The active scholarly contribution made by practitioners of theatre translation in the past decades has turned the research area into what is now considered a burgeoning field. Despite recent developments, it seems that performability, a long-discussed yet controversial concept in the study of theatre translation, would remain part of the practitioners’ discourse. Based on a historical survey of the production and reception of the translations of Anglo-American plays by Chinese actor-director Ying Ruocheng (1929-2003) in and around the 1980s, this study explores how the performability, or theatrical potential, of a translated playtext is constructed through the negotiation between/among the norms mainly operating on three levels—the textual, the theatrical and the socio-cultural—and the agency of the individuals involved. This thesis chooses to focus on Ying because he not only was one of the most successful theatre translators in contemporary Mainland China, but also seems to be an “impossible” ideal, considering his accomplishments in translating, acting, directing and as culture diplomat. Acknowledging that performability, which is essentially fluid and constructed, this descriptive-analytical survey will cover a whole range of possible activities involved in the production and reception of a translated playtext, and put the translator’s seemingly ideal status into perspective. The broadening of the scope of investigation is crucial to the outcome of this thesis, and recommendable to future researchers of theatre translation studies. In this study, translated playtexts and their stage productions are treated as the products of the receiving linguistic, theatrical and socio-cultural systems. The investigation begins with an evaluation of Ying’s practice against his stated translation principles to identify the textual and extra-textual factors that might have governed his work as a translator in reality. The discussion emphasises that performability cannot be realised through the textual medium only, before moving on to the exploration of the performers’ attempts to negotiate with his texts for theatrical enactment. The investigation, which examines the actions taken by the theatrical institution and individual actors in two separate chapters, draws attention to the roles of the translational, theatrical and socio-cultural norms and the power dynamics between the translator and his theatrical collaborators in their efforts to ‘ensure’ or create performability. The discussion is followed by an analysis concentrating on Ying’s role as a mediator within the production process and between the productions and the target environment, which is crucial to the achievement of both the immediate success of the productions and the transfer of repertoire. The study concludes that while a theatre translator and his or her theatrical collaborators are subject to various systemic constraints, the translator can find more power in his or her mediatory role as a bilingualist and biculturalist and promote the performability of the text.

Due to its unique prestige, classical Chinese poetry written during the Tang dynasty is often anthologised. These anthologies serve various purposes (e.g. recreational, educational, or both), but they are generally expected to feature works high in aesthetic value, and represent the culture wherein they are produced. While the functions of anthologies are seldom contested, representations of Tang poetry in anthologies have many different manifestations. Using China’s most famous anthology, Tangshi sanbaishou 唐詩三百首, as an opening case study, research shows that within its home culture, the anthologising of Tang poetry has a long history by itself, and anthologists negotiate between ideological agendas, aesthetic judgments, and cultural norms to form representations which suit their purposes best. Complex as the anthologising behaviour in the source culture is, the considerations involved in anthologising translated Tang poetry in the Anglo-American culture are even more complicated, since target-cultural concerns/demands (such as translatability, aesthetic predilection of the target readership, social norms, etc.) are introduced. This study attempts to delineate the differences in various source and target cultural representations of Tang poetry, and explicate the contributing causes engendering such differences. A survey of anthologies of translated classical Chinese literature/poetry reveals that key factors governing anthologising decisions include: the target cultural condition, the intended service to a mostly uninformed, non-native readership, the anthologist-translators’ personal preferences and missions, among others. The canonical landscape of Tang poetry changes often in the West even though the principle of representativeness demands a degree of conformity to the source tradition. The complexity of anthologising is further amplified when the activity of translation takes place. Translation may enhance or discount the aesthetic appeal of poets and poems, thus implicating their claim for canonicity. Besides, questions of form and prosody also shape the target-culture product, and hence the readership’s perception. The representations of Tang poetry and Chinese culture in anthologies are often taken for granted due to the sense of authority attached to anthologies. It is therefore important to take note of and examine how anthologist-translators have shaped literary perceptions by negotiating between source and target cultures.

