Thematische Bibliographien / Translating drama

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Auswahl der wissenschaftlichen Literatur zum Thema „Translating drama“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 20. Februar 2023

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Zeitschriftenartikel zum Thema "Translating drama"

Komporaly, Jozefina. „Translating Hungarian Drama for the British and the American Stage“. Hungarian Cultural Studies 14 (16.07.2021): 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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Zuber-Skerritt, Ortrun. „Towards a Typology of Literary Translation: Drama Translation Science“. Meta 33, Nr. 4 (30.09.2002): 485–90. http://dx.doi.org/10.7202/004168ar.

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Abstract Based on the ideas of my two edited books The Languages of Theatre (Problems in the Translation and Transposition of Drama) and Page to Stage (Theatre as Translation), this paper attempts to arrive at a typology of translation which deals with both the translation of drama from one language and culture into another and with the various aspects of transposing the dramatic script on to the stage or, vice versa, the creation of drama through processes of theatre production. The focus is on those aspects of drama translation which are different from other forms of literary translation, e.g. on problems of semiotics (i.e. translating non-verbal signs in drama). The paper concludes with recommendations for future developments in drama translation research, including the production process, Le. the transposition from the written (translated) drama to the performed work of art, and the conceptualisation of the production process.

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Boehm, Philip. „Some Pitfalls of Translating Drama“. Translation Review 112, Nr. 1 (02.01.2022): 27–29. http://dx.doi.org/10.1080/07374836.2022.2065850.

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Boehm, Philip. „Some Pitfalls of Translating Drama“. Translation Review 62, Nr. 1 (September 2001): 27–29. http://dx.doi.org/10.1080/07374836.2001.10523796.

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Borisenko, Yulia Aleksandrovna, und Stanislav Sergeevich Makarov. „TRANSLATING DRAMA: ANALYSIS OF DAVID EDGAR’S PLAY “ TESTING THE ECHO”“. Russian Journal of Multilingualism and Education 11, Nr. 1 (15.12.2019): 78–86. http://dx.doi.org/10.35634/2500-0748-2019-11-78-86.

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The article focuses on one of the problems of literary translation - the translation of dramatic texts. The article examines this type of texts in terms of the specificity of the genre and type of literature, their structural and other specific characteristics. Special attention is given to existing approaches to the development of translation strategies in drama. Different approaches to dramatic texts in linguistics and translation studies are analyzed, such as communicative, cultural, and hermeneutic ones. The play of the contemporary British writer David Edgar “Testing the Echo” was selected for a detailed pre-translation analysis, identification and solution of the most significant translation problems. The choice of the play was determined by the presence of complex culture-specific situations (interesting from the point of view of translation), the unusual principle of plot construction, as well as the lack of a translated version of the play. A detailed analysis of the play is preceded by the summary of the plot and some information about the main characters. The paper discusses the most “problematic” extracts from the translation point of view, accounts for translation decisions and lists some of the transformations that had to be resorted to in the process of translating. As a result, a conclusion is made that translation of drama has an interdisciplinary character, involving both theatrical and literary issues. Thus, the most effective strategy of translating drama is a combination of concretization and adaptation.

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Cunico, Sonia. „Translating (dis)ordered speech in drama“. Babel. Revue internationale de la traduction / International Journal of Translation 51, Nr. 1 (24.10.2005): 1–15. http://dx.doi.org/10.1075/babel.51.1.01cun.

