48 research outputs found
When Ronja Became Ronia : A Comparative Study of the Style of Astrid Lindgren's Ronja Rövardotter & Two of Its Translations
No full textAstrid Lindgren is arguably the most famous Swedish author of all times, known for her children’s books about Pippi Longstocking, the Brothers Lionheart, Ronia the Robber’s Daughter, and many more. Subsequently, her works have been translated into over a hundred languages. In Sweden her books are recognized for their peculiar, playful language, and immersive imagination. This paper is examining how that style of writing is translated to other languages. Specifically, Lindgren’s last novel Ronja Rövardotter (1981) and its translations to English, Ronia the Robber’s Daughter (1985), and Dutch, Ronja de Roversdochter (1982), are compared according to the particular elements that the novel uses to build its own unique feeling: the style of the narrator; the language of the characters; the names; and the illustrations. In the source text these four aspects collaborate to create a medieval fairy tale-like atmosphere, which especially is accomplished by the transformative language which combines older colloquialisms and dialectic words with a poetic phrasing, which is simultaneously unique for this literary work and deeply rooted in Swedish tradition. This is difficult to properly translate to other languages, as it is built upon playfulness with a certain language and culture. Therefore, even though both translations are perfectly valid and retell the story adequately, they both are incapable of fully translating the style of the original. Besides that, other (more deliberate) changes are resulting in a different reading experience – i.e., the inclusion of illustrations, the narrator’s oral (original)/textual (translated) language, and whether Ronia flees from wild ‘vittror’ (north-Swedish gnome-like creatures), harpies, or bird–witches. Altogether, the English Ronia and the Dutch Ronja are significantly different from the Swedish Ronja, with their own styles, but attributed to the same original author
When Ronja Became Ronia : A Comparative Study of the Style of Astrid Lindgren's Ronja Rövardotter & Two of Its Translations
No full textAstrid Lindgren is arguably the most famous Swedish author of all times, known for her children’s books about Pippi Longstocking, the Brothers Lionheart, Ronia the Robber’s Daughter, and many more. Subsequently, her works have been translated into over a hundred languages. In Sweden her books are recognized for their peculiar, playful language, and immersive imagination. This paper is examining how that style of writing is translated to other languages. Specifically, Lindgren’s last novel Ronja Rövardotter (1981) and its translations to English, Ronia the Robber’s Daughter (1985), and Dutch, Ronja de Roversdochter (1982), are compared according to the particular elements that the novel uses to build its own unique feeling: the style of the narrator; the language of the characters; the names; and the illustrations. In the source text these four aspects collaborate to create a medieval fairy tale-like atmosphere, which especially is accomplished by the transformative language which combines older colloquialisms and dialectic words with a poetic phrasing, which is simultaneously unique for this literary work and deeply rooted in Swedish tradition. This is difficult to properly translate to other languages, as it is built upon playfulness with a certain language and culture. Therefore, even though both translations are perfectly valid and retell the story adequately, they both are incapable of fully translating the style of the original. Besides that, other (more deliberate) changes are resulting in a different reading experience – i.e., the inclusion of illustrations, the narrator’s oral (original)/textual (translated) language, and whether Ronia flees from wild ‘vittror’ (north-Swedish gnome-like creatures), harpies, or bird–witches. Altogether, the English Ronia and the Dutch Ronja are significantly different from the Swedish Ronja, with their own styles, but attributed to the same original author
The medium of film in the adaptation of the novel Astrid Lindgren Ronja, the Robber's Daughter
No full textU ovom radu bit će riječi o utjecaju književnog djela na medij filma. Rad upoznaje s glavnim značajkama umjetnosti književnosti, osobito dječje književnosti i filma .
Rad upoznaje s autoricom Astrid Lindgren i njezinim djelovanjem.
