Relevant bibliographies by topics / English drama – Translations into Tsonga

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  2. Dissertations / Theses
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Academic literature on the topic 'English drama – Translations into Tsonga'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "English drama – Translations into Tsonga"

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Merino, Raquel. "Drama translation strategies." Babel. Revue internationale de la traduction / International Journal of Translation 46, no. 4 (December 31, 2000): 357–65. http://dx.doi.org/10.1075/babel.46.4.05mer.

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This paper, which deals with drama translations in Spain (English-Spanish) from 1950, presents the results of a four-stage analysis carried out on a large corpus of translated plays. Starting from the assumption that theatre is part of the field of drama (which includes cinema and television, among other spectacles), and taking into account drama’ś inherent specificity (written to be performed), as well as its peculiar structure (dialogue versus prose) this study on translated drama posits, as a starting point, an inherently dramatic unit (réplica) which is instrumental in describing and comparing drama texts, be they translated or not. Starting from an outline of the four-stage process adopted, this paper elaborates fundamentally on extreme cases of translation strategies (addition, deletion and adequacy), found to have been applied in each of the three extreme cases studied, relating them with a previously uncovered twofold characterization (into reading and acting editions) of the translations under scrutiny.
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Locher, Miriam A. "Moments of relational work in English fan translations of Korean TV drama." Journal of Pragmatics 170 (December 2020): 139–55. http://dx.doi.org/10.1016/j.pragma.2020.08.002.

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Čermák, František, and Aleš Klégr. "Modality in Czech and English." International Journal of Corpus Linguistics 9, no. 1 (April 29, 2004): 83–95. http://dx.doi.org/10.1075/ijcl.9.1.05cer.

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The paper examines two kinds of modality exponents and their interlingual relationships, using an aligned parallel minicorpus of two contemporary Czech originals (drama and novel) and their English translations. It focuses on four most frequent Czech adverbial particles of possibility/approximation:snad, mozná, asi, nejspíše,and the Czech conditional mood marker by in the texts and their equivalents. It contrasts the findings with the equivalents in the latest and largest Czech-English dictionary. The results confirm that in either case the lexicographic description is insufficient both in the range of equivalents offered and their respective representativeness.
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Fan, Shouyi. "Translation of English Fiction and Drama in Modern China: Social Context, Literary Trends, and Impact." Meta 44, no. 1 (October 2, 2002): 154–77. http://dx.doi.org/10.7202/002717ar.

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Abstract This article, which is organized along a chronological-thematic framework, will briefly review the early days of translating American and British fiction and drama into Chinese, the social context in which these translations were done, the literary ideas which have affected the work of Chinese writers, and the social impact that translated works of literature and literary theory have had in various periods of literature. The bottom line is that the literary works introduced to China to date represent only the tip of the iceberg. We need more quality translations for Chinese readers and more qualified and experienced translators to complete the job.
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ZUYENKO, M. "MYTHOPOEIC PARADIGM IN ENGLISH BAROQUE DRAMA (JOHN WEBSTER “THE WHITE DEVIL”)." Philological Studies, no. 33 (April 19, 2021): 56–58. http://dx.doi.org/10.33989/2524-2490.2020.33.228234.

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The article deals with the mythopoeic analysis of the play of revenge “The White Devil” by John Webster. The historical background of the play is also under examination. The tragedy “White Devil” (1612) is known in the translations by I. Aksenov, T. Potnitseva. The genre of tragedy in the XVII th century reflects the writers’ appeal to the biblical text and its transformation in motives, images, stylistic and generic systems, this tradition is particular important for the baroque writers, the constant feature of the English dramaturgy of the XVIIth century is appeal to the antique mythology and the national cultural heritage.
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Komporaly, Jozefina. "Translating Hungarian Drama for the British and the American Stage." Hungarian Cultural Studies 14 (July 16, 2021): 164–75. http://dx.doi.org/10.5195/ahea.2021.434.

