Change in Meaning in the Swedish Dub of Spirited Away1113128/FULLTEXT01.pdf · Spirited Away by...

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1 Change in Meaning in the Swedish Dub of Spirited Away Bachelor’s Thesis A translation study on dubbing using a pivot language Author: Erik Johansson Supervisor: Hiroko Inose Examiner: Herbert Jonsson Subject/main field of study: Japanese Studies Course code: JP2011 Credits: 15hp Date of examination: 2017-06-02 At Dalarna University it is possible to publish the student thesis in full text in DiVA. The publishing is open access, which means the work will be freely accessible to read and download on the internet. This will significantly increase the dissemination and visibility of the student thesis. Open access is becoming the standard route for spreading scientific and academic infor- mation on the internet. Dalarna University recommends that both researchers as well as students publish their work open access. I give my/we give our consent for full text publishing (freely accessible on the internet, open access): Yes No

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Change in Meaning in the Swedish Dub of Spirited Away

Bachelor’s Thesis A translation study on dubbing using a pivot language

Author: Erik Johansson

Supervisor: Hiroko Inose

Examiner: Herbert Jonsson

Subject/main field of study: Japanese Studies

Course code: JP2011

Credits: 15hp

Date of examination: 2017-06-02

At Dalarna University it is possible to publish the student thesis in full text in DiVA. The

publishing is open access, which means the work will be freely accessible to read and

download on the internet. This will significantly increase the dissemination and visibility

of the student thesis.

Open access is becoming the standard route for spreading scientific and academic infor-

mation on the internet. Dalarna University recommends that both researchers as well as

students publish their work open access.

I give my/we give our consent for full text publishing (freely accessible on the internet,

open access):

Yes ☒ No ☐

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Abstract:

This paper aims to study the results of dubbing from Japanese to Swedish using a pivot

language. The author examines the Swedish dubbed version of the Japanese animated film

Spirited Away by comparing it to the original version and finding differences in what in-

formation is conveyed through the dialogue. Because the Swedish dubbed version has

been translated using the English language script as a base, the English dubbed version is

also examined. The findings are then presented, categorized and analysed according to

where the changes have appeared and what they consist of. Finally, the results are dis-

cussed and compared to previous findings in the field. The study finds how many lines of

dialogue have been altered, and that the use of a pivot language has greatly increased the

number of altered lines, although no proof was found of an increased amount of mistrans-

lations. The increased amount of altered lines leads to the conclusion that the usage of a

pivot language can be problematic.

Keywords: dubbing, Japanese, translation, pivot language, Spirited Away, audiovisual

translation (AVT)

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Table of contents 1. Introduction ...................................................................................................................................................... 4

2. Background ....................................................................................................................................................... 5

2.1 The pivot language problem in Japanese-Swedish translation ........................................................... 5

3. Previous studies ................................................................................................................................................ 8

3.1 Pivot language............................................................................................................................................. 8

3.2 Studio Ghibli............................................................................................................................................... 8

4. Method .............................................................................................................................................................11

4.1 Material ......................................................................................................................................................11

4.1.1 Spirited Away ........................................................................................................................................11

4.1.2 Story ........................................................................................................................................................11

4.1.3 Characters ..............................................................................................................................................11

4.2 Methodology .................................................................................................................................................12

4.3 Criteria ............................................................................................................................................................13

5. Results ..............................................................................................................................................................15

6. Analysis ............................................................................................................................................................16

6.1 Omission .......................................................................................................................................................16

6.1.1 Complete omission ..............................................................................................................................16

6.1.2 Partial omission ....................................................................................................................................16

6.2 Addition .........................................................................................................................................................17

6.2.1 Complete addition ................................................................................................................................17

6.2.2 Partial addition ......................................................................................................................................19

6.3 Substitution ...................................................................................................................................................20

6.3.1 Complete substitution .........................................................................................................................21

6.3.2 Partial substitution ...............................................................................................................................23

6.4 The final dialogue .........................................................................................................................................25

7. Discussion .......................................................................................................................................................26

8. Conclusion ......................................................................................................................................................28

9. References .......................................................................................................................................................29

Appendix A: Complete data ..................................................................................................................................30

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1. Introduction

This paper examines the Swedish dubbed version of the Japanese animated film Spirited

Away (千と千尋の神隠し, Sen to Chihiro no Kamikakushi, 2001), which was released in

Sweden in 2003. The translation was done by Olav F. Andersen for the Swedish dubbing

studio PangStudios. The translation uses English as a pivot language by using the script of

the English dub, rather than the original Japanese script. According to Martinez (2004),

the process of dubbing is long and includes various professionals such as translators, dia-

logue writers, directors, producers and voice actors, and because of this they will not al-

ways stand by the initial translation.

A dubbing project generally starts with a client such as a film producer

sending the original film to a dubbing studio. Along with this original the dubbing compa-

ny will usually receive an original script as well as specific instructions on whether songs

should be translated or if the producer has a certain actor in mind for any role. The dub-

bing studio then sends all this material to a translator. This translator is in most cases in-

dependent from the dubbing studio. When the translator has managed to make a translated

script, that script is sent to a proof reader. Then it is time to synchronize the script to actu-

al mouth movements. This is done by a synchronizer who will alter the script in places

where it might not fit the mouth movements on screen. The synchronizer may also add

background sound effects to reflect the environment where the dialogue takes place. After

that the recording stage takes place. This is when actors are brought in and made to record

the lines, a few at a time, following the dubbing director’s orders on what type of perfor-

mance he/she wishes. After some final tuning the lines are pasted into the film and so the

project is complete.

It is therefore important to note that the changes found in this study may

not always be traced all the way back to the original translator, but can have appeared

almost anywhere during the long process.

The following research questions are posed in this study:

1. What information has been added, omitted and substituted in the Swedish dub of

Spirited Away?

2. Can these changes be traced back to the English translation, or have the changes

appeared in the translation into Swedish?

3. Has the use of a pivot language made the resulting dialogue stray further from the

original or caused mistranslations?

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2. Background 2.1 The pivot language problem in Japanese-Swedish translation

Because Sweden is a small country, there has always been a dependency on import to

increase variety in the wares we use daily. This is also the case when it comes to culture

such as music, books and films. While countries such as USA or China can sustain almost

entirely on their own domestic production, the modern Swedish people are used to their

major supply of popular culture being imported. It seems that as time goes by and more

forms of culture are being developed, the need for import also increases. While books

originally written in Swedish still make up a big part of the books being read by Swedish

people today, Swedish language films and video games make up a much smaller part of

their overall market in Sweden. According to statistics published by the Swedish Film

Institute and the Swedish Publishers’ Association respectively, only 3 out of the 20 most

popular films in cinemas in Sweden 2016 were of Swedish origin, while 15 out of the 20

most sold books of 2016 in Sweden were Swedish. This increased need for import also

calls for an increased amount of translations. This is where one of the problems of Sweden

being a small country becomes apparent; Sweden has very few people who master a spe-

cific foreign language well enough to work with translating from that language into Swe-

dish. According to Edström (1991), “most translations other than from the major Western

languages utilize some translation which already exists in one of the major ‘international

languages’”. This is especially true for countries from which the small country has a small

amount of immigration. In Sweden’s case, an example of such a country is Japan. This has

led to a tendency for Japanese works, mainly books and films, to be translated into Swe-

dish using English as a pivot language, also known as transmitter language. That is, using

an already existing translation from Japanese into English and translate that English ver-

sion into Swedish. There are several negative effects of the use of a pivot language when

translating. The perhaps most obvious problem is the classic problem of carrying infor-

mation through several hosts before it reaches its final target. That effect can also be seen

in modern news reports where news networks often use each other as sources, which can

lead to a news story traveling through several stages before reaching the recipient, result-

ing in a less than accurate report of what has happened. When using one or more pivot

languages during translation there is a risk of encountering the same phenomenon. A clear

example of this is the frequently used Google Translate. Google Translate uses a statistical

algorithm which searches for examples of how human translators have translated specific

pieces of texts and then applies the translation which is most likely correct. Google Trans-

late is also known to translate smaller languages using English as a pivot language. (Bel-

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lynck, Blanchon, Boitet & Seligman, 2010) One of the main problems of this is how syn-

onyms are treated. While a single written Japanese word very seldom is ambiguous, be-

cause of how kanji is used to differentiate the meanings of words with the same pronunci-

ation, a single word of English is often ambiguous. If the translated result in the pivot

language, English in this case, is ambiguous in any way, there is a big risk of the second

part of the translation picks the wrong meaning in the target language because of this. For

example, the Japanese word 判子 (hanko) means “seal” as in the stamp used to mark a

letter or document. The Japanese word is not ambiguous at all, while the English word

“seal” can mean several things. A person translating directly from Japanese to Swedish

would most likely translate it as “sigill” or “stämpel” which are both accurate translations.

However, if the translator instead receives an English translation which he/she is to trans-

late to Swedish, it would be hard to pick the right translation without further information

or context since there are three Swedish nouns which would all be translated to the Eng-

lish word “seal”. The two possible translations which would be incorrect in the case above

are “säl” (the marine mammal) and “tätning” (material used to fill cracks in pipes). This

ambiguity could have been easily avoided by translating directly rather than using a pivot

language. If one tries to translate the word 判子 from Japanese to Swedish using Google

Translate, the result is ”Seal” which is a serious error since no such word exists in Swe-

dish. This is most likely a result of the statistical algorithm first translating 判子 into Eng-

lish as “Seal” with a capital S. This leads to the word being treated as a name when being

further translated into Swedish and thereby mistranslated. Since Google Translate is a

machine, it would be easy to disregard this completely when considering human transla-

tors, but the problem still remains as humans also suffer the risk of common misunder-

standings.

As shown above this practice of using pivot translations leads to several problems.