Nadalje, analizira radnju dječjeg romana Ronja razbojnička kći i igranog filma jednakog naslova i tematike. Donosi usporedbe i razmišljanja o istovjetnostima i razlikama, odnosima među likovima i utjecajima na čitatelja, odnosno gledatelja.paper will discuss the impact of a literary work on the medium of film. The paper introduces the main features of the art of literature, especially children's literature and film.
The paper introduces the author Astrid Lindgren and her work.
Furthermore, he analyzes the plot of the children's novel Ronja robber's daughter and a feature film of the same title and theme. It brings comparisons and reflections on identities and differences, relationships between characters and influences on the reader or viewer
Yleisötyö tanssiteatterissa : kummiluokkaprojekti Ronja Ryövärintytär-teoksesta
No full textTanssiteatteri MD on Tampereella toimiva ammattitanssiteatteri. Syyskaudella 2012 Tanssiteatteri MD:ssä toteutettiin yleisötyöprojekti tamperelaisten koululaisten kanssa. Yhteensä yksitoista kummiluokaksi ilmoittautunutta koululuokkaa pääsi seuraamaan Astrid Lindgrenin kirjaan perustuvan Ronja Ryövärin-tytär-tanssiteoksen valmistumista ja harjoituksia. Kummiluokkien oppilaat tapasivat taiteellisen työryh-män jäseniä ja saivat esittää omia kommentteja, ideoita ja kritiikkiä teoksen taiteellisista ratkaisuista ja toteutustavasta. Lopulta kaikki kummiluokat pääsivät seuraamaan valmiin Ronja Ryövärintyttären en-nakkonäytöstä.
Opinnäytetyöni käsittelee teattereissa tehtävää yleisötyötä yleisellä tasolla sekä Tanssiteatteri MD:n kummiluokkaprojektia. Tutkimustavoitteeni oli selvittää kummiluokkayhteistyöhön osallistuneiden lasten kokemuksia ja mielipiteitä projektista sekä heidän näkemyksiään tanssiteatterista. Käytän työssäni teoriataustana kirjallista selvitystä teattereissa tehtävästä yleisötyöstä. Työni ensimmäisessä osassa kerron, mitä yleisötyö on, miten sitä tehdään, ketkä sitä tekevät ja mihin asioihin yleisötyöllä pyritään. Kerron tanssiteattereissa tehtävän yleisötyön erityispiirteistä. Kerron myös lasten ja nuorten kanssa tehtävän yleisötyön merkityksistä ja tavoitteista.
Tutkimukseni kummiluokkayhteistyöstä perustuu havainnointiin, tarkkailuun sekä kirjallisiin ja suullisiin haastatteluihin. Tarkkailin kahta kummiluokkaa näiden vieraillessa tanssiteatterilla ja myöhemmin toteu-tin luokkien oppitunneilla kirjalliset kyselyt sekä suulliset ryhmähaastattelut ja keskustelut. Nämä kaksi luokkaa olivat Olkahisen koulun viides luokka ja Tesoman yläasteen kahdeksannen luokan ilmaisutaidon ryhmä. Kummiluokkaprojektiin osallistuneet oppilaat pääsivät tutustumaan tanssiteatteriin ja nykytanssiin pintaa syvemmältä. Heille selkeytyi muun muassa miten esitykset toteutetaan, ketkä tanssi-teatterissa työskentelevät sekä miten tanssin keinoin on mahdollista ilmaista ja kertoa tarinoita. Lapset ja nuoret saivat itselleen kokemuksen ja elämyksiä, jotka toivottavasti kannustavat heitä tanssiteatterin pariin myöhemmin. Lapsille tärkeää oli se, että he saivat sanoa oman mielipiteensä ja aikuiset kuuntelivat heitä. Projekti yhdistettiin koulutyöhön kummiluokkien opetuksessa. Tanssiteatteri MD sai arvokasta tietoa koululaisilta suorana palautteena koskien Ronja Ryövärintytär-teoksen toteutustapoja. Tutkimukseni tuloksia voidaan hyödyntää, kun jatkossa tehdään yleisötyöprojekteja lasten ja nuorten kanssa.Dance Theatre MD is professional dance theatre in Tampere. During autumn 2012 Dance Theatre MD co-operated together with schools in Pirkanmaa region providing children a possibility to follow how dance production is made. Eleven school classes between first grade and high school had chance to see dance practise of Ronia, the Robber’s Daughter, dance production based on author Astrid Lindgren’s book. Pupils followed dance practises and had conversation with dancers and choreographer. They also met other professionals working in dance theatre, for example costume designer and set decorator. Dance theatre was hoping to get comments, ideas and critic from children. This kind of activity is called audience education or audience development. The aim of my bachelor’s thesis was to find out children’s opinions about this audience education project and their thoughts about dance theatre in general.
