikh Carlström, Malin
(author)
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Swedish Crime Fiction in the Soviet Union. Publication and Paratextual Framing
- 2022
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In: Samlaren. - Uppsala : Svenska Litteratursällskapet. - 0348-6133 .- 2002-3871. ; 143, s. 141-177
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Journal article (peer-reviewed)abstract
- Malin Podlevskikh Carlström, Department of Languages and Literatures, University of Gothenburg and School of Languages and Translation Studies, University of TurkuSwedish Crime Fiction in the Soviet Union: Publication and Paratextual FramingThis article investigates the publication and paratextual framing of Swedish crime fiction in the Soviet Union. Based on an analysis of the written peritexts of 21 editions, conclusions are drawn regarding: 1) the representation of the genre of crime fiction, and in particular Swedish crime fiction; 2) the representation of Swedish crime fiction authors; 3) the representation of the source culture of Sweden; 4) ideological aspects of the paratextual framing. A premise for the analysis is that in a literary system governed by strict censorship, the peritext becomes a tool used by the censorship apparatus, and industry-created peritexts are often ideologically motivated. The analysis reveals that Swedish crime fiction and Swedish crime fiction authors are clearly distinguished from the general Anglo-American crime fiction genre. Swedish crime fiction is described as being written by authors whose main purpose is not to entertain the reader, but rather to reveal the truth about social injustice and capitalist society. Secondly, positive representations of Sweden are ironically corrupted and used in combination with details from the storyline of crime fiction novels in order to show that all positive representations of Sweden and Western society are false. Thirdly, the paratext creators try to convince the reader that gruesome images of Sweden from crime fiction novels are true representations of everyday life in Sweden. To conclude, it is clear that state censorship was involved in both the selection and the paratextual framing of Swedish crime fiction in the Soviet Union. Furthermore, it is reasonable to assume that the real purpose behind the publication of Swedish crime fiction was not related to literature as such. Instead, these novels were deliberately selected for publication in the Soviet Union for the purpose of corrupting the image of Sweden and creating a representation that better suited the ideology of the State.
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| 9. |
- Podlevskikh Carlström, Malin
(author)
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The (in)visibility of translation and translators in the Swedish publication of post-Soviet Russian literature: An analysis of peritexts
- 2022
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In: Stridon. Journal of Studies in Translation and Interpreting. - : University of Ljubljana. - 2784-5826. ; 2:2, s. 45-74
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Journal article (peer-reviewed)abstract
- In this article the (in)visibility of translation and translators in Sweden is studied, based on the analysis of a corpus of 82 post-Soviet Russian novels. The aim is to investigate how (if at all) the peritexts reveal the foreign nature of the text and the identity of the translator. The analysis shows that the translator is rather invisible in the external peritext, which is placed on the cover or dust jacket of the published translation, while the foreign (and consequently also the translated) nature of the novel is highlighted. The translator’s visibility inside Swedish translations of post-Soviet novels is usually signaled on the title page. Apart from this, the translator is invisible. A few translator’s comments and notes are included in the translation, but usually these are inconspicuous and not explicitly attributed to the translator. Moreover, they are written in an apologetic tone and do not seem to wish to disturb the reader.
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| 10. |
- Podlevskikh Carlström, Malin
(author)
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The Trials of the Intertextual: The Translation and Reception of Tatyana Tolstaya's Kys´ in Sweden and the United States
- 2020
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Doctoral thesis (other academic/artistic)abstract
- This dissertation analyses the translation and reception of Tatyana Tolstaya’s novel Kys´ (2000). The analysis includes, as well as the Russian source text, the Swedish translation Därv (2003), translated by Staffan Skott and Maria Nikolajeva, and the English translation The Slynx (2003), translated by Jamey Gambrell. A basic premise for the investigation is that intertextuality takes particular expression in the Russian literary tradition, which is why it is vital to discuss possible strategies for translating intertextual references and also how the choice of strategies may affect the reception of a target text. The first part of the dissertation focuses on intertextuality and possible ways to classify and translate intertextual references. The analysis reveals that the Swedish translators have replaced many quotations from Russian poetry with Swedish or canonical poetry, while the American translator has translated the Russian quotations into English. To summarize, while the Swedish translators seem to have interpreted intertextuality as such as being important and recontextualized some of the references, the American translator instead seems to have interpreted the references to Russian culture and the actual referent texts as being important. The second part analyses the reception of the two target texts by means of a comparative analysis of twelve Swedish and sixteen American reviews in non-scholarly and non-professional publications. The analysis reveals that the reception differed between the two target cultures. While the English target text was primarily read as a novel about Russia, the Swedish critics were also able to relate the novel to universal topics such as art and human nature. Finally, the analysis revealed that an underlying theme among the Swedish reviews is “Can art/literature save us?” while an underlying theme among the American reviews is instead “Can Russia be saved?” To conclude, the Swedish translators managed to achieve an interpretation of the source text that was not only more intelligible for the target text readers but also more interesting and relevant from their perspective. Thus, intertextual literature may benefit from a translation strategy that takes the function of intertextuality into consideration and that also—when necessary—recontextualizes intertextual references.
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