Many also consider Japanese an especially difficult language to translate into English,

partly for cultural and grammatical reasons. In recent years, the usage of a pivot language

when translating literature seems to be decreasing, much thanks to a handful of skilled

translators such as Yukiko Duke and Vibeke Emond. However, the fields of manga (Japa-

nese comic books) and the dubbing of animated films still seem to lag behind in this re-

gard. A major example of manga translated using a pivot language is the hugely success-

ful Dragon Ball (ドラゴンボール, Doragon Bōru, Akira Toriyama, 1984) series which

was translated into Swedish using the German language version. Most, if not all, of the

Swedish dubs of the films by Studio Ghibli have been made using English as a pivot lan-

guage, while the subtitles of the same films have been created by translating the original

Japanese versions. While there seem to be few or no exceptions from the practice of using

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pivot translations in the field of dubbing, there are manga books available which have

been translated directly from Japanese into Swedish. Such an example is the shōjo manga

(manga for young girls) series Tokyo Mew Mew (東京ミュウミュウ, Tōkyō Myū Myū,

Reiko Yoshida, 2003) which was translated directly from Japanese by Masako Hayakawa

Thor.

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3. Previous studies

3.1 Pivot language

In 1991, Bert Edström published an article specifically about the problem of a transmitter

language being used so frequently in translation from Japanese into Swedish (Edström,

1991). Although the times have changed in the last 26 years, and there seems to be more

works which have been translated directly from Japanese into Swedish, it still proves rele-

vant to cases such as that of Spirited Away. In his article, Edström describes an experi-

ment by Koller where a text was translated from English into French, from French into

Italian, from Italian into German, and from German back into English. The resulting text

ended up looking nothing like the original. He also mentions a similar experiment where a

text which had already been translated from German into Swedish was translated back

into German by ten skilled translators. None of the resulting translations was identical to

each other or the original. (Edström, 1991: 4) This proves how translation is always a

subjective matter and how the individual translator will always somehow affect the result.

According to Edström, “the translators succeed by translating not words but messages”,

because there is never a perfect equivalent for each word in a sentence. (Edström, 1991: 5)

This matter of every translator adding their own personal touch to a translation becomes

problematic when there is more than one translator involved in a serial fashion, since this

leads to the original author’s choice of words and personal nuance getting affected by not

one, but two different translators. So if one translator chooses to change the contents of a

sentence for one reason or another, perhaps linked to characteristics which are unique to

the pivot language, that change is most likely to be carried over when the text is once

again translated to the target language, where there might be even further need for adjust-

ment. This double translation might also lead to the original author’s personal style be-

coming much more altered than it would necessarily be in a straight translation. As it is

known that the authors of the English script of Spirited Away used a lot of artistic freedom

(Hewitt and Hewitt, 2003), the problem becomes apparent. Another big issue is how most

translations of Japanese texts by using a transmitter language are made by translators who

are highly competent in that language, but lack sufficient knowledge about Japanese cul-

ture or language. (Edström, 1991: 6)

3.2 Studio Ghibli

Because the works of Studio Ghibli have become one of Japans most popular cultural

export, many studies have been made on the translations of their works. In a study from

2003, Kate Elwood noted how the English version of the film Kiki’s Delivery Service (魔

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女の宅急便, Majo no Takkyuubin, 1989) has been altered in several ways, including mu-

sic and dialogue choices. (Elwood, 2003) She mentions how many changes in dubbing are

made for technical reasons rather than cultural. Since the dialogue must always match the

mouth movements of the characters on screen, the possibilities can sometimes be quite

limited. This is not always the case though. A clear example where dialogue has been

altered for cultural reasons, rather than technical, is how an old woman offers a young

teenager coffee in the original version. This has been changed to cocoa in the English dub,

probably because it would seem strange to an American audience for a teenager to be of-

fered coffee. (Elwood, 2003: 214) Elwood also makes some very important points about

dubbing and translation in general. She used the example of the phrase “Mottainaiyo!”

being translated to the more natural “Don’t waste your money!” instead of the more

equivalent “That’s wasteful!”. Even if there is a translation available which will stay true

to the original in meaning, it will not always be the best one, depending on how natural

the phrase will seem when spoken in the situation. (Elwood, 2003: 215)

There have been many studies made on the film Spirited Away in particu-

lar, but few are related to the language or dialogue. In 2004, Kentaro Yamada made a

study about the English dub of Spirited Away and how it differed from the original. In his

study, Yamada brings up eight examples of changes made to the dialogue in the English

dubbed version of Spirited Away, as well as six examples of dialogue being added. In

general, Yamada argues how most changes are made for cultural reasons. An example he

takes up is how the English dialogue more literally mentions feelings of love between the

main characters Chihiro and Haku, while the Japanese original is much more subtle.

Yamada also explains a long piece of added dialogue in the English dubbed version as

being there simply to state what was thought to be obvious in the Japanese original, and

thereby does not affect the story in any major way. (Yamada, 2004)

In an interview published in 2003, the couple who wrote the new dialogue

for the English dubbed version of Spirited Away, Cindy Davis Hewitt and Donald H.

Hewitt, answers some questions about their choices when writing the new dialogue for

Spirited Away. On the issue of translating dialogue which is very culturally bound to Ja-

pan, they bring up the example of the old man Kamaji performing a sort of cleansing ritual

called “engacho” on the main character after she has stepped on sort of cursed insect: “We

did our best to slip in some dialogue which explained what Kamaji was doing. We later

found out that this Japanese ‘cootie shot’ is an old-fashioned thing, and many young Jap-

anese viewers didn’t know what Kamaji was doing either!” They also take up the issue of

lip-sync which is especially challenging when a character keeps talking for a long time:

“It's quite a brain-teaser to fill characters' mouths without changing the content of their

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speeches, while at the same time not being redundant and boring.” When asked about

their choice to add extra dialogue they explain how they always put priority on the “emo-

tional experience” rather than the word for word meaning of what is being said. They spe-

cifically explain their choice of adding the line “Haku!” (the name of Chihiro’s friend) to

Chihiro’s dialogue when she sees an unknown white dragon, by referring to the mahjong

tile named “Haku” which has a white dragon on it and how while many Japanese viewers

would make such a connection, most American viewers would not know about this. (“An

Interview with Cindy and Don Hewitt”, 2003)

In a study published in 2016, Reito Adachi analyses how the American English

dub of Spirited Away treats silences. In her study, Adachi found that many of the silent

moments in the original version had in fact been filled in with sound effects, louder music

and even dialogue. (Adachi, 2016) The addition of dialogue at moments where mouths are

not shown or not visibly moving was also found by Elwood (2003) in her analysis of

Kiki’s Delivery Service. These kinds of space fillers act as a chance for extra exposition

where the translator feels there could be a lack of clarity in the original script. (Adachi,

2016: 148) They can also act as a way to simply remove the awkwardness associated with

silences in children’s movies in the west, where we have been used to every moment be-

ing filled by either dialogue or a distinct musical score. The way dialogue volume and

clarity is altered in the process of dubbing also has a big effect of the resulting product,

and caused some difficulties in this study since it was sometimes hard to define if a piece

of dialogue had been added or simply made more distinct on the soundtrack.

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4. Method

4.1 Material

4.1.1 Spirited Away For this study, three different versions of the film Spirited Away (千と千尋の神隠し, Sen

to Chihiro no Kamikakushi, 2001) was used. The Japanese original version, the English

dubbed version, and the Swedish dubbed version. Spirited Away is a Japanese animated

film released by the popular Studio Ghibli which have released several animated features

over the years. It is directed by Hayao Miyazaki who has been the director of most films

released by Studio Ghibli. The film was released in English in the United States in 2003,

with dialogue written by Cindy Davis Hewitt and Donald H. Hewitt. In an interview from

2006, Cindy Davis Hewitt and Donald H. Hewitt explain that they don’t know Japanese

and there is no other credited translator attached to the project, so it is unclear how they

managed to interpret the original dialogue. (Hewitt and Hewitt, 2006) The film was re-

leased in Sweden in 2003, translated from the English script by Olav F. Andersen. How-

ever, this study makes it appearent how Andersen has also used the Swedish subtitled

version as a reference for his translation. The study also made use of a readily available

transcript of the dialogue in the original Japanese version.

4.1.2 Story The story of Spirited Away is about a young girl named Chihiro who is moving with her

two parents to a new town. On the way to their new home the family discovers an old

village which turns out to be magic. Chihiro’s parents get turned into pigs from eating

cursed food from the seemingly abandoned village, and when the night comes the village

comes to life with ghosts, spirits and various fables. Chihiro meets a boy named Haku

who tells her that humans are not allowed in the village and that her only chance at saving

herself and her parents is to get a job at the local bathhouse. After getting a job at the

bathhouse Chihiro tries to break the curse so that she and her parents can be free and es-

cape the village.

4.1.3 Characters

Chihiro (Sen) Chihiro is the young female protagonist of Spirited Away. She arrives in a strange Japa-

nese bathhouse by accidents and takes a job there in order to become free and save her

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parents. When taking a job at the bathhouse she is forced to change her name to Sen to

leave her old self behind.

Haku Haku is a boy who works for the boss of the bathhouse. He helps Chihiro although his

motives seem unclear.

Lin Lin is Chihiro’s colleague and guardian working at the bathhouse. She has a tough attitude

but a warm heart.

Yubaba Yubaba is the boss of the bathhouse where Chihiro works. She is greedy witch who

threatens to turn Chihiro into an animal if she doesn’t work in the bathhouse. Her name

literally means ”old woman of the bathhouse”.

Seniba Seniba is Yubaba’s twin sister who Chihiro meets towards the end of the film. She looks

and sounds identical to Yubaba but her personality is very different.

Kamaji Kamaji is an old man who takes care of heating up the water of the bathhouse. He helps

Chihiro when she is in desperate need. His name literally means “old man of the kettle”.