The first part of my thesis is based on literature. I will explain what kind of activities are audience educa-tion and audience development, how theatres do it, who does it and what kind of goals and possibilities audience development can offer to theatres. I will also tell more about audience development in dance theatre and audience education with children and youth.
In the second part of this thesis I will analyze results of the research I did with two school classes. My re-search was based on observation, written interviews and oral conversations. I chose two classes. First I did observation when classes were visiting in dance theatre. Afterwards I carried out interviews and con-versations during their school lessons.
Based on results of the research this audience education project provided these children new information about dance theatre and contemporary dance. They also got new inspiration for themselves. Telling their own opinions and having adults asking them was important to children. Personnel in Dance Theatre MD got important information from children about their artistic visions. This project was also combined to school work.
This research is helping Dance Theatre MD to develop audience education projects made with children and youth. Children and youth are the audience in the future. It is important to give them positive experiences about theatre and contemporary dance now
The importance of the immunological competence of the minkdam during the perinatal and suckling period for the development of "wet kit syndrome"
No full textThe importance of the immunological competence of the mink dam for the development of pre-weaning diarrhea in mink kits
No full textMink are bred in captivity in Denmark for their pelts. During their lifecycle on the farms, the mink can get affected by different diseases. One of the common diseases during the pre-weaning period is the pre-weaning diarrhea (PWD) syndrome also referred to as “wet”/”sticky”/“greasy” kits. It affects all the kits in a litter and severely compromises the welfare of the kits and can lead to huge financial losses for the mink farmer. Morbidity is high and if the kits are severely affected it can lead to dehydration and eventually death. It is considered multifactorial with no specific cause, and no cure or preventive measures are currently available. During this period the usage of antimicrobials are at their highest, increasing the risk of developing resistant bacteria. Alternative disease prevention and treatment could be found in the protective immunological factors delivered by the mink dam, as it has been shown that cross-fostering kits affected by PWD to another litter improved the health of the kits. Furthermore, 1-year-old dams are more likely to produce kits with PWD than 2-year-old dams, indicating the delivery of a more naïve immune system of the 1-year-old dams to the offspring. During this PhD the overall aim was to investigate a possible association between the dam’s immune factors and the protection against PWD. As the mink kits are born with very low levels of circulating immunoglobulin G (IgG) our hypothesis is that the mammary secretions of IgG and the IgG uptake in mink kits are crucial in preventing PWD. To analyze the IgG concentration from both serum and milk, a sensitive and robust assay is needed. As there are no commercially available methods for quantifying mink IgG, we developed and validated a sandwich enzyme-linked immunosorbent assay (ELISA). Analysis of serum derived from healthy mink kits revealed a within litter effect of IgG, enabling the use of only one kit from each litter in subsequent studies as a proxy measure for all the kits in the litter. Additionally, the kits IgG concentration in serum reached a plateau after 8 days, after which there was only minor changes in the concentration until the kits were 23 days old. Analyzing the species-specific uptake of IgG in 3-day-old kits by oral gavage with either mink enteritis virus (MEV) specific IgG or porcine IgG, revealed an increased uptake of MEV-IgG compared to porcine IgG after 3 hours. The serum IgG concentration from kits affected by PWD showed a reduction in concentration compared to healthy controls when the kits were 13/15 days old, indicating an association between serum IgG concentration and development of PWD. We investigated the serum concentration of a biomarker for inflammation; the acute phase