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Abstract Although the topic of the representation of madness is a rich and much studied one in literary criticism, so far there has been no systematic attempt to analyse the language of madness in dramatic texts, either within the same language and culture or across them. This paper compares the strategies used to characterise the growing insanity of the king and the dynamics of his interaction with Willis, the doctor, in Alan Bennett’s successful play The Madness of George III (1992) with those in its published translation into Italian (1996). The article shows how an analysis of the strategies used in the source text is a necessary initial step 1) to reveal the systematic patterns of linguistic deviance (drawn from the language of real schizophrenia) which characterise King George’s madness, and 2) to highlight the battle for power between the two characters shown in their linguistic choices. These are key themes of the play which must be successfully transferred across in the target text. Résumé Bien que le thème de la représentation de la folie soit riche et ait été beaucoup étudié dans le domaine de la critique littéraire, il n’y a pas eu jusqu’ici de tentative systématique d’analyser le langage de la folie dans des textes dramatiques, ni dans la même langue et culture, ni dans des langues et cultures étrangères. Cet article compare les stratégies utilisées pour caractériser la folie grandissante du roi et la dynamique de son interaction avec le médecin Willis, dans la pièce à succès d’Alan Bennett, Th e Madness of George III (1992), avec celles de sa traduction publiée en italien (1996). L’article montre comment une analyse des stratégies utilisées dans le texte-source est une étape initiale nécessaire pour 1) révéler les modèles systématiques de déviance linguistique (tirés du langage de la véritable schizophrénie) qui caractérisent la folie du Roi George, et pour 2) souligner la lutte de pouvoir entre les deux personnages, qui se manifeste dans leurs choix linguistiques. Ce sont des thèmes-clés de la pièce qu’il faut réussir à transférer dans le texte cible.

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Secovnie, Kelly O. „Translating culture in West African drama“. Journal of African Cultural Studies 24, Nr. 2 (Dezember 2012): 237–47. http://dx.doi.org/10.1080/13696815.2012.731778.

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Xiaofei, Ren, Feng Qinghua und Wang Nan. „A translator on the target stage“. Babel. Revue internationale de la traduction / International Journal of Translation 56, Nr. 4 (31.12.2010): 363–76. http://dx.doi.org/10.1075/babel.56.4.05xia.

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Ying Ruocheng, an admirable artist in China and abroad, was responsible for the translation and production of many foreign plays in China and Chinese plays abroad, with which Ying played an important role in transforming China’s cultural life, encouraging international exchange and promoting modern drama. Based on his experience in drama and film acting and directing as well as translating, he argues that the major concern of theatre translation is its performability and speakability, which can be achieved through the recreation of the orality and gestic text with each role’s unique discourse and individuality. The paper is focused on researches on Ying’s text choice and his dramatic dialogue translation to explore the characteristics of his theatre translation and influence. The study selected his two well known translations and productions in the target theatre Death of a Salesman (English to Chinese) and The Family (Chinese to English) as case studies. Text processing software Concordance 3.0 and TextPreProcessing were used to collect appropriate data. Through the careful data analysis from the aspects of word frequency, sentence length, discourse markers and deixis, Ying Ruocheng’s idea of performability in theatrical translation were proved to be true, which demonstrates his discriminating taste of dramaturgical art and his great influence on Chinese modern drama.

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Xiang, Yu, und Irina V. Monisova. „Russian symbolist drama and theater in the Chinese scientific context“. RUDN Journal of Studies in Literature and Journalism 24, Nr. 2 (15.12.2019): 235–44. http://dx.doi.org/10.22363/2312-9220-2019-24-2-235-244.

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The article is based on the material, presented by the authors at the International Scientific Conference “Russia and China: History and Prospects of Cooperation”. It summarizes the experience of studying drama and theater of Russian symbolism in modern Chinese philological science, and discusses the promise of translating and presenting these dramas on the Chinese stage. One of the authors of this article is a translator and publisher with a number of plays by Russian symbolists, so the article focuses on problems, which concern about adaptation and reception of Russian symbolist drama in the modern Chinese context. We can make the conclusion about Chinese researchers’ growing interest is not only to the phenomenon of the new drama by recent decades, but also to the artistic innovations in drama and theater at the turn of 19 and 20 centuries, where can be found the influence of traditional Chinese theatre and fine arts.

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Brajerska-Mazur, Agata. „Manipulizm a pierwsze pełne tłumaczenie „Dziadów” na język angielski“. Między Oryginałem a Przekładem 25, Nr. 43 (31.03.2019): 47–65. http://dx.doi.org/10.12797/moap.25.2019.43.03.