4.2 Methodology

The first step of this study was to create a full transcript of all the dialogue in the Swedish

dubbed version of Spirited Away. The new Swedish transcript was then combined with

the pre-existing Japanese transcript, line by line. The new combined transcript was then

controlled by looking through the film once more for dialogue timing, making sure the

right lines had been combined. After that, any piece of dialogue in which the information

contained in the two versions did not match was singled out and pasted into a new docu-

ment containing only such lines where the information somehow differed. Then the dia-

logue from the English dubbed version was added for the corresponding lines where in-

formation differed between the Japanese and Swedish version. Finally, the dialogue from

the Swedish subtitles were added in their corresponding places to create a complete doc-

ument of Japanese, English dub, Swedish dub and Swedish subtitles for every line in

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which the information conveyed had been altered between the Japanese original and the

Swedish dub. Notes were then added next to every line, explaining whether the change of

information had occurred in the translation from Japanese to English or if it was unique to

the Swedish dubbed version. Notes were also added to categorize each line and to specify

if information had been added, omitted or substituted, as well as if the information had

been affected completely or partially.

4.3 Criteria

In this study, one line of dialogue is defined as any sentence or series of sentences which

are spoken by the same character without a major delay such as a change of scenery.

The original Japanese version of Spirited Away will hereafter be referred to

as the “Japanese version”. The English dubbed version will be referred to as the “English

version” and the Swedish dubbed version will be referred to as the “Swedish version”.

To categorize the lines of dialogue, three main categories where created: Added,

omitted and substituted. Wherever information has been categorized as added there has

been no information loss at all in the translation from Japanese to Swedish. However, new

information has been added which was not present in the original. When the information

is categorized as omitted, information has been lost in the translation between Japanese

and Swedish and no new information has been added. The last category, substituted, co-

vers every other case. That is, when information has been lost in the translation process,

but new information has been added instead. Each of the categories were further divided

into two sub-categories defining how much of the information has been altered. Those

categories are “complete” and “partial”. A line where information is noted as being com-

pletely added has added dialogue where there was only silence in the original, while a line

where information has been completely omitted has omitted the line and replaced it with

silence. A line with completely substituted information has no matching information at all

between the two different versions, even though both versions have some kind of dia-

logue. Partially omitted information is any line where information has disappeared in the

Swedish dubbed version, but some information from the original line still remains. A line

with partially added information in any piece of dialogue which keeps all information

from the original intact, but also adds some new information. Partially substituted infor-

mation means that some information has remained intact, some information has been

omitted, and some information has been added.

For each line there is also a note on whether the information was already affected

in the English script and then simply carried on to the Swedish version, if the information

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was intact in the English version and rather changed in the translation to Swedish, or if the

change has happed gradually during the two steps of translation.

Additionally, a line which is categorized as “important” adds, removes or alters

information which significantly affects what plot-related information the viewer is provid-

ed with by that specific point in the film.

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5. Results Table 1:

Changes

by cate-

gory Complete Partial Total

Sustituted 57 70 127

Added 6 15 21

Omitted 1 9 10

Total 64 94 158

Table 2: Changes by category (%)

Complete Partial Total

Substituted 36% 44% 80%

Added 4% 9% 13%

Omitted 1% 6% 6%

Total 41% 59% 100%

Table 1 shows how there is a total of 158 lines in Spirited Away where the information

somehow differs between the Japanese original version and the Swedish dubbed version.

Out of those, there are 21 occurrences of information being added, 10 where it has been

omitted, and 127 where it has been substituted. The information has been partially substi-

tuted, added or omitted in 94 of the cases and completely substituted, added or omitted in

64 cases.

Table 3: Changes by version Table 4: Changes by version (%)

English 126 English 80%

Swedish 87 Swedish 55%

Double 55 Double 35%

Total 158 Total 100%

Table 3 and 4 show how out of all the lines where the Swedish version differs from the

Japanese version, some kind of change has already appeared in the English version in 126

cases, representing 80% of the total number of changed lines. There are a total of 87

changes made between the English version and the Swedish version, representing 55% of

the total number of changed lines. There is an overlap of 55 lines, where the English ver-

sion has made a change and then the Swedish version has made another change. In other

words, 35% of the lines which differ between the Japanese and Swedish versions have

been altered twice during the translation process.

14 lines where categorized as important, as defined in the previous chapter.

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6. Analysis

6.1 Omission

The least common kind of change found was omission. Out of the 159 changes found 12

are cases of omission. One of those is a complete omission where the line has been re-

placed by silence, and the remaining 11 are partial omissions where only some parts of the

information conveyed in the Japanese version has disappeared in the Swedish version.

6.1.1 Complete omission There is only one case of complete omission.

Example 1 (Time: 41:26)

Japanese Swedish English

千尋 よろしくお願いし

ます。

- Chihiro: “I promise to

work very hard.”

The original Japanese line is a very common Japanese politeness phrase, used when meet-

ing someone for the first time. It is equivalent to the English phrase “Nice to meet you”.

There is no apparent reason as to why this line has been omitted in the Swedish version,

especially since Chihiro’s mouth can clearly be seen moving. Perhaps the translator felt

the line was out of place because using a polite phrase while under extreme criticism

would not feel natural to a Swedish audience. This could possibly also be the motive be-

hind the change found in the English version. The Swedish subtitle uses the phrase “Tre-

vligt att träffa er” literally meaning “Nice to meet you”.

6.1.2 Partial omission There are a total of 11 cases of partial omission. For some lines, only a single word or

name has been omitted, while other lines omit a whole sentence.

Example 2 (Time: 58:39)

Japanese Swedish English

兄役 リンと千、湯婆婆 Man: Sen. Yubaba vill

prata med dig.

Man: Sen. Yubaba wants to

see you.

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様がお呼びだ。

While the Japanese version mentions both Lin and Sen (Chihiro’s second name), Lin’s

name has disappeared between the Japanese and the English version, while the Swedish

version has kept the line exactly like the English version. A possible reason for this omis-

sion could be how in the next scene, only Chihiro is speaking to Yubaba, so from that

context it seems like Lin was not called for after all. There is no other apparent reason for

this change.

Example 3 (Time: 93:16)

Japanese Swedish English

千尋 あなたはどこから

来たの?私すぐ行かなき

ゃならないとこがある

の。

Chihiro: Jag vill gärna gå

härifrån. Det är ett ställe jag

måste åka till.

Chihiro: I would like to

leave sir. I’ve someplace I

need to go to right away

please.

In this scene, Chihiro is talking to a monster which has invaded the bathhouse and bribes

the people there to give him infinite food. In the original Japanese version, Chihiro starts

her line by asking the monster where he comes from. This part of the line has been omit-

ted in both the dubbed versions, in favor of dividing the message of the second sentence in

the Japanese version into two separate sentences with an equal meaning. Perhaps the rea-

son for this change was to simplify the line somewhat and make it more focused. It could

also be an issue of time. Examples 2 and 3 make it very obvious that the Swedish version

has mainly been made using the English version, since the lines are completely equal. This

leads to the risk of any mistranslation in the English version being carried over in the

translation to Swedish.

6.2 Addition

There are a total of 23 cases of addition. 6 of them are complete additions where dialogue

has been inserted where there was silence in the original and 17 are partial additions

where more information has been added to an already existing line.

6.2.1 Complete addition There are 7 cases of complete addition. 6 of the additions add only a second or two of

dialogue while one case adds a long piece of dialogue. There are a total of two cases

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which add significant information which was not present in the original script, including

the long addition and a shorter one.

Example 4 (86:54)

Japanese Swedish English

- Kamaji: Åh! Shit pommes

frites!

-

Out of the 6 cases of short addition of dialogue, only 3 also have added dialogue in the

English version. The original features a small gasp while the English version is completely

quiet. In this case there is a high chance that the translator or some other member of the

Swedish dubbing team found it amusing to add this very colloquial expression for come-

dic effect. The line becomes even more comedic and fitting since the Swedish dub of

Kamaji speaks with a typical Stockholm accent, and the expression seems like something

a man from Stockholm would say. “Pommes frites” is pronounced “pomm fritt” so the

expression has a rhyme similar to the English expression “Holy moly”.

Example 5 (50:45)

Japanese Swedish English

千尋 - Chihiro: Haku. Chihiro: Haku. He’s a

dragon?

Chihiro says this line when she sees a white dragon fly across the sky, soon after having

been with Haku. In an interview from 2003, the couple responsible for writing the English

language script, Cindy and Don Hewitt, explain their choice by referring to the mahjong

tile named “Haku” which has a white dragon on it and while many Japanese viewers

would make such a connection, most American viewers would not know about this. (“An

Interview with Cindy and Don Hewitt”, 2003) As can be seen from examples 16 and 17, it

is apparent that the Swedish translator has also used the Japanese version in combination

with the Swedish subtitles as a reference so it can be assumed he had a choice on whether

to include this line or not. It is likely the Swedish translator thought in a similar fashion to

the English translators and therefore chose to keep the mentioning of Haku’s name from

the English version. The Swedish version does not include the second sentence, perhaps

because it was seen as redundant and not necessary since it was not part of the original.

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Example 6 (47:20)

Japanese Swedish English

- Haku: Vi har inte så myck-

et tid på oss. Om du blir

upptäckt blir du också för-

vandlad till en gris. Du får

aldrig komma hit utan mig.

Är det förstått?

Haku: We don’t have much

time. If you’re found here,

you’ll be turned into a pig

yourself. You must never

come here without me. Un-

derstand?

This is the only line added to the Swedish version that lasts for more than a couple of sec-

onds. It was originally added to the English version and has been translated almost word

by word into the Swedish version. In the interview from 2003 Cindy and Don Hewitt ex-

plained their various additions to the script by saying “Adapting a film to another lan-

guage is a fluid thing. Words are representations of emotions set in a cultural context.

Sometimes simply translating word for word does not express the emotional experience.

We try to capture the experience of the movie as a whole not just the specific words.”

(Cindy and Don Hewitt, 2003) While they do not specifically address the line above, their

answer provides us with the general idea of being liberal regarding changes from the orig-

inal script. Regarding the choice of the Swedish translator to keep the line from the Eng-

lish version instead of keeping the silence, it can be assumed that the Swedish translator

either felt the silence to be too long and awkward for a Swedish audience, or that the extra

exposition added a context to the scene which would help Swedish viewers understand the

scene better.

6.2.2 Partial addition There are a total of 15 cases of partial addition, 1 of which add significant information

which is absent in the original Japanese script. The remaining 14 contain small additions

of a small extra sentence or word which was not present in the original script.