protein-serum amyloid A (SAA), in both healthy kits and kits affected by PWD and found increased SAA levels in kits affected by PWD. In the same kits we demonstrated a difference in bacterial isolates between healthy and kits affected by PWD, which was also observed in the intestinal sections during histopathology. Kits affected by PWD showed disrupted gut architecture with, vacuolated enterocytes, atrophy of the villi in the small intestine, and mucosal atrophy in the large intestine. Furthermore, adherence of coccoid bacteria to the intestinal wall was most frequently observed in PWD-affected kits, which could be associated with the increased SAA concentration.Mink astrovirus has frequently been observed in kits affected by PWD, however also in healthy kits. We investigated the presence of specific antibodies against astrovirus in mink dams and kits, but found no astrovirus specific IgG in the milk and serum of the dams and serum of the kits.These combined findings are important for developing new preventative immunoglobulin supplement-based strategies for protecting mink kits against outbreaks of PWD. Future studies should focus on and investigate the possible usage of IgG as an immune boost or as treatment out on the farms. In addition, the usage of SAA as a biomarker for the health status of the mink should also be researched
Grid-type transparent conductive thin films of carbon nanotubes as capacitive touch sensors
No full text<p>This dataset contains the measurement data for figures (graphs) published in journal article:</p><p>Grid-type transparent conductive thin films of carbon nanotubes as capacitive touch sensors</p><p>by Ronja Valasma, Eva Bozo, Olli Pitkänen, Topias Järvinen, Aron Dombovari, Melinda Mohl, Gabriela Simone Lorite, Janos Kiss, Zoltan Konya and Krisztian Kordas</p><p>Published 11 May 2020 • © 2020 The Author(s). Published by IOP Publishing Ltd</p><p>Nanotechnology, Volume 31, Number 30</p><p>Citation: Ronja Valasma et al 2020 Nanotechnology 31 305303</p><p>DOI 10.1088/1361-6528/ab8590</p>
Mannan Enhances IL-12 Production by Increasing Bacterial Uptake and Endosomal Degradation in L. acidophilus and S. aureus Stimulated Dendritic Cells
No full textThe mannose receptor (MR) is a C-type lectin involved in endocytosis and with a poorly defined ability to modulate cellular activation. We investigated the effect of mannan treatment prior to stimulation of murine bone marrow-derived dendritic cells with the Gram-positive bacteria Lactobacillus acidophilus NCFM (L. acidophilus) on the induction of Interleukin (IL)-12. Mannan enhanced the IL-12 production induced by L. acidophilus in a dose dependent manner (up to 230% enhancement). Additionally, mannan-enhanced IL-12 induction was also demonstrated with another Gram-positive bacteria, Staphylococcus aureus (S. aureus), while an IL-12 reducing effect was seen on Escherichia coli stimulated cells. Furthermore, the expression of Interferon β (Ifnb) was increased in cells treated with mannan prior to stimulation with L. acidophilus. The addition of mannan but not of bacteria led to endocytosis of MR, while addition of mannan prior to L. acidophilus or S. aureus resulted in increased endocytosis of bacteria, a faster killing of endocytosed bacteria, and increased reactive oxygen species production. Expression of signaling lymphocytic activation molecule (SLAMF)1 shown previously to be involved in the facilitation of endosomal degradation was upregulated by mannan but not by L. acidophilus and S. aureus. The IL-12 enhancement by mannan but not the IL-12 induced by the bacteria was abrogated by addition of inhibitors of clathrin coated pits (chlorpromazine and monodansylcadaverine). Furthermore, the addition of acid sphingomyelinase, a facilitator of ceramide raft formation, prior to addition of L. acidophilus enhanced the IL-12 production and the endocytosis of bacteria. In summary, our results show that mannan increases the IL-12 production induced by some Gram-positive bacteria through MR-endocytosis, which increases bacterial endocytosis and endosomal killing. The differential effect of MR activation on the IL-12 production induced by Gram-positive and Gram-negative bacteria may influence the immune response toward allergens and other glycoproteins
Tubular microdomains of Rab7-positive endosomes retrieve TrkA, a mechanism disrupted in Charcot-Marie-Tooth disease 2B
