In this monograph, Caroline Laske traces the advent of consideration in English contract law, by analysing the doctrinal development, in parallel with the corresponding terminological evolution and semantic shifts between the fourteenth and nineteenth centuries. It is an innovative, interdisciplinary study, showcasing the value of taking a diachronic corpus linguistics-based approach to the study of legal change and legal development, and the semantic shifts in the corresponding terminology. The seminal application in the legal field of these analytical methodologies borrowed from pragmatic linguistics goes beyond the content approach that legal research usually practices and it has allowed for claims of semantic change to be objectified. This ground-breaking work is pitched at scholars of legal history, law & language, and linguistics.

Translation studies and humour studies are disciplines that have been long established but have seldom been looked at in conjunction. This volume looks at the intersection of the two disciplines as found in the media -- on television, in film and in print. From American cable drama to Japanese television this collection shows the range and insight of contemporary cross-disciplinary approaches to humour and translation.
Featuring a diverse and global range of contributors, this is a unique addition to existing literature in translation studies and it will appeal to a wide cross-section of scholars and postgraduates.

A play is written, faces censorship and is banned in its native country. There is strong international interest; the play is translated into English, it is adapted, and it is not performed.
"Censoring Translation" questions the role of textual translation practices in shaping the circulation and reception of foreign censored theatre. It examines three forms of censorship in relation to translation: ideological censorship; gender censorship; and market censorship.
This examination of censorship is informed by extensive archival evidence from the previously unseen archives of Vaclav Havel's main theatre translator, Vera Blackwell, which includes drafts of playscripts, legal negotiations, reviews, interviews, notes and previously unseen correspondence over thirty years with Havel and central figures of the theatre world, such as Kenneth Tynan, Martin Esslin, and Tom Stoppard.
Michelle Woods uses this previously unresearched archive to explore broader questions on censorship, asking why texts are translated at a given time, who translates them, how their identity may affect the translation, and how the constituents of success in a target culture may involve elements of censorship.

Winner of the Anna Balakian Prize 2016 Is poetry lost in translation, or is it perhaps the other way around? Is it found? Gained? Won? What happens when a poet decides to give his favorite Russian poems a new life in English? Are the new texts shadows, twins or doppelgangers of their originals-or are they something completely different? Does the poet resurrect himself from the death of the author by reinterpreting his own work in another language, or does he turn into a monster: a bilingual, bicultural centaur? Alexandra Berlina, herself a poetry translator and a 2012 Barnstone Translation Prize laureate, addresses these questions in this new study of Joseph Brodsky, whose Nobel-prize-winning work has never yet been discussed from this perspective.