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Example 7 (40:22)

Japanese Swedish English

湯婆婆 今からおまえの

名前は千だ。いいかい、

千だよ。分かったら返事

をするんだ、千!!

Yubaba: Och nu är det jag

som äger det namnet. Från

och med nu heter du Sen.

Är det förstått?!

Yubaba: And it belongs to

me now. From now on your

name is Sen. You got that?

Answer me Sen!

This line is uttered right after Chihiro signs a contract to work for Yubaba in the bath-

house. Right before saying here line, Yubaba sucks the second character of Chihiro’s

name away from the contract and makes it vanish into her hand. The symbolism in the

Japanese version is that Yubaba takes away half of Chihiro’s name (千尋), and in doing so

changes the pronunciation to “Sen” (千). As this would be impossible to understand for

anyone not familiar with the Japanese writing system the English version has changed the

symbolism to Yubaba simply taking Chihiro’s true name, making it her property, and

giving Chihiro the brand new name “Sen”. This change is completely understandable and

works as a good way of making the dialogue and imagery match, while not completely

changing the meaning of what is being said. The Swedish version keeping the line as it

was in the English translation is equally understandable.

Example 8 (90:32)

Japanese Swedish English

釜爺 これは使える。 Kamaji: Du får den här. Det

finns fyra ostämplade kvar.

Kamaji: You can use this.

This line is said by Kamaji as he hands Chihiro some train tickets. The explanation of how

there are four tickets which can be used is only present in the Swedish version and seems

to be added for nothing more than extra flavor.

6.3 Substitution

Substitution is the biggest of all the categories. There are 128 cases of replacement. 57 of

them are complete replacements, and 71 are partial replacements.

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6.3.1 Complete substitution There are 57 cases of complete replacement, one of which add significant information to

the story. The lines in which the information has been completely replaced are generally

short, being made up by about 2 to 20 words. Because there are several types of sentences

being replaced, a large number of them will be presented to give an overall summary of

what they are.

Example 9 (105:10):

Japanese Swedish English

湯婆婆 それでおまえは

どうするんだい!?その

後あたしに八つ裂きにさ

れてもいいんかい!??

Yubaba: Nåväl. Men bara

på ett villkor. Att jag vår

sätta Sen på ett sista prov.

Misslyckas hon är hon min.

Yubaba: Fine, but on one

condition. I get to give Sen

one final test. If she fails,

she’s mine.

In the original line, Yubaba threatens to rip Haku to shreds. The Swedish line is practical-

ly a word by word translation of the English version. The main reason for this change

seems to be an unwillingness to use a line with such violent imagery in a film aimed to-

wards children. Instead, the English and Swedish versions add the information that Yuba-

ba plans to put Chihiro through a final test before she can be and her parents can be let go.

The Japanese version makes no mention of such a test until the final scene where the test

is performed.

Example 10 (81:40)

Japanese Swedish English

千尋 血!わかる?!

血!!

Chihiro: Ser du? Det är

bakterier. Titta!

Chihiro: Germs! I’ve got

germs, see!

Chihiro uses this line while showing her stained hand to scare an oversized child into let-

ting go of her. This is another example of a line which has probably been changed for

being considered to be too explicit for a young western audience. Showing or speaking of

blood is very uncommon in material aimed towards Swedish children. Changing blood to

bacteria is an acceptable substitution in this case since it would probably have the same

effect on a child which has been taught to fear bacteria.

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Example 11 (63:36)

Japanese Swedish English

湯婆婆 ぐずぐずするん

じゃないよ!女も力を合

わせるんだ!

Yubaba: Sådär. Det är bra.

Nu hjälper ni till och drar

allihopa.

Yubaba: Hurry up now.

Everyone get in there and

help them.

The original line mentions how women should “also” help with a physically demanding

task. That would assume that a physical task such as this is mainly to be performed by

men. That kind of view would be seen as very old fashioned and even sexist in modern

western society, which could be the reason why the English and Swedish versions both

have replaced the line with a more general plead for everyone to help, without referring to

a specific sex.

Example 12 (0:56)

Japanese Swedish English

母 あなた、ずーっと握

りしめてるんだもの。

Mamma Men det är inte så

konstigt när du sover på

dem.

Mom I told you not to

smother them like that.

This is an example of a line which has been replaced in the translation process from Eng-

lish to Swedish. While the English version keeps the meaning relatively intact, the Swe-

dish version changes it without significantly altering the impact. The general message is

still that Chihiro has somehow killed her flowers by either holding them too much or by

sleeping on top of them. There is no apparent reason for this kind of change although it is

very common throughout the film.

Example 13 (87:43)

Japanese Swedish English

釜爺 えーんがちょ、せ

い!えーんがちょ!!

Kamaji: Farligt Sen. Det

kan vara farligt.

Kamaji: You killed it?

Those things are bad luck.

Hurry! Before it rubs off on

you!

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This is an example of a line which is so rooted in Japanese culture that it is basically im-

possible to translate in a dub. The Swedish version uses a short and simple substitution. In

the interview from 2003 Cindy and Don Hewitt who wrote the English version script ex-

plain how they tried to write dialogue which would explain what was happening to an

American audience. They later found out that because the ritual Kamaji perform is old-

fashioned, even Japanese children did not understand what was happening. (Cindy and

Don Hewitt, 2003)

6.3.2 Partial substitution There are 71 cases of partial substitution, which makes it the most common among all

subcategories. This category is very similar to the complete substitution category with the

one exception that it keeps some of the original meaning. Most changes are insignificant

and small, but this is also where most changes which affect significant information can be

found, with a total of 10.

Example 14 (101:42)

Japanese Swedish English

はく 切れ切れにしか思

い出せません。闇の中で

千尋が何度も私を呼びま

した、その声を頼りにも

がいて……気が付いたら

ここに寝ていました。

Haku: Jag minns att allting

var mörkt. Men så hörde jag

Sens röst. Hon ropade på

mig. Så jag följde efter hen-

nes röst, och så minns jag

inget mer, och så vaknade

jag upp här.

Haku: Yeah, I remember

being in darkness. Then I

could hear Sen's voice call-

ing out my name. So I fol-

lowed her voice and the next

thing I knew, I was lying

here feeling better than ever.

Example 15 (101:52)

Japanese Swedish English

釜時 そうか、千尋か。

あの子は千尋というの

か。……いいなあ、愛の

力だなあ……

Kamaji: Åh, så du följde

efter henne. Jag ser den

kärleken. Hon gjorde det

bara för din skull.

Kamaji: Pure love. It broke

Seniba's spell. Sen left to

return the golden seal. She

did it to save you.

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The two lines above are spoken in connection to each other in the film. While Haku in the

Japanese version mentions Chihiro’s real name, the Swedish and English versions both

keep it as “Sen”. This also leads to the next line having to be changed since in the original,

Kamaji reacts to hearing Chihiro’s real name. Other than that, the lines are almost identi-

cal.

Example 16 (84:06)

Japanese Swedish English

銭婆 竜はみんな優しい

よ…優しくて愚かだ。魔

法の力を手に入れようと

して妹の弟子になるなん

てね。この若者は欲深な

妹のいいなりだ。さぁ、

そこをどきな。どのみち

この竜はもう助からない

よ。ハンコには守りの呪

い(まじない)が掛けて

あるからね、盗んだもの

は死ぬようにと

Seniba: Alla drakar är

snälla. Snälla och dumma.

Han är beredd att göra vad

som helst för att få lära sig

Yubabas magi. Han är bara

en simpel tjuv och det finns

inget gott i honom. Seså.

Flytta på dig nu, för jag ska

ha tillbaka mitt guldsigill.

Och det är ändå ute med

honom för sigillet är för-

bannat. Den som stjäl sigil-

let måste dö.

Seniba: Hah. Do you know

why he became my sister's

apprentice? To steal her

magic secrets and now he's

stolen my magic too. He's a

greedy little thief. There's

nothing good about him.

Step aside little girl. I'm

going to take my seal back

from him. There's a spell on

the seal and anyone who

steals it will die.

This change is especially interesting when considering the Swedish subtitles of the same

line:

Swedish subtitle

Seniba: Alla drakar är snälla - snälla och dumma. Han vill så gärna lära sig trolldoms-

konst av min syster. Pojken gör allt vad min giriga syster vill. Flytta på dig nu. Det är ändå

ute med honom. Sigillet skyddas av en trollformel. Den som stjäl det dör.

As can be seen. The Swedish version actually copies the Swedish subtitle of the same line

at the beginning. This can be seen as proof of how the translator has also used the Swedish

subtitles as a reference when performing his translation.

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6.4 The final dialogue

In the very end of the film, there is a piece of dialogue added to the English version of the

film, which is not included in either of the Japanese and Swedish versions. This goes to

further show how the Swedish translator has not used the English script alone as a basis

for his translation.

Example 17 (120:46)

Japanese Swedish English

- - Dad: A new home and a

new school. It is a bit scary.

Chihiro: I think I can han-

dle it.

Because it features no change between the Japanese and Swedish versions, this piece of

dialogue falls outside the main aim of this study but still serves as useful evidence.

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7. Discussion

From the results it can be seen that the method of translation used when dubbing is rather

free in general. Just like the writers of the English language dialogue took liberties when

producing their new script, so has also the Swedish translator. The fact also remains that

we can’t be entirely sure if all the changes made have actually been a choice of the trans-

lator or rather something which has been added later in the dubbing process. The result of

this liberal style of translation was the very high amount of lines which had been altered in

some way. It is apparent how the use of a pivot language made the script stray further

from the original than a direct translation by looking at the quantity of dialogue which has

been changed. In the first step of translation at least 126 were altered in English version

alone. The translation to Swedish then went on to further alter 55 of those lines, as well as

adding another 33 changes, bringing the total number of altered lines to 159, 55 of which

have been altered two times through the translation process. This means that the problem

of using a pivot language is deeper than the problem of straying further from the original

meaning which Edström mentions in his study. (Edström, 1991) The problem also in-

cludes more instances being altered compared to a direct translation. Since this study

makes no comparison to either the exact amount of alterations in the English version or

any other direct translations, this study does not fully prove this phenomenon, but it still

shows a clear indication of an increase in loss of information. However, this study did not

find any clear evidence of an increase in the amount of mistranslations as a result of a

pivot language being used, mistranslation meaning a change in meaning as a result of the

translator misunderstanding the source text. In fact, there seems to be no mistranslations at

all between the Japanese and Swedish versions, regardless of the big amount of changes.

