Based on thesis (Ph.D.)--Universidad de Oviedo, 2006. / Originally presented as: La traducción al inglés en el siglo XVII : las comedias del Siglo de Oro español (University of Oviedo, 2006). Description based on print version record. Includes bibliographical references and index.

Thesis (Ph.D.) - University of St Andrews, August 2009.

Thesis (M. A. (Translation and Linguistics)) -- University of Limpopo, 2012

Thesis (M.A.(Translation Studies)) --University of Limpopo, 2013 / Refer to document

Thesis (M.A.)--University of Alberta, 2010. / Title from pdf file main screen (viewed on July 8, 2010). " A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts Department of Drama, University of Alberta." Includes bibliographical references.

盛思維. / 論文(哲學碩士) -- 香港中文大學硏究院翻譯學部, 1996. / 參考文献 : leaves 133-143. / Sheng Siwei. / Chapter 第一章： --- 引言 --- p.1 / 多系統理論（Polysystem Theory ) --- p.2 / 描述式研究方法(Descriptive Translation Studies ) --- p.5 / Chapter 第二章： --- 本地化翻譯劇在目標文化系統内的位置 --- p.10 / 《王子復仇記》、(Hamlet)、 --- p.11 / 《元宵》（Twelfth Night ) --- p.15 / 《禧春酒店》(L'Ho tel du Libre-Echange) --- p.18 / 《美人如玉劍如虹》(Cyrano de Bergerac ) --- p.21 / "《撞板風流》》(Move Over, Mrs Markham )" --- p.24 / Chapter 第三章： --- “解決方法+問題´ح 一一譯文與原文的轉移 本地化翻譯劇的翻譯策略 --- p.28 / 删減 --- p.29 / 換例 --- p.34 / 增補 --- p.47 / 從譯文與原文的轉移關係看香港翻譯劇本地化的趨勢 --- p.56 / Chapter 第四章： --- 本地化翻譯劇與原文的等值關係 --- p.65 / 故事 --- p.69 / 語言 --- p.77 / 從本地化翻譯劇與原文的等值關係看典型的本地化翻譯劇 --- p.80 / 從描述式翻譯研究到翻譯理論 --- p.88 / Chapter 第五章： --- 本地化翻譯劇的成因 --- p.91 / 翻譯規範（Translation Norms ) --- p.91 / 香港話劇系统 --- p.96 / 殖民統治與香港話劇 --- p.102 / 文化身份與後殖民理論 --- p.106 / 香港文學與大眾文化 --- p.111 / Chapter 第六章： --- 結論´Ø多系統理論與目標取向翻譯研究的再思 --- p.118 / 多系統理論的再思 --- p.119 / 目標取向與描述式翻譯研究的再思 --- p.126 / 再談香港本地化翻譯劇的特點 --- p.127 / 科際整合 --- p.130 / 參考書目 --- p.133

Shaw, Yomei. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 146-152). / Abstracts in English and Chinese. / Chapter Introduction: --- Definitions and Dimensions of Key Issues --- p.5-14 / Chapter Chapter One: --- An Analytical Review of Translated Drama in Hong Kong --- p.15-26 / Chapter Chapter Two: --- Authenticity and Text-based Theatre in Hong Kong --- p.27-78 / Chapter Chapter Three: --- The Global Stage: the Performance of Other Modernities --- p.79-104 / Chapter Chapter Four: --- Code-switching in Performance Contexts --- p.105-38 / Chapter Conclusion: --- "Adaptation, Transformation and Future Directions" --- p.139-45 / Bibliography --- p.146-51 / Appendix I --- p.152-54 / Appendix II --- p.155-72