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Manipulism and the First Complete Verse Translation of “Dziady” into English How did the translator cope with the task of translating into English the national poetic drama series which, together with Pan Tadeusz and Wesele, is considered to be one of the national epics? Did he manage to respond to the linguistic and cultural challenges such as: the complicated structure of the Romantic drama, the combination of low and grand styles, the depiction of Polish society at the time of the Partitions, the interweaving of historical and autobiographical events into the texture of the plot and the Polish reality pictured? Is the epic translatable at all? This translation – like all others – “was not made in the vacuum” which influenced the rendition of its Polishes and the loose structure of Romantic drama. The author of this paper identifies changes and deformations of the Polish Dziady in Kraszewski’s translation and shows their cause.

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Dissertationen zum Thema "Translating drama"

Minier, Márta Magdolna. „Translating Hamlet into Hungarian culture : a case study in rewriting and translocation“. Thesis, University of Hull, 2005. http://hydra.hull.ac.uk/resources/hull:5668.

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This thesis investigates the translation of Hamlet into Hungarian culture. In order to cover as wide a spectrum of translation as possible, the thesis employs Roman Jakobson's tripartite notion of translation: interlingual, intralingual and intersemiotic transfer. However, the thesis also challenges Jakobson's categories, especially with regard to the considerable degree of overlap that occurs. The first part of the thesis focuses on what is traditionally termed translation - translation 'proper' or interlingual translation. Nevertheless, in the context of the Hungarian Hamlets intralingual translation is also involved due to the central status of Janos Arany's 1867 translation. This translation influences the work of later translators, whether they approach the sacred text with the attitude of discipleship (that is to say, with reverence for Arany and with the intention of imitating or learning from Arany) or, less frequently, with the attitude of mastery (claiming equal or greater expertise). This process, which can be described as a Bloomian coming-to-terms with the father figure, is apparent when one looks at how famous Shakespearean-Aranyean fragments of Hamlet are 'retranslated' by subsequent translators. Apart from examples of the fragmentary afterlife of Arany's Hamlet, critical discourse also displays a certain taboo surrounding Arany's Hamlet. The second part of the thesis deals with interserniotic translation, providing a detailed case study of the 2003 Pécs performance based on a contemporary translation by Ádám Nádasdy. This instance of translation involves the transposition of a purely verbal text onto an art form that is not exclusively verbal. The third part of the thesis engages in the discussion of a spectrum of rewrites (or, in Jakobson's term, 'rewording') and follows a genre-based division: Hamletian ramifications in drama, fiction and poetry. The examination of these three interrelated areas of translation activity prompts the critic to envisage a complex Hungarian Hamlet palimpsest woven in the spirit of making Shakespeare and Hamlet 'our own'.

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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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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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Bvuma, Mugwambana Joseph. „Nkoka wa vuhundzuluxi eka matsalwa hi ku kongomisa eka tsalwa ra Macbeth : Nkandziyiso wa Xitsonga“. Thesis, University of Limpopo, 2012. http://hdl.handle.net/10386/1678.

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Bvuma, Mugwambana Joseph. „Nkoka wa vuhundzuluxi eka matsalwa hi ku knogomisa eka tsalwa ra Macbeth (Kandziyiso wa Xitsonga“. Thesis, University of Limpopo (Turfloop Campus), 2012. http://hdl.handle.net/10386/2361.

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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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Fletcher, Narelle, University of Western Sydney, of Performance Fine Arts and Design Faculty und School of Design. „The Role of the translator in theatre“. THESIS_FPFAD_SD_Fletcher_N.xml, 1997. http://handle.uws.edu.au:8081/1959.7/757.

