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The British and German Translations of Pippi Longstocking

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The British and German Translations of Pippi Longstocking THE BRITISH AND GERMAN TRANSLATIONS OF PIPPI LONGSTOCKING – A TRANSLATIONAL STYLISTICS ANALYSIS Thesis submitted for the degree of Doctor of Philosophy At the University of Leicester By Margrethe Stuttaford Department of Modern Languages University of Leicester 2020 Cover Page THE BRITISH AND GERMAN TRANSLATIONS OF PIPPI LONGSTOCKING – A TRANSLATIONAL STYLISTICS ANALYSIS Thesis submitted for the degree of Doctor of Philosophy At the University of Leicester By Margrethe Stuttaford Department of Modern Languages University of Leicester 2020 i Abstract The British and German Translations of Pippi Longstocking A Translational Stylistics Analysis By Margrethe Stuttaford This project examines the representation and reception of Astrid Lindgren’s first Pippi Longstocking book through its initial translations into English and German. The main corpus consists of the British translation (1954), the West German translation (1949) and the East German version (1975) of the Swedish source text (1945), which are compared with the early US translation (1950) as well as later retranslations into English (2007) and a reedition into German (2007). The project’s methodology builds on Malmkjær’s Translational Stylistics, which aims at analysing the impact of stylistic choices on processes of meaning-making in translation. The methodology is used in combination with a comparative focus on children’s literature in various cultures and on sociological frameworks to analyse the translation of Pippi Longstocking into selected target cultures. The analysis interprets the various types of changes and shifts used in the respective translations and considers both their impact on the meaning of the text and their link with literary, cultural and translational contexts and norms. The case of Pippi Longstocking is particularly relevant as Lindgren’s character has been considered as unusual and norm-breaking in the context of children’s literature. The project considers the adjustments made in the translations and the way in which these have affected the representation and reception of Pippi. ii Dedication This thesis is dedicated to William Stuttaford for his everlasting support, kindness and patience, and to my five children Benjamin, Mark, Finn, Billy and Ingrid for their understanding. It is also written in memory of Per Jessen (1932 – 2014) who always shared his enthusiasm for, and knowledge of, languages. iii Acknowledgement I thank whole-heartedly my supervisor Fransiska Louwagie for her gentle guidance, speedy replies, thoughtful comments and continuous confidence in this project. Also, many thanks to Kirsten Malmkjær who started supervising this project but recently took retirement. Tusind tak! Extended thanks also go to Jennifer Ball for her kindness, understanding and encouragement of this thesis and for her time spent on helping me with the proofreading. Ruth Weeks and William Stuttaford both deserve a huge thank you for their wonderful support and time in helping with computer related formatting. Heather Burnett, I thank for her belief in me and for our many chats in the River Cottage Canteen. I would like to thank the librarians at the University of Leicester for their outstanding service in working like what can best be described as detectives on my behalf and for always finding whatever I was looking for. And extra special thanks must go to Carol Kemp, Guided Learning Tutor, without whose help the formatting of this thesis would never have been possible. Thank you very much. Also, the librarians at the University of Exeter, Aalborg Hovedbibliotek, Kungliga Biblioteketet in Stockholm, Frankfurt Bibliothek and Hamburg Bibliothek I owe a warm thank you. I would in particular like to thank Jutta Schmid. Many thanks go to Saltkråkan in Sweden, in particular Johan Palmberg, Annika Lindgren and Malin Billing who have always been amazing at communicating and shown an interest in the project. Tack så mycket! Huge thanks also to Translation Studies scholars Astrid Surmatz, Gabi Thomson-Wohlgemut and Charlotte Berry for their extended support and encouragement along the way. H.C. Andersen Centeret in Denmark as well as Søren Kirkegaard Reseach Centeret in Copenhagen deserve a thank you too for their detective work in finding information on obscure translations. I would like to thank the Danish author Jens Andersen for all his encouraging words ‘Skriv bare’, which is what I did. Tak! iv I thank the two ‘Paulas’ from The Premier Inn in Leicester and all the other staff there for their care, lovely sense of humour and kindness during my five years in Leicester. I would like to thank my fantastic cold-water swimming ladies too, both in Lyme Regis and in Blokhus in Denmark. These dips in the sea all year round in good company have been extremely uplifting. Last, but by no means least, huge thanks to my family and friends who have all been there for me throughout this lengthy part-time project. Thanks go to my mum in Denmark for putting up with my long Face Time calls and self-doubts. Also, a huge thanks to her for introducing me to foreign languages on our fantastic family holidays in Norway where I came to realise how simply wonderful it is to be able to communicate in foreign languages. Mange tak! A huge thanks to all five of my children for their support and encouragement and for trying to understand that it was important to spend weeks on end away from Devon for the final push of this project. v Table of Contents Cover Page .................................................................................................................................. i Dedication ................................................................................................................................ iii Table of Contents ...................................................................................................................... vi List of Abbreviations ................................................................................................................. x Chapter 1 Introduction .......................................................................................................... 1 The Initial Publication of Pippi in Sweden Search of a Definition ............................. 2 The Initial Translation and Publication of Pippi Longstocking in the UK and Germany ..................................................................................................................................... 5 Research Aim and Questions .................................................................................... 12 Outline of PhD Structure ........................................................................................... 13 Corpus ....................................................................................................................... 14 Chapter 2 Children’s Literature in Context ........................................................................ 15 In Search of a Definition ........................................................................................... 15 Children’s Literature in Sweden, the UK and Germany ........................................... 21 2.2.1 Historical Perspectives in Sweden, the UK and Germany ........................................ 21 2.2.2 Post-war Literature in Sweden, the UK and East- and West-Germany .................... 30 2.2.2.1 Post-war Literature in Sweden ................................................................................... 30 2.2.2.2 Post-war Literature in the UK .................................................................................... 32 2.2.2.3 Post-war Literature in the two Germanies ................................................................. 36 2.2.3 Gender Perspectives in Swedish, British and German Children’s Literature ........... 41 Children’s Literature and Translation ....................................................................... 50 Chapter 3 Literature Review: Pippi in Literary and Translation Studies ........................... 55 Pippi in Literary Studies ........................................................................................... 55 3.1.1 The Character of the ‘Autonomous Child’ ................................................................ 56 3.1.2 Comical Features and Style ....................................................................................... 62 3.1.3 Fantasy and a Fairy Tale World ................................................................................ 66 vi 3.1.4 Gendered Perspectives in Pippi ................................................................................. 68 Pippi in Translation Studies ...................................................................................... 70 3.2.1 Areas of study............................................................................................................ 70 3.2.2 Sociocultural Adaptation ........................................................................................... 71 3.2.3 Political-ideological Adaptation ................................................................................ 76 Chapter 4 Methodology ...................................................................................................... 83 Introduction ............................................................................................................... 83 Sociological Frameworks .......................................................................................... 85 4.2.1 Stuart Hall: The Circuit of Culture
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