Cultural Dissemination and Translational Communities: Contents

Acknowledgements 

Introduction 

Chapter 1.  Unlikely Bedfellows? – Theatre Histories and Translation Studies

1.1 The State of Play: Theatre Studies and Theatre History 

1.2 Theatre Translation Studies 

1.3 Translation History 

1.4 Text and Performance 

Chapter 2. Tangled Webs They Weave – The Opportunist Translators within the Interwoven Theatrical Community 

2.1 Setting the Scene – The London Stage; a (Sub-)Field in the Making?

2.2 Networks and Networkers

Chapter 3. Spoilt for Choice: Translators and their Selection of Source Texts 

3.1 Similarities of Selection 

3.2 Three Reformers, Three Selections 

3.2.1 William Archer

3.2.2 Jacob Thomas Grein 

3.2.3 Harley Granville Barker 

3.3 Ideology: The Individual Amid the Collective 

Chapter 4. "England Expects …" – Sanctions, Norms and Expectations 

4.1 Defining Parameters of Analysis 

4.1.1 The Myth of Equivalence 

4.1.2 The Review as Sanction 

4.1.3 The Review as Metatext

4.1.4 The Review Sample 

4.2 The Translated Other and the Inflated Self – Reviews at Work 

4.2.1 Equivalence in Concepts of Stage Translation 

4.2.2 'Being on One's Guard': An Awareness of Equivalence and Cultural Hegemony 

4.2.3 'Blue Lines' – Translation, Morality and Censorship of the Other 

4.2.4 Translation and Genre 

4.2.5 'A Eurovision Stage Contest' – Hegemony and other Target Cultures 

4.2.6 Harley Granville Barker: Cultural Capital and the Translator as Re-writer? 

4.3 The Exception to the Rule 

4.3.1 William Archer, the Academy and Acculturation 

Chapter 5.  Dusting Down the Playtext for Imprints: An  Investigation into Cultural and Social Traces in Translations 

5.1 Paratexts 

5.2 The Green Cockatoo 

5.3 Anatol 

Conclusion 

Appendix: German Drama in English Translation on the London Stage - 1900-1920 

Bibliography