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LiteratureReviewDramaisoneofthemostancientformsofartaswellasanimportantconstitutionofhumancivilizationanddramatranslationtakestheresponsibilityofconductingcross-culturecommunication.Therefore,thestudyofdramatranslationoccupiesanimportantstatusinthestudyoftranslation.Thedualityofdramatexts(readabilityandperformability)leadstothecomplexityanddifficultyoftranslation.Thespecialtyofdramaitselfdistinguishesdramatranslationfromthetranslationoftheotherkindsofliterature.Asuccessfultranslationentailsthetranslator'sknowledgeoftheliteralmeaningaswellastheauthor'spurposeandexpectedeffectsonaudience.Therefore,thesignificanceofspeechactstodramatranslationhascometobeenrealizedbymanytranslators.1Speechactsandtranslation1.1SpeechactsSpeechacttheoryhasbeentracedbacktoAustin's(1962)distinctionbetweentwokindsofsentences:performativeandconstative.Austinarguesthattheutteringofaperformativesentencesisactuallydoinganactionwhileaconstativesentencestatingafact.However,whenhetriestoseparatethetwoofthemherealizesthedifficultyindistinguishingthemfromapart.Infact,allsentencescanbeusedtoperformspeechacts.Later,Austinisolatesthreebasicsensesinwhichinsayingsomethingoneisdoingsomething,andhencethreekindsofactsaresimultaneouslyperformed:(i)locutionaryact:theutteranceofasentencewithdeterminatesenseandreference(ii)illocutionaryact:themakingofastatement,offer,promise,etc.Inutteringasentence,byvirtueoftheconventionalforceassociatedwithit(orwithitsexplicitperformativeparaphrase)(iii)perlocutionaryact:thebringingaboutofeffectsontheaudiencebymeansofutteringthesentences,sucheffectsbeingspecialtothecircumstancesofutteranceSearle,Austin'sstudent,findsthatallthespeechactscanbeseenasillocutionaryactsbasedonhisteacher'sresearch.HemakessomerevisionstoAustin'sfelicityconditionsandusesnewtermstoclassifyfelicityconditionsintothree:preparatoryconditions,propositionalcontentconditionsandsincerityconditions(Searle,1969).Searle(1969)alsosuggestsfivebasiccategoriesofillocutionaryactsasfollows:(i)representatives:whichcommitthespeakertothetruthoftheexpressedproposition(ii)directives:whichareattemptsbythespeakertogettheaddresseetodosomething(iii)commissives:whichcommitthespeakertosomefuturecourseofaction(iv)expressives:whichexpressesapsychologicalstate(v)declarations:whicheffectimmediatechangesintheinstitutionalstateofaffairsandwhichtendtorelyonelaborateextra-linguisticinstitutionsInthestudyoffelicityconditions,Searlefindssomeutteranceswhichdeliberatelydisobeytheconditionsforthespeechact.However,theseutterancestendtoconductanotherspeechactthatwhosefelicityconditionshavebeensatisfied.Basedontheaboveunderstanding,Searledefinesanindirectspeechactasanillocutionaryact.1.2SpeechactsintranslationTranslationisacross-languageandcross-cultureintersocialintercourse.Fromthetermofspeechactstranslatorsarerequiredtogetafullknowledgeofauthors'subjectivepurpose,intentionandtheexpectedobjectiveeffectsonreaders.Besides,translatorsshouldmanagetoconveysuchsubjectivepurposesandobjectiveeffectsintheirtranslations.Thereforetranslatorsshouldnotonlyunderstandtheliteralmeaningofthesourcetextbutbeclearaboutwhattheauthorreallymeansandwhateffectshe/shehopestoexertonreaders.Translationcannotbeconfinedtothetextitselfandinsteadtranslatorsmusttakeintoconsiderationsuchnon-textfactorssuchasreaders'response,translations'effectsandfunctions.2Overviewofthepreviousresearchesondramatranslation2.1StudiesabroadSincetheearly1870'sdramasemioticshasbeenappliedtodramatranslation.DavidCrystalpointsoutthatdramalanguageisthedialogueduringactingandthatthedistinctionbetweendramalanguageandfictionlanguageliesintherolesofcharacters'dialogueinthetwokindsofliteraryworksrespectively.Indrama,characters'dialogueisthemajormeansbywhichtheauthorintroducestimeandlocation,describessurrounding,dictatesevents,introducesanddevelopstheimagesofcharacterswhileinfiction,allthesegoalsarerealizedmainlythroughtheauthor'slanguage.Afterthemid-1970'sthestudyofdramatranslationdevelopedtowardsdescriptivemethod.Aesthetics,semiotics,psychicsandsomeotherfieldsexertedgreateffectsonthestudyofdramatranslation.EugeneNida'smostnotableandmostcontroversialcontributiontotranslationtheoryisdynamicequivalence,alsoknownasfunctionalequivalence.Thisapproachtotranslationaimstoreproducetheintentionofthesourcetextinthetranslation,ratherthanreproducingthewordsoftheoriginalone.AsarepresentativeoffunctionalismofdramatranslationNidathinksthatthegoalofdramatranslationliesinoperabilityanditmustbehelpfultoalltheactivitiesofthedirecter,actors,settingandalltheotherstaffinparticipation.J.CulpeperpublishedExploringtheLanguageofDramafocusingonthecharacterizationofspeechasaformofactionandintroducingstylisticanalysisofdrama.Thisbookdemonstratestheimportanceofanalyzingthetextofdramaratherthanfocusingonperformance,presentingtheirapproachesinanengagingandaccessiblestyle.Theessaysemploytechniquesfromlanguageanalysis(specificallydiscourseanalysis,cognitivelinguisticsandpragmatic)toexplorethelanguageofplays,lookingathowdifferenttheoriesandapproachescanbeusedtohelpunderstandcharacter