两次鸦片战争期间（1840-1842,1856-1860），中英两国正式开启了官方交涉活动与外交谈判。在这些交涉活动中，双方口译者均发挥了重要作用，展现了特有的主体性和能动性。本文拟对当时较具代表性的三位口译者进行个案研究，他们分别是中国译者鲍鹏、黄仲畬和英国译者马儒翰。笔者通过挖掘相关的一手、二手资料，并对它们进行缜密的文本分析，试图对三位译者在各自的外交口译中所体现的主体性和能动性作出详尽的考证和论述。本文得出的结论是：在两次鸦片战争的特殊情境中，口译者往往背离“忠实性”原则:有的受到自身生活或工作经历之影响，在口译活动中常带入自己的主观想法，独立做出决定，此可谓口译者主体性的表现形式；有的采取跨界策略，在交涉双方不同立场和态度之间游移，以达到斡旋和协调的目的，充分体现了口译者的能动性。

This project engages a cultural studies approach to translation. I investigate different thematic issues, each of which underscores the underpinning force of cultural translation. Chapter 1 serves as a theoretical background to the entire work, in which I review the development of translation studies in the Anglo-American world and attempt to connect it to subject theory, cultural theory, and social critical theory. The main aim is to show how translation constitutes and mediates subject (re)formation and social justice. From the view of translation as constitutive of political and cultural processes, Chapter 2 tells the history of translation in Vietnam while critiquing Homi Bhabha's notions of cultural translation, hybridity, and ambivalence. I argue that the Vietnamese, as historical colonized subjects, have always been hybrid and ambivalent in regard to their language, culture, and identity. The specific acts of translation that the Vietnamese engaged in throughout their history show that Vietnam during French rule was a site of cultural translation in which both the colonized and the colonizer participated in the mediation and negotiation of their identities. Chapter 3 presents a shift in focus, from cultural translation in the colonial context to the postcolonial resignifications of femininity. In a culture of perpetual translation, the Vietnamese woman is constantly resignified to suite emerging political conditions. In this chapter, I examine an array of texts from different genres - poetry, fiction, and film - to criticize Judith Bulter's notion of gender performativity. A feminist politics that aims to counter the regulatory discourse of femininity, I argue, needs to attend to the powerful mechanism of resignification, not as a basis of resistance, but as a form of suppression. The traditional binary of power as essentializing and resistance as de-essentializing does not work in the Vietnamese context. Continuing the line of gender studies, Chapter 4 enunciates a specific strategy for translating Annie Proulx's Brokeback Mountain into contemporary Vietnamese culture. Based on my cultural analysis of the discursive displacement of translation and homosexuality, I propose to use domesticating translation, against Lawrence Venuti's politics of foreignizing, as a way to counter the displacement and reinstate both homosexuality and translation itself.

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The translation of research findings, and the development of products, has been identified as a research priority that may improve health outcomes for Indigenous peoples. Although knowledge translation is relatively new and emerging area in Indigenous science, Indigenous scholars have already been critical of Western defined knowledge translation theories and approaches as neglectful of Indigenous ways of knowing, being and doing. Within Indigenous knowledge systems, the translation of research findings is best conceptualized as a ‘sharing what we know about living a good life.’ This dissertation explores and focuses on the use of Indigenous stories and storytelling as knowledge translation products that may be better equipped to share research findings with Indigenous peoples. Grounded in an earlier study exploring experiences and responses to depression among Indigenous peoples living with HIV, this dissertation reviewed the Indigenous knowledge translation literature, adapted narrative analysis to an Indigenous context using composite character development and a scared story (i.e., Animikii and Mishebeshu), and created an Indigenized research story titled “The Wisdom of Thunder.” Meant to inspire healing, this story was also meant to create space to rethink, reorder, and re-imagine a world where HIV-positive Indigenous people and experiencing depression can learn and understand through Indigenous eyes. In ways connected to an oral body of stories, Indigenous stories, as an artful research translation practice, may make the findings of research more culturally accessible for Indigenous communities thereby promoting healing and well-being. / Thesis / Doctor of Philosophy (PhD) / The sharing of research findings in cultural appropriate ways with Indigenous community stakeholders is an important endeavour. Guided by the Indigenous principle of "sharing what we know about living the good life," it is equally important that such activity be done so in ways that respect Indigenous ways of knowing, being, and doing. This dissertation explores and focuses on the use of Indigenous stories and storytelling as knowledge translation products that may be better equipped to share research findings with Indigenous peoples.