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Reflecting on my experience of translating contemporary Hungarian theater into English, this paper examines the fluidity of dramatic texts in their original and in translation, and charts collaborations between playwrights, translators and theater-makers. Mindful of the responsibility when working from a “minor” to a “major” language, the paper signals the discrepancy between the indigenous and foreign ‘recognition circuit’ and observes that translations from lesser-known languages are predominantly marked by a supply-driven agenda. Through case studies from the work of Transylvanian-Hungarian playwright András Visky, the paper argues that considerations regarding such key tenets of live theater as “speakability” and “performability” have to be addressed in parallel with correspondences in meaning, rhythm and spirit. The paper also points out that register and the status of certain lexical choices differ in various languages. Nuancing the trajectory of Visky’s plays in English translation, this paper makes a case for translations created with and for their originals, in full knowledge of the source and receiving cultures, and with a view to their potential in performance. The paper posits the need for multiple options encoded in the translation journey, including hypothetical concepts for future mise-en-scène, and situates the translator as a key participant in the performance making process.
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Winston, Jessica. "Seneca in Early Elizabethan England*." Renaissance Quarterly 59, no. 1 (2006): 29–58. http://dx.doi.org/10.1353/ren.2008.0232.

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AbstractIn the 1560s a group of men associated with the universities, and especially the early English law schools, the Inns of Court, translated nine of Seneca’s ten tragedies into English. Few studies address these texts and those that do concentrate on their contributions to the development of English drama. Why such works were important for those who composed them remains unclear. This essay examines the translations against the background of the social, political, and literary culture of the Inns in the 1560s. In this context, they look less like forms of dramatic invention than kinds of writing that facilitated the translators’ Latin learning, personal interactions, and political thinking and involvement.
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Mateo, Marta. "Successful strategies in drama translation: Yasmina Reza’s “Art”." Meta 51, no. 1 (May 29, 2006): 175–83. http://dx.doi.org/10.7202/013006ar.

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Abstract Yasmina Reza’s “Art” has been widely acclaimed ever since it opened in Paris in 1994: the different productions which have followed the French original in more than 40 countries have enjoyed equal success. This success, both among audiences and critics, may be attributed to the play’s universal themes, to the tone and richness of its dialogue and to the good acting most productions have displayed. But the fact that the play has been appreciated in so many different countries and languages inevitably implies that translation is also at the centre of its success. This paper analyses two translations of “Art” – Christopher Hampton’s English text and Josep M. Flotats’s version into Spanish –, which, despite having a similar aim, i.e., making the play function on stage, have followed different translation strategies to make it work in their different target contexts.
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Alix-Nicolaï, Florian. "Exile Drama: The Translation of Ernst Toller's Pastor Hall (1939)." Translation and Literature 24, no. 2 (July 2015): 190–202. http://dx.doi.org/10.3366/tal.2015.0201.

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Ernst Toller's Pastor Hall, one of the first plays to depict life in a concentration camp, counts among the few anti-Nazi dramas translated into English before World War Two. The process by which it came to the British stage reveals the impact of censorship on authors and translators of anti-Fascist plays. It also reveals conflicting aesthetic strategies to tackle fascism. While Toller relied on straightforward documentary realism, one of his translators, W. H. Auden, championed anti-illusionism and distrusted propaganda art. In the cultural fight to reclaim Germany's heritage from the Nazis, German writers in exile viewed translations as urgent messages demanding prompt action, whereas British writers tended to see them as an archive for future generations.
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Li, Nannan. "Lao She’s Teahouse and Its Two English Translations: Exploring Chinese Drama Translation with Systemic Functional Linguistics." WORD 67, no. 2 (April 3, 2021): 234–36. http://dx.doi.org/10.1080/00437956.2021.1912263.

