Throughout history, the use of translation methods has constituted a source of lots of debates; some scholars advocate literal translation, others advocate free translation. In legal translation which is a special and specialized area of translational activity (Cao, 2007), and where documents are characterized by brevity, economy, and neatness to prevent fraud, additions, omissions or alterations in the text (Crystal & Davy, 1969), mistakes or mistranslations can lead to disastrous repercussions. The present study deals primarily with the methods that translators of legal texts follow and adopt when rendering a legal document. A concise account of translation theories that have been adopted and are still being applied to legal translation is offered to attempt to show the main views towards the application of such translation theories to legal translation. Major methods often used in the translation of legal documents are then presented, discussing their validity to legal translation. This presentation includes literal translation, free translation, the functional approach to translation, transliteration & transcription, loan translation, adaptation, description by definitions, lexical expansion, and descriptive substitution. The empirical part of this study is concerned with the analysis of a marriage contract translated from Arabic into English in an attempt to shed some light on the major methods adopted by the translator of this document and the reason behind using such methods.

The relationship between history proper and African historical plays drew much attention of researchers in recent years. Many theatre scholars and playwrights argue that the value of these plays, which were primarily regarded as fiction or imaginative reconstruction of the past, may prevail over history. Theatre, which is considered the most symbolic form of art, can be historically educative and evocatively accurate. Based on the aforesaid arguments, this study aims to explore the dramaturgicals, theatricals or thespians used in Yerima's Attahiru (1999) in order to repudiate and resist the distorted versions of the colonial history of Sokoto Caliphate in an effective and affective way. To achieve this aim, textual analysis is used by combining its important approaches: author-oriented approach and context-oriented approach. This analysis is significant because the researchers investigated the colonial resistance captured in the play through postcolonial theory. In addition, this paper explores the attitudes of the colonialist and the colonised reproduced in the play and how the play helps in the decolonisation process, as well as how the images of the damaged heroes are reconstructed in the play in order to restore national pride and integrity. The play reconstructs and corrects a seriously damaged and awfully misrepresented African spiritual leader, Caliph Attahiru of the old Sokoto Caliphate in Northern Nigeria.

This paper entitled ‘Connection and Disconnection in Tom’s Midnight Garden’ aims to challenge a particular reading of Philippa Pearce’s novel Tom’s Midnight Garden (1958) as nostalgic and concerned with aging and death. Tom’s Midnight Garden is regarded by some literary critics as a nostalgic work concerned with the past rather than the present. Its protagonist Tom is sometimes considered as disconnected from the real world and living in the fantastic. This paper will argue that, quite the contrary, Tom’s Midnight Garden stands against disconnection, between the child and the adult, the fantastic and the real, and the past and the present. Tom’s Midnight Garden celebrates connection through the interrelation between the self and the other, through a fantastic world constantly interwoven with the real, and a past tightly tied to the present. This paper relies on a thorough reading of the novel, on findings on the child-adult relationship, and on the effects of connection and disconnection on the individual.

This paper aims to shed more insights onto the relationship between ideology and literary translation through analyzing and exposing scandalous stories of girls of Riyadh in Al-Sanea’s novel (2005) and its English translation (2007). It tackles how the idea of over-domestication could manipulate the source text and sometimes change its core message for commercial and ideological reasons. It addresses the following question: how (un)faithful is the published English translation of Al-Sanea’s Girls of Riyadh to the original Arabic text in terms of evoking the same conceptual frames and maintaining the same lexico-grammatical relations. A frame-based cognitive analysis is used as the methodology of the study. Results show that the author, publisher, translator and pro-translator scholars enacted disgraceful situations which can be attributed to subjective desirability.

This paper examines the issue of genre classification in Death of a Salesman by focusing on the dialectic relation at the heart of the play’s structure between tragedy and social drama. It argues that the tragic resolution brought to the theme of social protest and the characterization of the protagonist is what gives the play its unique place as the quintessential modern tragedy. It is concluded that tragedy and the social theme are not mutually destructive in Death of a Salesman as some critics stated. Rather, they are combined to make an intense dramatic treatment of the modern American individual’s most pressing issues. Without being constrained by prescriptive standardized rules, Miller produced a dramatic form that rightly claims the status of what can be labeled a modern tragedy, appealing to modern audiences as rarely any other modern play did.