Every single change seems to have been made for either a creative or an explanatory pur-

pose, although some such as example 1 seem quite nonsensical.

A possible explanation for the absence of mistranslations could be how the

unique dubbing process and how the translation of Spirited Away in particular features a

large degree of artistic freedom which would be unacceptable when translating a novel.

When a translating a novel, the text is all there is and after translation is done a completely

new product has been produced. This also puts demands on the translator’s ability to stay

true to the original author’s work. In audiovisual translation however, the imagery and

most sound effects and music will remain untouched even after a dubbed version has been

produced. It is therefore likely a translator can take much greater liberties when creating

the new dialogue. It should also be noted that the original producer of Spirited Away,

Hayao Miyazaki, personally approved of the English version before it was released.

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(Hewitt and Hewitt, 2003) That left the translators at a much greater liberty to try out new

methods and even add new dialogue as seen in example 6.

This study also found evidence that the translator for the Swedish version,

although mainly basing his translation on the English script, has also used other sources

such as audio cues and the Swedish subtitles as can be seen in examples 16 and 17. There

is of course also a big possibility that the translator only used the English script and that

the choices which resulted in example 16 and 17 were made later in the dubbing process

as explained by Martinez (2004), but because of how the translator alone is not responsi-

ble for the final dialogue, not only the choices made by the translator can be considered in

this study.

Many of the findings in this study are similar to those found by Elwood in

2003. Many changes are likely made for technical reasons, though some compensate for

some cultural element. The examples numbered 5, 7 and 13 have clearly been changed for

cultural reasons, while it is likely many of the long lines such as example 16 have been

changed for technical reasons. Since this study is focused solely on dialogue only there is

no data to show if any of the musical elements or sound effects have been changed.

This study shows that far more dialogue has been added than omitted in the trans-

lation process to Swedish. This result fits well with Adachi’s findings on lost silences.

(Adachi, 2016) The result can be related to both the fact that the Swedish version is based

on the script of the English version and that the producers of the Swedish version found a

similar need to fill some of the silences found in the original as a way to reduce any per-

ceived awkwardness among Swedish viewers.

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8. Conclusion

The following can be concluded from the results of this study.

1. A total of 159 lines of dialogue have been added, omitted or substituted in the

Swedish dubbed version of Spirited Away. Most changes can be assumed to be

creative, although some seem to have been made for cultural or technical reasons.

2. The changes have mostly appeared in the English dubbed version, while the Swe-

dish dubbed version has added some new changes. The reason for this is likely to

be the more creative approach used in the production of the English script, where

the translators were asked to “create a new script” rather than just translate the

original one. The Swedish dubbed version also further changed over half of the

lines which had already been changed in the English dubbed version.

3. It can be assumed from the results that the number of altered lines has increased

as a result of a pivot language being used. It has not, however, been the cause of

any mistranslations.

The data which this study produced was in some cases incomplete and could have

been more thorough. In order to produce more accurate results a more thorough study of

the English dubbed version of Spirited Away would be needed. The definitions used for

the various changes could also have been categorized differently. It would have been in-

teresting to find more of a correlation between the kind of change made and in what step

of the translation the change has appeared. Further studies should dive deeper into the

field of translation theory and compare the findings of this study to what has been written

by various researchers in the field. If possible, an interview with the people who produced

the Swedish dub of Spirited Away would also be a great contribution to this topic. It is

also up to other studies to create more statistics about how the Swedish dubbed version

was perceived compared to the Japanese version with Swedish subtitles, as a result of the

changes made.

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9. References

Adachi, R. (2016). Dubbing of silences in Hayao Miyazaki’s Spirited Away: A compari-

son of Japanese and English language versions. Perspectives, 24:1, 142-156.

Bellynck V., Blanchon H., Boitet C. & Seligman M. (2010) MT on and for the Web.

http://www-clips.imag.fr/geta/herve.blanchon/Pdfs/NLP-KE-10.pdf

Edström, B. (1991). The transmitter language problem in translations from Japanese into

Swedish. Babel, 37(1), 1-14.

Elwood, K. (2003). A Comparative Analysis of Requests in Majo no Takkyuubin and

Kiki’s Delivery Service. Article. Bunkaronshu, 22, 213-236.

An Interview with Cindy and Don Hewitt [Interview transcript]. (2003, December). Re-

trieved from Hayao Miyazaki Web site

http://www.nausicaa.net/miyazaki/interviews/hewitt_interview.html

Part 1: Talking Howl’s Moving Caslte with Japanese Translators Cindy Davis Hewitt &

Donald H. Hewitt [Interview transcript]. (2006, March)

Retrieved from Movieweb

http://movieweb.com/part-1-talking-howls-moving-castle-with-japanese-translators-

cindy-davis-hewitt-donald-h-hewitt/

A Second Interview with Cindy and Don Hewitt [Interview transcript]. (2005, May). Re-

trieved from Hayao Miyazaki Web site

http://www.nausicaa.net/miyazaki/interviews/hewitt_interview2.html

Svenska Filminstitutets biografstatistik (2017). Retrieved from Svenska Filminstitutet

http://www.sfi.se/sv/statistik/Yamada, K. (2004). Eigo-ban anime sakuhin ni miru

honyaku no mondai: Sen to Chihiro no Kamikakushi no baai [On problems of trans-

lation in English version of anime: A case study of Spirited Away]. Journal of the

Faculty of Global Communication, Siebold University of Nagasaki, 5, 195–205.

Årstopplista 2016 Skönlitteratur (2017). Retrieved from Svenska Förläggareföreningen

http://www.forlaggare.se/sites/default/files/arstopplista_2016.pdf

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Appendix A: Complete data

Index Time Japanese Swedish Definition

of change Detail Where? Swedish sub

1

住んで都にするしかない

さ。

Det blir nog bra, bara vi har vant oss.

substituted complete Both Det blir jättebra så fort vi har vant oss.

2

あなた、ずーっと握りし

めてるんだもの。

Men det är inte så konstigt när du sover på dem.

substituted complete Swedish Inte så konstigt som du kramar dem.

3

もうしゃんとしてちょう

だい!今日は忙しいんだ

から。

Sluta gnälla. Det är roligt att flytta. Det är ett äventyr.

substituted complete English Ryck upp dig nu. Det här är en stor dag för oss alla.

4

石のほこら。神様のおう

ちよ

Sånna där satte man på gravar förr i tiden. Det är en kyrkogård.

substituted complete Swedish Gudahus som folk ber till.

5

あなた、いいかげんにし

て!

Inte så fort! Ska du köra ihjäl oss?

substituted complete English Du tar livet av oss!

6

行き止まりだ! Vad är det där? substituted complete English En tunnel!

7

なあに?この建物。 Men vad är det här för gammalt hus?

Added partial English Vilken underlig bygg-nad.

8

門みたいだね。 Ingen aning, men man ska nog gå in här.

substituted complete Swedish Det är nån slags port.

9

あなた、もどりましょ

う、あなた。

Inte nu. Vi kommer för sent. Kom tillbaka!

Added partial English Vi åker tillbaka älskling!

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31

10

何だ、モルタル製か。結

構新しい建物だよ。

Vad konstigt. Det är inte alls gammalt. Det här huset är ju nybyggt.

omitted partial Swedish Bara gips. Det är ganska nybyggt.

11

ここいやだ。戻ろうおと

うさん!

Jag vill inte, det är läskigt.

substituted partial English Det är läskigt. Vi åker tillbaka!

12

千尋、そんなにくっつか

ないで。歩きにくいわ。

Kläng inte på mig snälla. Jag kommer ramla omkull.

substituted partial English Jag ramlar om du klänger sådär.

13

あら、ほんとね。 Ja. Jag är jätte-hungrig.

substituted complete English Visst är den.

14

千尋もおいで、おいしそ

うよ。

Har du sett så mycket gott.

omitted partial Swedish Kom Chihiro! Det ser jättegott ut.

15

そうだな。そっちにいい

やつが

Ja, det gör vi. Jag har inte lust att vänta längre.

substituted partial Swedish Du har rätt. Det där ser jättegott ut.

16

もう大丈夫。触ってごら

ん。

Sådär. Nu är det ingen fara. Titta får du se.

substituted partial English Duktig flicka, nu är du som vanligt igen. Se själv.

17

さわれる …… Jag är som van-ligt igen.

substituted complete Both Jag kan ta i dig.

18

ぁっ……立てない、どう

しよう!力が入んない

Det går inte. Benen de. Benen lyder inte.

substituted complete Both Jag kan inte stå. Vad ska jag göra?

19

いや、千尋はよく頑張っ

た。これからどうするか

離すからよくお聞き。こ

こにいては必ず見つかる

Lugn. Du klarade dig fint Chihiro. Lyssna noga nu. Såhär måste du

substituted partial English Du skötte dig bra. Lyssna noga nu. Stan-nar du här, så hittar de dig.

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32

göra. Stannar du här så hittar de dig. Då kan du inte rädda dina föräld-rar

20

あっ、ちょっと待って。 Jag ska flytta mig. substituted complete Swedish Vänta lite.

21

こらあー、チビどもー!

ただのススにもどりてぇ

のか!?

Tyst! Akta er så att jag inte förvandlar er till vanligt sot igen.

substituted partial Swedish Hör ni, era kryp! Vill ni bli vanligt sot igen?

22

後は自分でやるだろ。 Hon är en tuff liten tjej. Jag tror nog hon klarar det.

added partial English Flickan klarar säkert av henne.

23

あんたネェ、はいとかお

世話になりますとか言え

ないの!?

Är du ouppfostrad? Har du inte ens lärt dig att man ska säga tack?

substituted partial Both Kan du inte säga "ja" eller "tack"?