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Dissertations / Theses on the topic "English drama – Translations into Tsonga"

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Sorby, Stella Lanxing. "Translating Western musicals into Chinese: texts, networks, consumers." HKBU Institutional Repository, 2014. https://repository.hkbu.edu.hk/etd_oa/113.

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When translating musicals from one culture to another, a translator’s role is to convert the text for its stage representation in a different context. However, during the process from this translated text to it finally being performed on stage, changes are inevitable. Issues surrounding the nature of such changes, the reasons for which they are made, and their resulting effects, have hitherto been little researched. The present study seeks to explore such issues through an examination of the ways in which the development of the translated text is shaped by interactions between the various stakeholders including professional translators, fans and production team members, i.e. the director and actors, as well as the audience themselves. Employing some of the major concepts of Actor Network Theory as the principal theoretical framework, together with a case study approach combining textual analysis and empirical studies, this project focuses on Putonghua translations of Western musicals on the Chinese mainland. More specifically, through investigating three of the most recent and professionally translated and performed Western musicals: I love you, you’re perfect, now change (USA), Spin (Finland), and Mamma Mia! (UK), it intends to show how differing stakeholder perspectives on issues of performability and reception are negotiated to produce a commercially successful translation product.
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Handall, Monique Elizabeth. "Translating Spanish language plays into English: A focus on the translation and production of Xavier Robles' Rojo amanecer." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2958.

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The purpose of this culminating project is to start translating quality Mexican and Latin American dramatic literature in order to provide to educators and theatrical directors a fundamental collection of plays. The author worked with her San Gorgonio High School students to conduct a dramaturgical study of the setting and political background of Rojo Amanecer by Xavier Robles, a play which outlines the events leading to the 1968 student massacre at Mexico City's Plaza de Tlatelolco. The author then directed the play in her role as San Gorgonio High School's new theater teacher.
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Wang, Hing Suen Teresa. "An ethnohistoric investigation of the operation and function of translation in the dissemination of Chinese Xiqu in the US : a study of three encounters." HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/884.

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In this study, the role of translation in the introduction of Chinese xiqu into the United States is examined using an anthropological approach. This study identifies three encounters that exemplify the three critical stages of acceptance of xiqu in the United States, and examines how translation operates and functions as a tool of cultural mediation in the introduction and promotion of xiqu there. The three critical encounters this study identifies are: the 19th century performance tours of Cantonese opera in San Francisco, the 1930s tour of Mei Lan-fang to the U.S., and the 2006 tour of Kenneth Pai's production of the Young Lover's Edition of the Peony Pavilion to the U.S. An ethnohistoric approach is adopted to reconstruct the contexts of the translators' decision-making with the purpose of highlighting the human factor in the process. Translations, first-hand paratextual materials and data collected in interviews facilitate the triangulation of analysis and verification. The result offers a critical understanding of translation in a cultural dissemination process by analyzing xiqu with an emphasis on the human factor.
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Gargiulo, Jennifer. "Vivere sul serio Eduardo De Filippo and the art of life /." University of Sydney, 2006. http://hdl.handle.net/2123/2169.

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Doctor of Philosophy
This thesis offers the first English translation of Eduardo De Filippo’s last play, Gli esami non finiscono mai (1973). It analyzes the play in the context of the dramatist’s career and describes the philosophical shift that took place in Eduardo’s dialectic as he progressed from a post-war, neorealist drama like Napoli milionaria! toward the existential reflections present in his last play. Unlike previous studies, this work concentrates on Eduardo’s philosophical journey from neorealism to existential query and identifies the factors that influenced his thinking process. To this end, I have evaluated the plays most relevant to the development of his philosophy and the socio-political context in which they were written. The influence of the Neapolitan traditional dialect theater, along with that of Luigi Pirandello, his American contemporaries, Arthur Miller and Eugene O’Neill, and William Shakespeare, is also examined. Important social issues that directly affected the author, such as the struggle in Italy for the legalization of divorce and the plight of children born out of wedlock, are highlighted to illustrate how they contributed to the disillusionment and pessimism present in Eduardo’s last play. From the rather hopeful ending of Napoli milionaria! Eduardo was reduced at the end of his life to sheer desperation in Gli esami non finiscono mai. Italy had changed but it had not moved on. By focusing on the playwright’s final play, this thesis offers a new perspective on a twentieth century dramatist who is much more complex than is commonly acknowledged. De Filippo is revealed as a dramatist who transcended the Neapolitan comic theatrical traditions he sprang from and created a theater of political and social engagement that endures today.
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Reel, Irem Secil. "Translation/Adaptation, Direction and Production of Ambling Riders, a Turkish Play by Özen Yula." Fogler Library, University of Maine, 2010. http://www.library.umaine.edu/theses/pdf/ReelIS2010.pdf.