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The author approaches the subject of translating for theatre both as a theatre practitioner and professional translator working in three languages. Translation is generally regarded as process of linguistic transfer from one language to another language in written form. Theatrical texts are an unique literary form because their written form is a base, anchor and springboard for the text in performance. Until recently, translation studies have tended to oscillate between lofty pronouncements which remain too general to be easily applicable to the practical task of translating and close textual analysis which may appear fastidious and overly specific. The art of translation has often wanted to call itself a science, thereby ostensibly increasing its credibility. However nowhere more in the context of theatre can it be justifiably called an art, with all that entails in terms of subjectivity, cultural bias and transitory or timeless validity. There is no such thing as a perfect translation. Translation is a process of endless learning. Several translation theorists have offered broad categorisations or lengthy rationalised lists to help define the parameters of this most tangible practice. No such lists exist which addressed the specific criteria of translation for theatre. Through personal experience and critical reflection, this thesis will offer the beginning of a blueprint which may be useful for translators working in this field
Master of Arts (Hons)(Performance)

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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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Read, Andrew. „Translating and adapting fictional speech : the case of Philip Pullman's 'Northern Lights'“. Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/translating-and-adapting-fictional-speech-the-case-of-philip-pullmans-northern-lights(3dff0298-ca8a-4795-9bed-cc0c3a69cabc).html.

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This thesis is an examination of the effects of translation into French and of adaptation for the stage, in English, on the dialogue of Philip Pullman’s novel Northern Lights (published in North America as The Golden Compass). The study focuses on the speech of Lyra, the novel’s protagonist, in terms of both its linguistic qualities and the functions it supports within the novel and the trilogy of which it forms part, His Dark Materials. The study aims to identify the ways in which not just the linguistic surface of fictional speech is affected by translation and adaptation but also the degree to which the roles played by the dialogue in the source text are reflected or transformed in the different versions. The unusual research design, involving a comparison of the effects of interlingual translation and intermedial adaptation on the same text, consists of two main elements. In the first quantitative section, the relative incidence of three variables is measured for the purposes of identifying how features of spoken style and non-standard variation are treated. This analysis is followed by a detailed qualitative evaluation of a small number of dialogue passages that exemplify the key linguistic features and likely textual functions of Lyra’s speech in the novel. The passages concerned are compared with equivalent stretches of dialogue in the French translation and the theatrical script. The study finds evidence to suggest that Pullman uses dialogue in support of characterisation, plot, and also ideological and intertextual concerns. All of these aspects are affected, in subtle but significant ways, by the different decisions made by the translator and the dramatist in respect of Lyra’s speech. The study also finds that aspects of both user-related and situation-related variation in fictional speech may be worthy of further research.

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Fletcher, Narelle Genet Jean Dorst Tankred. „The role of the translator in theatre /“. View thesis, 1999. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030910.105959/index.html.

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Bücher zum Thema "Translating drama"

Henderson, R. A. (Ruth Anne) und Armellino Elisa, Hrsg. The drama of discourse. Torino: Trauben, 2010.

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Sabine, Coelsch-Foisner, und Klein Holger Michael 1938-, Hrsg. Drama translation and theatre practice. Frankfurt am Main: P. Lang, 2005.

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Grigorova, Li͡udmila. Drama na paradoksa: Oskar Uaĭld v bŭlgarski kulturen kontekst. Sofii͡a: Univ. izd-vo "Sv. Kliment Okhridski", 1993.

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Riera, Jorge Braga. Classical Spanish drama in Restoration English (1660-1700). Amsterdam: John Benjamins Pub. Co., 2009.

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Riera, Jorge Braga. Classical Spanish drama in Restoration English (1660-1700). Amsterdam: John Benjamins Pub. Company, 2009.

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Riera, Jorge Braga. Classical Spanish drama in Restoration English (1660-1700). Amsterdam: John Benjamins Pub. Co., 2009.

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Riera, Jorge Braga. Classical Spanish drama in Restoration English (1660-1700). Amsterdam: John Benjamins Pub. Company, 2009.