No full textAxonal survival and growth requires signalling from tropomyosin receptor kinases (Trks). To transmit their signals, receptor-ligand complexes are endocytosed and undergo retrograde trafficking to the soma, where downstream signalling occurs. Vesicles transporting neurotrophic receptors to the soma are reported to be Rab7-positive late endosomes and/or multivesicular bodies (MVBs), where receptors localize within so-called intraluminal vesicles (herein Rab7 corresponds to Rab7A unless specified otherwise). Therefore, one challenging question is how downstream signalling is possible given the insulating properties of intraluminal vesicles. In this study, we report that Rab7-positive endosomes and MVBs retrieve TrkA (also known as NTRK1) through tubular microdomains. Interestingly, this phenotype is absent for the EGF receptor. Furthermore, we found that endophilinA1, endophilinA2 and endophilinA3, together with WASH1 (also known as WASHC1), are involved in the tubulation process. In Charcot-Marie-Tooth disease 2B (CMT2B), a neuropathy of the peripheral nervous system, this tubulating mechanism is disrupted. In addition, the ability to tubulate correlates with the phosphorylation levels of TrkA as well as with neurite length in neuronal cultures from dorsal root ganglia. In all, we report a new retrieval mechanism of late Rab7-positive endosomes, which enables TrkA signalling and sheds new light onto how neurotrophic signalling is disrupted in CMT2B. This article has an associated First Person interview with the first author of the paper
Empathic Habits: Improving conscious use of professional empathy within design education
No full textEmpathy is one of the 8 design competences of the study Communication & Multimedia Design at Rotterdam University of Applied Sciences. However, there is a gap within the curriculum regarding actively teaching students what it means to be an empathic designer, and it has not been completely clear what it actually means to be an empathic designer. Based on my research, I came up with the following design goal: to help students use empathy consciously throughout their design projects. Within this context, I came up with the following design focus: Offering structure and clarity within the development of empathic abilities.Based on literary research, field research and designing by doing, I came up with my final concept: the Empathic Habits program. The Empathic Habits program clarifies the meaning of professional empathy in design, helps students reflect upon their own abilities, and helps them increase their abilities in an easy way At the start of the second year, CMD-students who join the program participate in their first Empathic Habits workshop. At this point, most students are not aware of what they have yet to learn; they are unconsciously incompetent. Before the workshop, students do an empathic abilities-test in which they are rated on 5 empathic sub-abilities. Together, these abilities make up what it means to be an empathic designer. At the start of the workshop they analyse their results: what are their strengths and weaknesses? In this introspection process, students move from unconscious incompetence to conscious incompetence. During the next part of the workshop, students get to practise their weakest empathic ability by interviewing each other. They are to use at least 3 mini-activity-cards corresponding with the empathic ability they are going to practise. These cards contain short, simple assignments which students can use in any user research setting. At the end of the first workshop, the students reflect upon what they have learned and how they want to further develop their empathic abilities. For students who join the follow-up program, it continues over the next 6-8 weeks with weekly or bi-weekly reflection sessions with fellow students and a teacher. Every week, they are to try new activities and reflect upon what works for them and why. By adding mini-activities to their repertoire one by one, they develop empathic habits, making them more empathic designers. They move from being consciously incompetent to consciously competent. Assuming students keep using the mini-activities, through the years that follow, the mini-activities will become second nature: they will become unconscious habits. In this process, students and/or graduates move from being consciously competent to unconsciously competent.Design for Interactio