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Williams, Katherine J. "Translating Brecht : versions of "Mutter Courage und ihre Kinder" for the British stage." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/761.

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Maluleke, Khazamula Simon. "Reflections on the translation of cultural and linguistic elements in a Xitsonga one-act play called Jim Xilovekelo." Thesis, 2016. http://hdl.handle.net/10539/21818.

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A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts in Translation Johannesburg, 2016
The aim of this research report is to analyse how the Xitsonga original and the English translation of the play by CTD Marivate, Jim Xilovekelo (1965) can be translated in terms of culture-specific elements as reflected through dialogue. The research project examines the notion of the two basic translation strategies of domestication and foreignization in relation to both linguistic and culture-bound elements. A translation of the play into English forms the basis of the research, with detailed comments and annotations. The overall approach to the translation of the play was to retain the foreignness and style of the original text, taking into account the different languages and language varieties that feature in the play, such IsiZulu, Sesotho, Xitsonga, English, Fanakalo and Tsotsitaal. These all form part of South African urban heterogeneous culture in both the source and target texts. Retaining these culturallinguistic elements within the target text ensures that the style and features of the source text are reflected in the target text.
MT2017
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Ndove, Mkhancane Daniel. "Semiotics as a medium to convey the philosophy and psychology of evil in the Xitsonga translation of Macbeth." Thesis, 2005. http://hdl.handle.net/10500/2508.

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This thesis publicly displays the veracity of witchcraft and superstitious fables, which, many people believe to be irrational in nature. In this analysis, semiotics has been paraded in various versions from chapter to chapter-in order to illustrate the miscellaneous interpretations. The backbone of the investigation focuses on the philosophy and psychology of evil, a theoretical belief that is laid down by practical paradigms at the edge of each chapter. The point of departure of this investigation emanates from the Shakespearean literary work, Macbeth, which is popularly known for its inclusion of the witches in its illustration of the Scottish kingship. Therefore this thesis has adopted the practices of the witches and from there came out with what is commonly practiced by the Vatsonga people. Scotland, England, Germany and France of the 15th and 16th centuries were the countries best known as the most uncouthed centres for witchcraft and superstitions. Therefore leading stories from these European countries have made this project feasible. The study has leaked many of the unfounded stories about witchcraft and superstitions that were thought of as extraordinarily great but made real in this work. It has gone as far as windswept the kingship rites, coronation, the powers of the divine bones upon the anointed king, ritual ceremonies, causes of prosperity and failure, tales about stars, ghosts, reptiles, zombies and those hideous deeds that are not socially acceptable such as digging up of children's graves, convulsions, calling for rain, punishment meted out for a witch, prevention of adultery, changing oneself to a crocodile, rat, snake and many more stories.
African Languages
D. Litt. et Phil. (African Languages)
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Hudson, Joanna L. "Albert Camus' Les justes: a descriptive approach to the analysis of a drama text in translation." Thesis, 2015. http://hdl.handle.net/10539/16904.