24

あんた。釜爺にお礼言っ

たの?世話になったんだ

ろ?

Du har väl inte glömt att säga tack till Kamaji. Han riskerar nacken för det här.

substituted, important

partial English Har du tackat Kamaji? Han har varit snäll mot dig.

25

もう一回乗り継ぐから

ね。

Nästan framme. Håll dig nära mig.

substituted complete English Vi ska byta hiss en gång till.

26

い、いらっしゃいませ。 Eh. Upp eller ner? substituted complete Both Väl… välkommen!

27

到着でございます。 Håll till vänster mina herrar.

substituted complete Both Då var vi framme.

28

右手のお座敷でございま Era rum ligger rakt substituted partial Both Salen ligger till höger.

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33

す。 fram till vänster.

29

匂う匂う、うまそうな匂

いだ。おまえなんか隠し

ておるな?正直に申せ!

Vad kommer lukten från din. Berätta nu. Jag tror att du döljer något för mig. Säg sanningen Lin.

omitted partial Both Vilken härlig doft! Du döljer nåt. Berätta san-ningen nu.

30

やなこった。お姉さま方

に頼まれてんだよ。

Glöm det. Den här, den ska jag äta alldeles själv.

substituted partial English Inte en chans. Den är till de andra flickorna.

31

(nothing) Åh nej. added complete Swedish (nothing)

32

うるさいね、静かにして

おくれ。

Men kan hon sluta larva sig nu då?

substituted complete Swedish Vilket liv ni för. Håll tyst!

33

馬鹿なおしゃべりはやめ

とくれ。そんなひょろひ

ょろに何が出来るのさ。

Jag har inte tid med dumma frågor. Du är en värdelös oduglig vekling.

substituted partial English Sluta babbla! Vad kan en spinkig typ som du göra?

34

それなのにおまえの親は

なんだい?お客さまの食

べ物を豚のように食い散

らして。当然の報いさ。

おまえも元の世界には戻

れないよ。子豚にしてや

ろう。ぇえ?石炭、とい

う手もあるね。

Ni människor ska alltid förstöra all-ting. Som dina för-äldrar som slafsade i sig våra gästers mat. De åt som svin. De fick vad de förtjänade. Det borde du också få. Du blir en fin gris. Eller du kanske vill

substituted partial English Dina föräldrar var inte lite fräcka. De glufsade i sig våra gästers mat som grisar. Det var rätt åt dem och du kommer aldrig… …tillbaka till er värld heller. Du skulle göra dig som en liten griskulting eller kanske ett kol.

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34

bli en liten kolbit.

35

まァだそれを言うのか

い!

Sluta tjafsa. substituted complete Swedish Inte nu igen!

36

だァーーーまァーーーれ

ェーーー!!!

Din förbannade unge!

substituted complete Both Tyst med dig!

37

やめなさいどうしたの坊

や、今すぐ行くからいい

子でいなさいね……まだ

いたのかい、さっさと出

て行きな!

Åh nej, nu har du väckt barnet. Såja lilla vännen. Mamma är här nu. Vad står du där för? Ge dig iväg!

added partial English Sluta med det där! Vad är det nu? Jag kommer. Snäll pojke… Är du kvar? Stick!

38

そうだよもぅぐずぐずし

ないでさっさと書きな!

Ja. Men skriv under nu då. Du ville ju ha ett jobb. Eller hur?

substituted partial English Just det. Sluta slöa och skriv nu!

39

今からおまえの名前は千

だ。いいかい、千だよ。

分かったら返事をするん

だ、千!!

Och nu är det jag som äger det nam-net. Från och med nu så heter du Sen. Är det förstått.

added im-portant

partial English Från och med nu heter du Sen. Har du för-stått? Svara mig Sen!

40

今日からその子が働く

よ。世話をしな。

Flickan har skrivit på kontraktet. Sätt henne i arbete.

substituted complete English Det här barnet börjar arbeta nu. Ta hand om henne.

41

よろしくお願いします。 (nothing) omitted complete Both Trevligt att träffa er.

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35

(munrörelser syns tydligt)

42

人臭くてかなわんわい。 Hon luktar apa. substituted partial Both Vi står inte ut med människostanken.

43

ここの物を三日も食べれ

ば匂いは消えよう。それ

で使い物にならなけれ

ば、焼こうが煮ようが好

きにするがいい。

När hon har ätit vår mat några dagar så försvinner luften. Om hon inte arbe-tat hårt nog så kan ni göra vad ni vill med henne.

substituted partial Swedish Den är borta efter tre dar med våran mat. Duger hon inget till, så stek eller koka henne eller vad ni vill.

44 リンさん、あの Känner du Haku? omitted partial English Lin…

45

ここにハクっていうひと

二人いるの?

Ja, det finns väl inte två stycken.

added partial English Finns det två Haku här?

46

おい、どうしたんだよ?

しっかりしろよぅ。

Oj, men vad är det med dig? Mår du verkligen så dåligt?

substituted partial Both Hur är det med dig?

47

気持ち悪いんだって。新

入りだよ。

Hon mår inte så bra, lilla tösen.

substituted partial Swedish En ny flicka. Hon mår inte bra.

48

(voice utterances) Sen: Va? Haha. substituted complete Swedish (nothing)

49

(nothing) Haku: Vi har inte så mycket tid på oss. Om du blir upptäckt blir du också för-vandlad till en gris. Du får aldrig komma hit utan mig. Är det för-

added, important

complete English (nothing)

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36

stått?

50

(nothing) Sen: Ja, jag förstår. added complete English (nothing)

51

おとうさんおかあさん、

私よ!……せ、千よ!お

かあさん、おとうさん!

Mamma och pappa. Hur är det? Men vakna då. Det är jag!

substituted, important

partial English Pappa! Mamma! Det är jag. Det är Sen! Mamma! Pappa!

52

いや。おなかが一杯で寝

ているんだよ。人間だっ

たことは今は忘れてい

る。

Nej. De vilar sig efter maten bara. Kom ihåg hur de ser ut så att du minns vilka de är.

substituted, important

partial Both De åt för mycket och nu sover de. De minns inte att de har varit människor.

53

湯婆婆は相手の名を奪っ

て支配するんだ。いつも

は千でいて、本当の名前

はしっかり隠しておくん

だよ。

Det är så Yubaba styr dig. Hon stjäl ditt namn. Glöm det inte bara. Men så länge du är här får du kalla dig Sen.

substituted partial Both Yubaba styr genom att ta folks namn. Här he-ter du Sen så håll ditt rätta namn hemligt.

54

一人で戻れるね? Jag måste gå nu, men jag kommer snart tillbaka. Hittar du tillbaka nu?

added partial Both Hittar du tillbaka nu?

55

うん。ハクありがとう、

私がんばるね。

Ja, tack. Du är en fin vän.

substituted partial English Ja, Haku. Tack. Jag ska kämpa på.

56

わぁっ。 Oj. Haku. added, important

partial Both (nothing)

57 じゃまだねぇ。 Ah. Skynda dig. substituted complete Swedish Undan!

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37

58

千、もっと力はいんない

の?

Har du aldrig skurat ett golv förut.

substituted complete Both Kan du inte bättre än så?

59

はーーい今すぐ!チッ、

下いびりしやがって。

Ja. Jag hörde! Ty-piskt också!

substituted partial Swedish Vi kommer! Rena trakasserierna!

60

一回 薬湯入れなきゃダ

メだ。千、番台行って札

もらってきな。

Du får springa iväg Sen. Hämta en vat-tenpollett i recept-ionen. Snabba dig på.

substituted partial Both Karet behöver en hy-gientvätt. Hämta en bricka hos badmäs-taren.

61

薬湯の札だよ! Prata med förman-nen.

substituted complete Swedish En hygientvättsbricka.

62

はぁーい。……リンさ

ん、番台ってなに?

Ja. Vad är en för-man?

substituted partial English Vad är en badmästare?

63

雨に紛れてろくでもない

ものが紛れ込んだかな?

Vad är det för av-skum som smyger runt ute i regnet?

substituted (confusing)

partial English Nåt värdelöst avskum, i skydd av mörkret…

64

そんなもったいないこと

が出来るか!……おはよ

うございます!良くお休

みになられましたか!

Jag slösar inte bort någon pollett på dig. Varsågod min dam. Hoppas badet blir behagligt.

substituted partial English Jag kan inte slösa det på dig. God morgon! Har ni sovit gott?

65

春日様。 En till lyxsviten substituted complete Both Badmästare Kasuga…

66

はい、硫黄の上!……い

つまでいたって同じだ、

戻れ戻れ!手でこすれば

いいんだ!

Javisst. Varsågod. Det är ingen idé att du står här, du får ingen pollett. Du får skura med knogarna.

substituted, hard word

partial Both En svaveltvätt de luxe. Stå inte här. Tillbaka till arbetet! Ni får skrubba med händerna.

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38

67

でも、あの、薬湯じゃな

いとダメだそうです。

Jamen jag skulle, jag skulle hämta en vattenpollett.

substituted partial Swedish Men…det skulle vara hygientvätt.

68

それを調べるんだ。今日

はハクがいないからね。

Det ska du ta reda på. Rapportera sedan till mig.

substituted, important

partial English Ta reda på det. Haku är inte här.

69

それも特大のオクサレさ

まです!

Den verkar stinka extra mycket.

substituted complete English Och en jättestor des-sutom!

70

リンと千、湯婆婆様がお

呼びだ。

Sen. Yubaba vill prata med dig.

omitted partial English Lin och Sen, Yubaba kallar på er!

71

四の五の言うと、石炭に

しちまうよ。わかった

ね!

Tjafsar du så gör jag dig till gris. Är det förstått?

substituted parital Swedish Ett pip till och du blir kol! Förstått!

72

あぁああ、汚い手で壁に

触りおって!

Åh nej. Hon slösar med vårt dyrbara vatten.

substituted partial English Åh nej, hon kletar ner väggarna med sina smutsiga händer!