This study analyses five British translations of Bertolt Brecht's 'Mutter Courage und ihre Kinder'. Two of these translations were written by speakers of German, and three by well-known British playwrights with no knowledge of the source text language. Four have been produced in mainstream British theatres in the past twenty-five years. The study applies translation studies methodology to a textual analysis which focuses on the translation of techniques of linguistic "Verfremdung", as well as linguistic expression of the comedy and of the political dimension in the work. It thus closes the gap in current Brecht research in examining the importance of his idiosyncratic use of language to the translation and reception of his work in the UK. The study assesses the ways in which the translator and director are influenced by Brecht's legacy in the UK and in turn, what image of Brecht they mediate through the production on stage. To this end, the study throws light on the formation of Brecht's problematic reputation in the UK, and it also highlights the social and political circumstances in early twentieth century Germany which prompted Brecht to develop his theory of an epic theatre. The focus on a linguistic examination allows the translator's contribution to the production process to be isolated. Together with an investigation of the reception of each performance text, this in turn facilitates a more accurate assessment of the translator and director's respective influence in the process of transforming a foreign-language text onto a local stage. The analysis also sheds light on the different approaches taken by speakers of German, and playwrights creating an English version from a literal translation. It pinpoints losses in translation and adaptation, and suggests how future versions may avoid these.

On the assumption that different registers of translated drama have different functions and that they therefore present information differently, the aim of the present study is to identify textual features that distinguish an Afrikaans stage translation from a page translation of Shakespeare's The Merchant of Venice. The first issue addressed concerns the nature and extent of lexical cohesion in these two registers. The second issue concerns my contention that the dialogue of a stage translation is more "involved". (Biber 1988) than that of a page translation. The research was conducted within the overall Descriptive Translation Studies (DTS) paradigm but the analytical frameworks by means of which these aims were accomplished were derived from text linguistics and register variation studies, making this an interdisciplinary study. Aspects of Hoey's ( 1991) bonding model, in particular, the classification of repetition links, were adapted so as to quantify lexical cohesion in the translations. Similarly, aspects of Biber's (1988) multi-dimensional approach to register variation were used to quantify linguistic features that signal involvement. The main finding of the study is that drama translation register (page or stage translation) does have a constraining effect on lexical cohesion and involved production. For Act IV of the play an overall higher density of lexical cohesion strategies was generated by the stage translation. In the case of the involved production features analysed, the overall finding was that the stage translation displayed more involvement than the page translation, to a statistically highly significant extent. The features analysed here cluster together sufficiently to reveal that in comparison with an Afrikaans page translation of a Shakespeare play, a recent stage translation displays a definite tendency towards a more oral, more involved and more situated style, reflecting no doubt a general modern trend towards creating more appropriate and accessible texts / Linguistics / D. Litt. et Phil. (Translation Studies)

On the assumption that different registers of translated drama have different functions and that they therefore present information differently, the aim of the present study is to identify textual features that distinguish an Afrikaans stage translation from a page translation of Shakespeare's The Merchant of Venice. The first issue addressed concerns the nature and extent of lexical cohesion in these two registers. The second issue concerns my contention that the dialogue of a stage translation is more "involved". (Biber 1988) than that of a page translation. The research was conducted within the overall Descriptive Translation Studies (DTS) paradigm but the analytical frameworks by means of which these aims were accomplished were derived from text linguistics and register variation studies, making this an interdisciplinary study. Aspects of Hoey's ( 1991) bonding model, in particular, the classification of repetition links, were adapted so as to quantify lexical cohesion in the translations. Similarly, aspects of Biber's (1988) multi-dimensional approach to register variation were used to quantify linguistic features that signal involvement. The main finding of the study is that drama translation register (page or stage translation) does have a constraining effect on lexical cohesion and involved production. For Act IV of the play an overall higher density of lexical cohesion strategies was generated by the stage translation. In the case of the involved production features analysed, the overall finding was that the stage translation displayed more involvement than the page translation, to a statistically highly significant extent. The features analysed here cluster together sufficiently to reveal that in comparison with an Afrikaans page translation of a Shakespeare play, a recent stage translation displays a definite tendency towards a more oral, more involved and more situated style, reflecting no doubt a general modern trend towards creating more appropriate and accessible texts / Linguistics and Modern Languages / D. Litt. et Phil. (Translation Studies)