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"A study of Cantonese translation of play titles, character names, songs, settings and puns in six Shakespeare's comedies." Chinese University of Hong Kong, 1996. http://library.cuhk.edu.hk/record=b5888989.

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Grace Chor Yi Wong.
Publication date from spine.
Thesis (M.Phil.)--Chinese University of Hong Kong, 1995.
Includes bibliographical references (leaves [131]-139).
Acknowledgments --- p.i
Abstract --- p.ii
Chapter Chapter 1. --- Introduction --- p.1
Chapter 1.0 --- Background --- p.1
Chapter 1.1 --- Scope of Study --- p.2
Chapter 1.2 --- Translation vs. Adaptation --- p.5
Chapter 1.3 --- Translating for the Stage --- p.7
Chapter Chapter 2. --- Translation of Titles --- p.11
Chapter 2.0 --- Introduction --- p.11
Chapter 2.1 --- Classification of Titles --- p.12
Chapter 2.2 --- Translation of Titles of Six Shakespeare's Comedies --- p.17
Chapter 2.3 --- Conclusion --- p.27
Chapter Chapter 3. --- Translation of Names of Characters --- p.29
Chapter 3.0 --- Introduction --- p.29
Chapter 3.1 --- Various Strategies at Work --- p.31
Chapter 3.2 --- Names for Stage Performance --- p.37
Chapter 3.3 --- Translation of Names of Characters in Six Comedies --- p.41
Chapter 3.4 --- Conclusion --- p.51
Chapter Chapter 4. --- Translation of Songs --- p.53
Chapter 4.0 --- Songs as a dramatic Device in Shakespeare's Comedies --- p.53
Chapter 4.1 --- The Translation of Songs in Five Comedies --- p.56
Chapter 4.1.1 --- The Two Gentlemen of Verona --- p.57
Chapter 4.1.2 --- A Midsummer Night's Dream --- p.60
Chapter 4.1.3 --- As You Like It --- p.68
Chapter 4.1.4 --- Twelfth Night --- p.78
Chapter 4.1.5 --- The Tempest --- p.89
Chapter 4.2 --- Conclusion --- p.97
Chapter Chapter 5. --- Settings of the Six Comedies --- p.99
Chapter 5.0 --- Introduction --- p.99
Chapter 5.1 --- Settings and the Translation of Titles --- p.101
Chapter 5.2 --- Settings and the Translation of Character Names --- p.104
Chapter 5.3 --- Settings and the Translation of Songs --- p.105
Chapter 5.4 --- Conclusion --- p.108
Chapter Chapter 6. --- Translation of Puns --- p.109
Chapter 6.0 --- Introduction --- p.109
Chapter 6.1 --- Translation of Puns in Six Comedies --- p.111
Chapter 6.2 --- Conclusion --- p.124
Chapter Chapter 7. --- Conclusion --- p.127
Bibliography --- p.131
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Books on the topic "English drama – Translations into Tsonga"

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Shakespeare, William. The tragedy of Macbeth: A facing-pages translation into contemporary English. Los Angeles: Lorenz Educational Publishers, 1995.

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Shakespeare, William. Macbeth: A facing-page edition : the original text and a translation into modern English. Whiting, Vt: Shakespeare-For-Today Trust, 1990.

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Translation Project "Macedonian Literature in English." and Macedonia (Republic). Ministerstvo za kultura, eds. Drama. Skopje: St. Clement of Ohrid, National and university library, 2011.

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Macedonia (Republic). Ministerstvo za kultura, ed. Contemporary Macedonian drama. Skopje: St. Clement of Ohrid, National and University Library, 2011.

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Shakespeare, William. Macbeth: Modern English version side-by-side with full original text. Woodbury, N.Y: Barron's, 1985.

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1924-, Arrowsmith William, and Parker Douglass, eds. Three comedies. Ann Arbor: University of Michigan Press, 1991.