73

リンさん! Här är jag! substituted complete English (nothing)

74

だいじょぶかあ!釜爺に

ありったけのお湯出すよ

うに頼んできた!最高の

薬湯おごってくれるっ

て!

Lugn bara! Stanna där så kommer jag och hjälper dig. Jag har bett Kamaji skicka upp allt vat-ten han har.

substituted partial Both Hur är det med dig? Jag bad Kamaji att ge oss allt vatten han har.

75

ぐずぐずするんじゃない

よ!女も力を合わせるん

だ!

Sådär. Det är bra. Nu hjälper ni till och drar allihopa.

substituted, genus?

complete Both Hugg i! Samla era kraf-ter, kvinnor!

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39

76

んーーー湯屋一同、心を

こめて!!エイヤーーー

ーソーーーーレーーーー

Gör er klara nu och dra när jag säger till. Dra! Dra! …

substituted partial English Alla på samma gång…dra!

77

佳き哉 Tack för hjälpen substituted complete Both Bra gjort!

78

あー、やれやれ Jari jari. Vilken pers va?

added partial Both Oj oj oj!

79

ハク、いなかったねー。 Har du sett Haku? substituted partial English Jag såg inte Haku.

80

街がある……海みたい。 Vad mycket vatten. Som ett hav.

substituted partial English Det är en stad. Och det ser ut som havet…

81

前金だ、受け取れ。わし

は客だぞ、風呂にも入る

ぞ。みんなを起こせぇ

っ!

Tror du inte att jag kan betala för mig? Va? Och så vill jag ha ett bad. Väck personalen nu! Sätt fart!

substituted partial Swedish Jag betalar i förskott. Jag är kund och vill ha ett bad. Väck alla!

82

ここからお父さんたちの

とこ見えるんだ。

Och där borta är mamma och pappa. Hoppas att de har det bra där borta.

added partial English Härifrån ser jag ända till mamma och pappa.

83

お客さまがお待ちだ、も

っと早くできんのか!?

Väck alla de andra. Det är bråttom. Sätt fart.

substituted partial Both Kunden väntar, skynda er!

84

千も来い。湯婆婆まだ寝

てるからチャンスだぞ。

Vad spelar det för roll? Kom nu innan Yubaba vaknar.

substituted partial English Kom, Sen! Yubaba sover.

85

あたし釜爺のとこ行かな

きゃ。

Jag går iväg och träffar Haku.

substituted, important

partial English Jag måste till Kamaij.

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40

86

今釜爺のとこ行かない方

がいいぞ、たたき起こさ

れてものすごい不機嫌だ

から!

Det är nog ingen bra idé. Han är på dåligt humör. Han blev väckt av allt gap och skrik.

substituted, important

partial Both Jag hade inte gått dit nu. Han är ilsken för att de väckte honom.

87

リン、もいっかい行こ! Han har fickan full. substituted complete Swedish Vi försöker få mer.

88

ケガしてるの?あの紙の

鳥は行ってしまったよ。

もう大丈夫だよ。……わ

っ!

Ligg stilla bara. Alla fåglar har försvun-nit. Allt kommer bli bra igen.

substituted partial Both Är du skadad? Pappers-fåglarna är borta. Faran är över.

89

(nothing) Groda: Ge mig guld snälla!

added, made more distinct

complete English (nothing)

90

何をしてる、早ぅど……

うっ!?

Sa jag inte att du skulle flytta på…

substituted complete Both Stå inte bara där…

91

(nothing) Groda: Ge mig guld!

added complete Swedish (nothing)

92

ええい、静まれ!静まら

んか!!下がれ下がれ!

Hallå! Sluta nu! Låt bli guldet! Ut med er allihop.

substituted partial Both Tyst med er!

93

おまえ、何故笑う。笑っ

たな。

Sluta flina din apa! added partial Both Sluta flina! Jag såg det nog.

94

そいつの正体はカオナシ

だよ。そう、カ オ ナ

シ!

Vad sjutton släppte ni in honom för. Han är en ansik-tslös.

added partial Both Han är en ansiktslös. Just det, en ansiktslös!

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41

95

もぅ坊はまたベッドで寝

ないで~。

Nämen lilla gubben. Men gubben. Har du gömt dig under kudden?

substituted complete English Sover du utanför spjäl-sängen nu igen?

96

おんもにはわるいばいき

んしかいないんだぞ。

Du är en sådan där farlig bakterie, eller hur?

substituted partial English Det finns farliga baciller där ute.

97

私、人間よ。この世界じ

ゃちょっと珍しいかもし

れないけど。

Jag är en människa, men du kanske aldrig har sett en människa förut.

substituted partial Both Jag är en människa. Du har nog aldrig träffat nån förut.

98

血!わかる?!血!! Ser du? Det är bak-terier. Titta.

substituted complete English Det är blod. Blod!

99

血なんかへいきだぞ。あ

そばないとないちゃう

ぞ。

Jag är inte rädd för baciller. Om du inte leker med mig så grinar jag.

substituted partial English Jag är inte rädd för blod. Jag gråter om du inte vill leka.

100

待って、ね、いい子だか

ら!

Nej, gör inte det. Jag är snart klar.

substituted complete Both Snälla, vänta lite.

101

お願い、待って! Sch! Sch! Nej, grina inte!

substituted complete English Snälla, vänta.

102

あんたはちょっと太り過

ぎね。

Men håll truten nu din lilla tjockis.

added partial English Vilken liten fetknopp du är då.

103

そいつは妹の手先のどろ

ぼう竜だよ。私の所から

大事なハンコを盗みだし

た。

Tråkigt då, men han har stulit ett guldsi-gill av mig. Ett ma-giskt guldsigill och det vill jag ha till-

substituted partial English Han är en tjuv och min systers lakej. Han stal ett värdefullt sigil från mig.

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42

baka.

104

竜はみんな優しいよ…優

しくて愚かだ。魔法の力

を手に入れようとして妹

の弟子になるなんてね。

この若者は欲深な妹のい

いなりだ。さぁ、そこを

どきな。どのみちこの竜

はもう助からないよ。ハ

ンコには守りの呪い(ま

じない)が掛けてあるか

らね、盗んだものは死ぬ

ようにと……

Alla drakar är snälla. Snälla och dumma. Han är beredd att göra vad som helst för att få lära sig Yubabas magi. Han är bara en simpel tjuv och det finns inget gott i honom. Seså. Flytta på dig nu, för jag ska ha tillbaka mitt guldsigill. Och det är ändå ute med honom för sigillet är förban-nat. Den som stjäl sigillet måste dö.

substituted, subtitle copied!

partial Both Alla drakar är snälla - snälla och dumma. Han vill så gärna lära sig trolldomskonst av min syster. Pojken gör allt vad min giriga syster vill. Flytta på dig nu. Det är ändå ute med honom. Sigillet skyddas av en trollformel. Den som stjäl det dör.

105

なんだろね、この連中

は。これおやめ、部屋に

お戻りな。

Men vad är det för fel på de där trat-tarna? Jag vill inte att min syster ska höra oss.

substituted complete Swedish Vad har flugit i dem? Sluta! Gå till ditt rum.

106

!……あぁら油断したね

ぇ~……

Jag försvinner. substituted complete Both Jag var visst oförsiktig.

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43

107

なにごとじゃい!ああ

っ、待ちなさい!

Vad är det nu? Vad håller ni på med?

substituted partial Both Vad i hela världen? Vänta!

108

そりゃあ、苦団子か? Medicin från vat-tenanden?

substituted complete English Är det en bitterkaka?

109

(nothing) Kamaji: Åh! Shit pommes fritt.

added complete Swedish (nothing)

110

えーんがちょ、せい!え

ーんがちょ!!

Farligt Sen. Det kan vara farligt.

substituted complete Both Äckligt Sen! Jätteäck-ligt!

111

切った! Åh… Bort med farli-ga!

substituted complete Both Borta!

112

おじさんこれ、湯婆婆の

おねえさんのハンコな

の!

Det här sigillet. Haku stal det från Yubabas syster.

omitted partial English Haku tog det från Yubabas syster.

113

ワシは反対したんだ、魔

女の弟子なんぞろくな事

がないってな。聞かない

んだよ。もう帰るところ

はないと、とうとう湯婆

婆の弟子になっちまっ

た。

Jag avrådde honom från att gå i lära hos en häxa. Det kan vara farligt sa jag till honom. Men inte lyssnade han på mig. Så han blev Yubabas lärling,

omitted partial Both Jag försökte avråda honom från att bli häx-lärling- -men han lyss-nade inte. Han hade ingenstans att ta vägen, sa han.

114

新しい友達なの。ねっ。 Två nya små kom-pisar. Söta va?

added partial Swedish Mina nya vänner.

115

これが使える。 Du får den här. Det finns fyra ostämp-lade kvar.

added partial Swedish Du kan använda den här.

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44

116

四十年前の使い残りじ

ゃ。いいか、電車で六つ

目の沼の底という駅だ。

Den har jag haft liggandes jät-telänge… Hör på nu! Du ska av på sjätte stationen. Träskbotten.

substituted partial Swedish Jag har sparat den i 40 år. Det är sjätte stat-ionen, Träskbottnen.

117

間違えるなよ。昔は戻り

の電車があったんだが、

近頃は行きっぱなしだ。

Efter fem. Före sju. Förut åkte tåget åt båda hållen, men nu för tiden åker det bara dit.

substituted partial Swedish Förr fanns det ett tåg tillbaka men numera är det en enkel resa.

118

きゃああぁーーっ!ま、

ますます大きくなってる

よ!

Han äter upp oss! substituted complete Swedish Monstret blir bara större.

119

何をぐずぐずしてたんだ

い!このままじゃ大損

だ、あいつをおだてて絞

れるだけ金を絞りだせ

……ん?

Och var har du va-rit?! Han håller på att slå sönder all-ting där inne. Nu går du in och fjäskapar ordentligt så vi får…

substituted partial Both Varför tog du en sån tid på dig? Det här är en katastrof! Nu fjäskar du ordentligt för honom och kläm ur honom allt hans guld.