Using an in vitro prokaryotic termination assay, it was demonstrated that sequences neighbouring UA are recognized by RF-1 and stimulate cleavage of ribosome-bound f-met-tRNA_fmet. The ability of UA to signal release depends upon the nature of nucleotides adjacent both 3' and 5' to this sequence. RF-1 exhibits different specificity when potential termination sequences are covalently linked to AUG within the same polynucleotide, as in mRNA. Under these circumstances, within certain base context, (1) UA functions as a termination signal, (2) UA-containing terminator signals can be read out of the AUG-aligned reading frame and (3) RF-1 competes with aminoacyl-tRNA for sequence UUA. Another factor has been discovered, which partially corrects the specificity of RF-1. This factor (designated Specificity Factor) appears to be a protein, or a protein-containing component, and enhances RF-1-mediated termination caused by UAA but inhibits termination caused by UA. The factors known to participate in protein synthesis are not responsible for conferring specificity to the RF-1-mediated termination reaction. For this reason, it is believed that the Specificity Factor may be a new protein. / Thesis / Master of Science (MSc)

Occupational therapy practitioners (OTPs) understand the importance of implementing evidence-based practice (EBP) in clinical settings. However, they often have difficulty implementing it within practice (Saunders et al., 2019). The problem is that without EBP, clients may not receive quality care because OTPs may not be up to date with research (Christiansen, et al., 2015). OTPs report that current barriers include time constraints, lack of access to articles, and not having the support or the skills to interpret research (Nott et al., 2020). Subscriptions to journals and online literature are the most common forms of evidence to review (Rodriguez et al., 2006). However, medical journals require paid subscription for access which OTPs do not have the financial resources to subscribe. Developing an approach to address the identified problem required a comprehensive literature search which was completed by the program author. Results obtained supported several important or key ingredients to be included in the program. For example, several resources were identified to support clinicians in implementing EBP within a clinical setting. One example is the KT Toolkit which assists clinicians with promoting EBP within their practice setting (Juckett et al., 2022b). Also, mentorship is a crucial strategy to embrace as it can increase participants confidence with engagement in EBP (Eames et al., 2018). When implementing a new program, it is important to consider buy-in from management which can be accomplished through clear communication and fostering a team environment (Bleser et al., 2014). In addition, commitment from staff members participating in the new program is required which can be established through clear communication (Engle et al., 2017). Providing data and clear expectations of the program will assist with buy-in through explaining the purpose of the program to participants (French‐Bravo et al., 2020). To assist OTPs with incorporating EBP into treatment plans the proposed program, Implementing Evidence-Based Practice in Clinical Settings, will be implemented in an inpatient rehabilitation setting. Although the proposed program is designed to be implemented in an inpatient rehabilitation setting, it can be generalized to other practice areas as well. Initially, the program will be provided as a pilot project to senior OTPs who will provide feedback on the program and serve as mentors to other therapists. The program will be delivered in person to a small group starting with informational sessions then transitioning to a journal club format to allow participants to actively engage in EBP. Through a group format, participants are encouraged to collaborate with one another during the initial meetings and afterward to promote engagement in EBP within their practice setting. As the program is still in its early stages, data will be gathered before and after the pilot program using a non-experimental research design (Giancola, 2020). The primary audience for this program is OTPs, and the secondary audience is management within occupational therapy. A plan for evaluating the effectiveness of this dissemination plan is described through written information, person-to-person contact and electronic media. / 2026-08-30T00:00:00Z