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Dass, Veena Noble. Modern Indian drama in English translation. Hyderabad: V.N. Dass oup, 1988.

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Shakespeare, William. Macbeth: Englisch/Deutsch. [Germany]: Bremer Shakespeare Company, 1989.

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Suzuki, Beatrice Lane. Nōgaku: Japanese nō plays. New York: Dutton, 1991.

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Bachmann, Ingeborg. Selected prose and drama. New York: Continuum, 1998.

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Book chapters on the topic "English drama – Translations into Tsonga"

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Ó Siadhail, Pádraig. "Gearóid Ó Lochlainn: The Gate Theatre’s Other Irish-Speaking Founder." In Cultural Convergence, 47–73. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57562-5_3.

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Abstract The association of the Gate Theatre with the Irish language has been always conceived via Micheál mac Liammóir; however, another of its founders, Gearóid Ó Lochlainn, was also Irish-speaking. Ó Lochlainn was a versatile actor in Irish and English, wrote a series of plays in Irish and translated into Irish works by Shakespeare, Ibsen and others. This chapter seeks to fill a gap in the story of the Gate by providing a brief biographical sketch of Ó Lochlainn, including his time in Denmark, a discussion of his role in efforts to establish Irish-language theatre in Dublin (specifically, An Comhar Drámuíochta, which was hosted by the Gate Theatre in 1930-1934), a summary of his involvement with the Gate, a critique of his original plays and his translations which, in introducing Dublin’s Irish-language theatregoers to world drama, complemented the mission of the Gate, and an assessment of Ó Lochlainn’s achievement.
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Moore, Helen. "Princely Reading or a Wanton Book?" In Amadis in English, 43–108. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198832423.003.0003.

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In sixteenth-century England Amadis was known to elite readers primarily through the French version published in the 1540s. A wider audience gained access at the end of the century, with the first English translations by Anthony Munday of book I (1590) and book II (1595), and the anonymous book V (1598). In this period Amadis was both applauded as the reading of ‘mighty potentates’ and condemned as a ‘wanton’ book, full of extreme fabulations. This dichotomy structures the chapter, which begins by examining Amadis as the favourite book of the Spanish and French courts, lauded as a repository of eloquence and a book of fine love. Amadis features widely in English poetry, fiction, and drama of this period, for example in the works of Sidney, Spenser, and Greene, as an exemplar of romance reading.
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Thacker, Jonathan. "La traducción del teatro clásico español al inglés." In Biblioteca di Rassegna iberistica. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-490-5/006.

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This study traces, in broad brushstrokes, the history of the translation of Spanish Golden Age drama into English from the barren times of the 17th and 18th century to the comparative flood of versions done in the contemporary period. The move away from translations for the page towards renderings aimed at public performance is explored and translators’ varied approaches to the dramatic material outlined and explained. Different techniques employed by translators and adaptors, faced with the perceived difficulties of the Spanish play-texts, are analysed schematically in the second section.
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Racz, Gregary J. "La vida es sueño en forma analógica Teoría, metodología y recepción de la traducción a contrapelo." In Biblioteca di Rassegna iberistica. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-490-5/024.

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Since at least the 1990s, Translation Studies theorists have advocated greater respect for alterity in literary translation. With the advent of Naturalist theatre and, later, the predominance of free-verse poetry in the 20th century, renderings of both poetry and verse drama in the English-speaking world have favoured assimilation with target-culture values. “Organic form”, described by James S. Holmes as the methodology with which a translator renders a source text primarily for its meaning, has been the prevalent strategy for translating works such as Spanish Golden Age dramas for approximately a century now. A return to the methodology of “analogical form”, with which a translator seeks to render the source text using correlatives to its form and function in the source culture, would do much to recognise the Other by avoiding both de-historicisation and de-poeticisation through less domesticated target texts. Examples of these competing methodologies will be examined in a few American translations of Pedro Calderón de la Barca’s La vida es sueño.
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