120

あなたはどこから来た

の?私すぐ行かなきゃな

らないとこがあるの。

Jag vill gärna gå härifrån. Det är ett ställe jag måste åka till.

omitted partial English Var kommer du ifrån? Jag måste åka nånstans med detsamma.

121

あなたは来たところへ帰

った方がいいよ。私がほ

しいものは、あなたには

Du borde åka till-baka dit du kom ifrån. Yubaba vill inte ha kvar dig här

substituted partial English Du borde åka tillbaka dit du kom ifrån. Du kan inte hjälpa mig med det jag behöver.

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45

ぜったい出せない。 på badhuset längre.

122

おうちがわからないの? Men vad är det du vill ha då?

substituted complete English Kan du inte komma hem?

123

みんなお退き!お客さま

とて許せぬ!!

Nu får det vara nog! Nu är jag trött på det här.

substituted complete Both Ur vägen! Inte i mitt hus!

124

グハァッ……!!……ハ

ァッ、ハァッ……許せん……

Det här ska du få för.

substituted complete English Du ska få!

125

おじいさん。 Kamaji. Vakna. substituted complete English Kamaji…

126

おまえ、なにも覚えてな

いのか?

Du var medvetslös. Det kommer du väl ihåg.

substituted partial English Minns du ingenting?

127

……切れ切れにしか思い

出せません。闇の中で千

尋が何度も私を呼びまし

た、その声を頼りにもが

いて……気が付いたらこ

こに寝ていました。

Jag minns att allting var mörkt. Men så hörde jag Sens röst. Hon ropade på mig. Så jag följde efter hennes röst, och så minns jag inget mer, och så vak-nade jag upp här.

substituted, important

partial Both Bara vissa saker. Chihiro ropade mitt namn i mörkret. Jag följde hennes röst och vaknade upp här.

128

そうか、千尋か。あの子

は千尋というのか。……

いいなあ、愛の力だなあ……

Åh, så du följde efter henne. Jag ser den kärleken. Hon gjorde det bara för

substituted, important

partial Both Chihiro… Hennes rätta namn är alltså Chihiro. Inget går upp mot kär-lekens kraft…

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46

din skull.

129

親豚は食べ頃だろ、ベー

コンにでもハムにでもし

ちまいな。

Och de borde för-resten vara slakt-färdiga nu. Se till att få det gjort.

substituted partial Both De är säkert fina, feta grisar nu. Gör skinka av dem!

130

ずいぶん生意気な口を利

くね。いつからそんなに

偉くなったんだい?

Vad pratar du om din slapptratt? Jag är din chef Haku, har du glömt det?

substituted complete Both Vad du pratar stora ord då. När blev du så viktig av dig?

131

なるほどね。性悪女め

……それであたしに勝っ

たつもりかい。

Mycket listigt. Jag förstår. Jag kan få honom tillbaka men det kostar. Hehehe.

substituted partial English Nu fattar jag. Den elaka häxan… Hon tror alltså att hon har besegrat mig.

132

坊を連れ戻してきます。

その代わり、千と両親を

人間の世界へ戻してやっ

てください。

Att du river Sens kontrakt, och att du skickar Sen och hennes föräldrar tillbaka till männi-skornas värld där de hör hemma.

omitted partial English Jag ska hämta ditt barn. Men i gengäld måste du släppa Sen och hen-nes föräldrar fria.

133

それでおまえはどうなる

んだい!?その後あたし

に八つ裂きにされてもい

いんかい!??

Nåväl. Men bara på ett villkor. Att jag får sätta Sen på ett sista prov. Miss-lyckas hon är hon min.

substituted, important

complete English Och du då? Jag kanske sliter dig i bitar när jag släppt dem!

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47

134

失礼します。 Hej Seniba. substituted complete English Ursäkta oss…

135

……おまえ、これを持っ

てて何ともなかったか

い?

Visst var det en härlig känsla att ha den i sin hand.

substituted complete Both Kändes det bra när du höll det?

136

あたしたち二人で一人前

なのに気が合わなくてね

ぇ。

Jag har sett fram emot att få träffa er.

substituted complete Both Yubaba och jag är två hälfter av en helhet, men vi kommer inte överens.

137

魔女の双子なんてやっか

いの元ね。おまえを助け

てあげたいけど、あたし

にはどうすることも出来

ないよ。この世界の決ま

りだからね。

Min syster och jag är vissirligen tvil-lingar, men ändå är vi fullständigt olika. Du har ju sett hur smaklöst hon inrett sitt hem. Jag skulle gärna hjälpa dig, kära du, men jag kan tyvärr ingenting göra.

substituted partial Both Ni vet hur dålig smak hon har. Tvillinghäxor innebär bara problem. Jag skulle gärna hjälpa er men det finns inget jag kan göra.

138

両親のことも、ボーイフ

レンドの竜のことも、自

分でやるしかない

Sånna är reglerna. Du måste själv komma på hur du ska hjälpa dina föräldrar och Haku. Använd det du vet om dem.

substituted partial English Det är en av våra reg-ler. Du får ta hand om dina föräldrar och din drak-pojkvän själv.

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48

139

ま、今夜は遅いからゆっ

くりしていきな。おまえ

たち手伝ってくれるか

い?

Det börjar bli sent nu. Stanna här i natt vet ja. Och förresten, du får gärna kalla mig farmor.

substituted partial Both Det är sent nu. Ni kan ta det lugnt i kväll och sova här. Hjälper ni mig pojkar?

140

ほれ、がんばって。そう

そう、うまいじゃない

か。ほんとに助かるよ。

魔法で作ったんじゃ何に

もならないからねぇ。

Hehehe. Seså poj-kar, sätt lite fart nu. Ni är allt bra flinka till att spinna. Var har ni lärt er det någonstans.

substituted partial Both Fortsätt ni bara. Precis så, ni är jätteduktiga! Som ni hjälper mig!

141

そこをくぐらせて……そ

う、二回続けるんだ。

Då ska vi se om ni kan sticka också. En rät, en avig, en rät, en avig. Så ja.

substituted complete English Om jag trollar fram det blir det inte lika bra. Dra garnet igenom och fortsätt så…

142

ふふふ、グッドタイミン

グね。

Det där är kärlek. substituted complete English Vilken tajming, som sagt.

143

おばあちゃん!……あり

がとう、私行くね。

Farmor! Tusen tack. Jag kommer att sakna dig.

substituted partial English Tant! Tack, jag ger mig av nu.

144

おばあちゃん、ありがと

う!さよなら!

Tack för allt farmor. Vi ses snart.

substituted partial Swedish Tack, tant! Hej då!

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49

145

……ハク、聞いて。お母

さんから聞いたんで自分

では覚えてなかったんだ

けど、私、小さいとき川

に落ちたことがあるの。

その川はもうマンション

になって、埋められちゃ

ったんだって……。で

も、今思い出したの。そ

の川の名は……その川は

ね、琥珀川。あなたの本

当の名は、琥珀川……

Vet du Haku. Jag kommer inte ihåg det själv, men mamma har berät-tat om något som hände när jag var liten. Jag tappade min sko och den föll ner i en stor flod. När jag skulle ta upp den ramlade jag i själv. Och jag trodde att jag skulle drunkna. Men en våg kom och svepte upp mig. Nu minns jag alltihop. Den floden hette Gohakufloden. Och vet du vad? Jag tror att det var du som spolade upp mig.

substituted, important

partial Both Hör på, Haku… Jag minns det inte själv- -men mamma berättade att jag föll ner i en flod när jag var liten. Hon säger att de har dikat ut den nu och byggt hus ovanpå den. Men nu kommer jag ihåg vad floden hette. Den hette Kohakufloden. Ditt rätta namn är Ko-haku.

146

千尋、ありがとう。私の

本当の名は、ニギハヤミ

コハクヌシだ。

Jag är fri. Du lycka-des. Nu minns jag. Jag är anden i Gohakufloden.

substituted partial English Tack Chihiro! Mitt rätta namn är Nigihayami Kohaku Nushi.

147

ニギハヤミ……? En vattenande. substituted complete English Nigihayami?

148

ニギハヤミ、コハクヌ

シ。

Ja. I Gohakufloden. substituted partial Both Nigihayami Kohaku Nushi.

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50

149

すごい名前。神様みた

い。

Men den finns inte kvar. De har byggt hus där.

substituted complete English Vilket namn! Som en guds.

150

私も思いだした。千尋が

私の中に落ちたときのこ

と。靴を拾おうとしたん

だね。

Det är nog därför jag inte kan hitta hem. Och nu minns jag att det var du som föll ner i mig. Och jag minns din lilla röda sko.

substituted partial Both Du föll ner i mig som barn. Du hade tappat en sko.

151

フン!そう簡単にはいか

ないよ、世の中には決ま

りというものがあるん

だ!

Hm! Sakta i Backar-na Haku. Kom ihåg att Sen måste klara mitt prov först.

substituted complete English Inte så fort. Det finns faktiskt en regel.

152

ばぁばのケチ。もうやめ

なよ。

Men mamma, hon är jättesnäll.

substituted complete Swedish Baba är en snåljåp. Sluta med det.

153

へぇっ?ででででもさ

ぁ、これは決まりなんだ

よ?じゃないと呪いが解

けないんだよ?

Men ett avtal är ett avtal lilla vän. Hon måste klara provet för att komma hem.

substituted, important

partial English Men regeln måste föl-jas. Annars kan jag inte bryta förtrollningen.

154

今、そっちへ行きます。 Jag tänker hålla mitt löfte.

substituted complete Both Jag kommer till dig.

155

掟のことはハクから聞き

ました。

Jag är redo att göra ditt prov nu.

substituted complete English Haku har förklarat re-geln för mig.

156

さよなら!ありがとう! Hej då! Vi ses snart igen!

substituted partial Swedish Adjö! Tack!

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51

157

千尋、そんなにくっつか

ないでよ。歩きにくい

わ。

Dra inte så. Du drar ju nästan omkull mig.

substituted complete English Jag ramlar om du klänger sådär.

158

千尋!早くしなさい! Kom då gumman. substituted complete Both Skynda dig!