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Transposing drama: Studies in representation. Basingstoke: Macmillan Education, 1990.

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Deng chang de yi zhe: Ying Ruocheng xi ju fan yi xi tong yan jiu. Beijing: Zhongguo she hui ke xue chu ban she, 2008.

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Alba, Pilar Martino. La traducción en las artes escénicas. Madrid: Editorial Dykinson, 2012.

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Buchteile zum Thema "Translating drama"

Glaap, Albert-Reiner. „Translating, Adapting, Rewriting: Three Facets of Christopher Hampton’s Work as a Playwright“. In Drama on Drama, 215–30. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-25443-9_14.

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O’Thomas, Mark. „Translating Austerity: Theatrical Responses to the Financial Crisis“. In Twenty-First Century Drama, 129–48. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-48403-1_7.

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Bowman, Martin, und Bill Findlay. „Chapter 4. Translating Register in Michel Tremblay’s Québécois Drama“. In Frae Ither Tongues, herausgegeben von Bill Findlay, 66–84. Bristol, Blue Ridge Summit: Multilingual Matters, 2004. http://dx.doi.org/10.21832/9781853597015-005.

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Aaltonen, Sirkku. „Drama translation“. In Handbook of Translation Studies, 105–10. Amsterdam: John Benjamins Publishing Company, 2010. http://dx.doi.org/10.1075/hts.1.dra1.

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Jones, Richard. „World Drama in Translation“. In Teaching Literature in Translation, 196–204. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003105220-25.

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Leppihalme, Ritva. „Foreignizing strategies in drama translation“. In Translation in Context, 153. Amsterdam: John Benjamins Publishing Company, 2000. http://dx.doi.org/10.1075/btl.39.18lep.

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Beacham, Richard. „Translation Forum“. In Greek and Roman Drama: Translation and Performance, 168–82. Stuttgart: J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-02908-9_10.

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Mateo, Marta. „Translation strategies and the reception of drama performances“. In Benjamins Translation Library, 99. Amsterdam: John Benjamins Publishing Company, 1997. http://dx.doi.org/10.1075/btl.20.11mat.

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Corbett, John. „3. Speaking the World: Drama in Scots Translation“. In Voices in Translation, herausgegeben von Gunilla Anderman, 32–45. Bristol, Blue Ridge Summit: Multilingual Matters, 2007. http://dx.doi.org/10.21832/9781853599842-006.

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Mahmoodi-Bakhtiari, Behrooz. „Translation of Persian Drama into English“. In The Routledge Handbook of Persian Literary Translation, 160–77. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003052197-12.

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Konferenzberichte zum Thema "Translating drama"

Malek, Maciej. „К вопросу о видах драматургического перевода“. In Пражская Русистика 2020 – Prague Russian Studies 2020. Charles University, Faculty of Education, 2020. http://dx.doi.org/10.14712/9788076032088.12.

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The article brings arguments in favour of the ways of drama translation. Author analysed all available stage realisations of dramatic texts. On their example distinguished few ways of translation taking into account the translation techniques. Each of these ways was described and illustrated by relevant examples from world’s stages: Polish, Russian, Czech, Canadian etc. Author draw also attention to challenges faced by the translators.

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Potapenko, Nataliia. „BASIC APPROACHES TO DRAMA TRANSLATION“. In SPECIALIZED AND MULTIDISCIPLINARY SCIENTIFIC RESEARCHES. European Scientific Platform, 2020. http://dx.doi.org/10.36074/11.12.2020.v6.01.

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Gao, Fen, Fan Yang und Lin Wang. „Four-Phases Hypothesis of Drama Culture Translation: A Case of Academic Translation Project on Silk Road: The Study of Drama Culture“. In 6th Annual International Conference on Social Science and Contemporary Humanity Development (SSCHD 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210121.019.

