English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

Central to the collaborative dynamics of the Irish Revival, Lady Gregory had a particularly fruitful working relationship with Douglas Hyde (Dubhghlas de hÍde), whose plays she translated and, in many instances, co-authored. This article takes as its case study Gregory’s 1908 play  The Workhouse Ward , which arose out of a dramatic scenario she provided to Hyde as the basis for his  Teach na mBocht  (1903) – translated by Gregory as  The Poorhouse  (1903). By studying Gregory’s scenarios and draft translations alongside the various published versions, the article responds to Hélène Buzelin’s call for a “process-oriented kind of research” into translation practice. Through this genetic approach, the article allows us to better understand how language and gender politics shaped key plays of the Irish national theatre movement and argues that future editions of Gregory’s and Hyde’s works should include all plays in which each author had significant creative input.

“All that I Am Craving Is the Talk”: Collaboration, Translation and Lady Gregory’s Workhouse Ward