This article examines a case of medieval adaptation which is not usually considered as a translation but forms part of a translation continuum in that is loosely adapts its base text into a different context through the insertion of translated extracts into a new narrative. Such ‘translation’ results in an interplay between rewriting and respect for authority which produces new works which are paradoxically both original and derivative at the same time. A particularly illustrative case in that regard is the insertion of translated extracts from the geographical section of the twelfth-century Latin encyclopaedia Imago mundiinto vernacular works of different genres. This article takes as its case study the incorporation of Imago mundimaterial into Juan de Mena’s Laberinto de Fortuna.

Reflecting on the permanence and longevity of universal chronicles throughout the Middle Ages, a brief reflection is presented on the genre and its diffusion. Associated with the double transmission of biblical and ancient material in medieval Europe, these chronicles are excellent vehicles for imperial, royal or other governing argumentations. Thus, the multifaceted character of medieval world history translations is evaluated: the linguistic translation, with the passage from Latin to vernacularlanguages, and the political translation, which co-opts the history of the world for different political and ideological argumentations.

Catalan-language theatre from the Middle Ages is completely unknown in the Anglophone world, even though the Catalan Countries have rich performance histories from this historical period. An unknowing audience presents both opportunities and challenges to any theatre translator, but the transition from page to stage is not a simple transaction. Considering translation as a space for playful probing and creative intervention, this article reflects on the rehearsal process for the Mallorcan cuckoldry play, l’Entremès del Pasquedó, which was performed as part of the Out of the Wingsfestival in the summer of 2022. By looking at how the rehearsal process led to (re)translating, as well as (re)negotiating the jump from text to body, this article highlights that theatre translation is a never-ending process and, much like texts from theMiddle Ages, it can continually be reimagined and reworked in new contexts.

: The standard way of creating a stage production is to take a written source text (the play) and transfer it to the stage through visual and auditory means. This is, essentially, an act of intersemiotic translation although, in the theatre, the “languages” of the target text are neither clearly defined nor limited. This article explores the function of the playtext in the theatre as the source of both the stage production and the verbalised meaning-making system that constitutes a performance. The objective is to reconstrue the various participants in the process as translators, analysing the ways in which interlingual and intersemiotic translation are comparable.

: Audio Description (AD) translation is an important translational practice that promotes the accessibility of visual texts for the visually impaired audience. Although AD translation has been developed to be a regular practice in performing arts and entertainment, its potential has not been fully explored for visual-verbal sequential arts such as comics to meet the demand of the audience. To fill in such a gap, this article performs a case study on a commercial AD translation of an action comic series X: Big Badto explore translation strategies as norms that specifically facilitate achieving coherence and are unique to the cross-modal translation of comics, aiming at providing theorised guidelines for future practices. Based on visual language and narratology analysis, three types of visible interventions in AD comics translation are identified, challenging the notion of neutrality in AD and arguing that reasonable additions and adaptations can facilitate the target text’s accessibility