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Petrova, Marina G., und Anastasiya S. Martynova. „THE INTEGRATIVE APPROACH IN ENGLISH TEACHING ON THE BASE OF DRAMA IN THE MULTIPROFILE TV STUDIO“. In FUNCTIONAL ASPECTS OF INTERCULTURAL COMMUNICATION. TRANSLATION AND INTERPRETING ISSUES. Peoples' Friendship University of Russia, 2019. http://dx.doi.org/10.22363/2712-7974-2019-6-199-208.

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Mangwegape, Bridget. „EXPLORING SELECTED SETSWANA DRAMA TEXTS AS THE PRINCIPLE OF UBUNTU/BOTHO IN EDUCATIONAL CONTEXT“. In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v1end004.

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Talking about the importance of Ubuntu/Botho in any educational system “Authentic humanism consists in permitting the emergence of the awareness of full humanity, as a condition and as an obligation, as a situation and as a project”. To inculcate a sense of values at schools, is intended to help young people achieve higher levels of moral judgement. This belief is that education does not exist simply to serve the market, but to serve society, and that means instilling in students a broad sense of values that can emerge only from a balanced exposure to the humanities as well as the sciences. Enriching the individual in this way is, by extension, enriching the society. This carries the involvement within the teaching and assessment of Setswana drama texts with third year (BEd) students. Ubuntu is a Nguni term while Botho is a Setswana term from the Southern African region that means a belief in a universal relationship of sharing that connects all humanity. The researcher takes note of the key element of Ubuntu/Botho, understood as “motho ke motho ka batho” (in Setswana). The English translation of this expression is “a human being is a human being because of other human beings”. The participants in this study were 24 BEd students from the language department. The comprehensive analysis includes data gathered from students: peer observation and interviews. Text analysis was used to analyse and interpret qualitative data obtained through interviews and observations with the aim of investigating the principle of Ubuntu/Botho in the characters of the two drama texts and how could students apply Ubuntu/Botho in their teaching to illustrate each theme.

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Inderawati, Rita. „The Utilization of Technological Tools for Virtual Drama Performance in Post-Pandemic Era“. In Proceedings of the 10th UNNES Virtual International Conference on English Language Teaching, Literature, and Translation, ELTLT 2021, 14-15 August 2021, Semarang, Indonesia. EAI, 2022. http://dx.doi.org/10.4108/eai.14-8-2021.2317640.

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Elkilany, Elsayed Abdelwahed. „Arabic Language Topics in Al Arab Qatari Newspaper: A Study in Journalistic Treatment Patterns“. In Qatar University Annual Research Forum & Exhibition. Qatar University Press, 2020. http://dx.doi.org/10.29117/quarfe.2020.0252.

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The purpose of this research is to explore the patterns of journalistic treatments for issues of Arab Language in Al Arab Qatari newspaper during the year of 2017. It also seeks to understand the degree to which this journalistic behavior enhances Qatar National identity. The importance of this research, which is funded by Qatar National Research Fund, No. UREP21-095-5-009 is to test the relationship between journalistic practices in relation to coverage of Arabic language issues and national identity. As interdisciplinary research combining Arabic language and journalism studies, its data were gathered by students of Arabic and Mass Communication Departments. The study adopted the descriptive and analytical approach to explore a sample of 841 publications that covered 10 linguistic forms including folk literature, translation, sermon, thought, novel, narration, poetry, story, drama and others as well as 6 editorial forms including investigative report, news report, dialogue, news, article, feature story and others. We analyze both the editorial content and the layout treatment. The results showed a statistical significance in the use of different editorial forms to demonstrate the Arabic language topics in Al Arab Qatari newspaper as well as the use of different layout techniques such as positioning, size, headline style and the accompanying visual elements. Future studies can compare the influence of different journalistic practices on national identity.

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„SPECIFICS OF DRAMA TRANSLATION: A CASE OF «GORE OT UMA» BY A.S. GRIBOEDOV NEWLY TRANSLATED BY B. HULICK“. In ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. TSU Press, 2021. http://dx.doi.org/10.17223/978-5-907442-02-3-2021-128.

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