This thesis analyses the insults in Quentin Tarantino’s films and their translation into Spanish. The insults in Tarantino’s films can be considered very interesting from a social point of view as I have gradually developed during this research. First, I have highlighted the possible problems when translating insults into Spanish. Secondly, I have provided the reader with specific examples in English of the insults collected from the seven films I have analysed [Reservoir Dogs, Pulp Fiction, Four Rooms, Jackie Brown, Kill Bill vol. I and II, Death Proof and Inglorious Basterds]. Finally, my intention was to demonstrate that the level of swearing in Spanish was inferior by showing the translation of these insults in Spanish as they appeared in the films. Then, I divided my work into two sections, the first one being theoretical: Quentin Tarantino (chapter 1); Characterization of Swearwords (chapter 2); and Translation Studies: The Singularity of Audiovisual Translation (chapter 3), where I have presented the theory to support the conclusions drawn in the second part; and the second one practical: Description and Methodology (chapter 4); and Analysis and Results (chapter 5). I have divided chapter 5 into two (sub) sections. In the first one, “Analysis of the Insults in Quentin Tarantino: An Initial Typology”, I have presented the insults culled in seven of Tarantino’s films and have classified them into twelve categories: (1) sex related; (2) excrement and human waste; (3) body parts; (4) religious; (5) incest; (6) prostitution; (7) racist; (8) cross-categorized; (9) physically or mentally disabled; (10) bodily functions ; (11) animal related; and (12) homophobic insults. In the second sub-section, ‘Case Study: Sex-Related Insults in Quentin Tarantino and Their Translation into Spanish’, I have focused on the sex-related insults and more specifically, on the most frequently repeated expletive, f-word and its morphological variants, alongside its translation into Spanish. This second part of my study, thus, will illustrate the results obtained during my research. Regarding methodology, I first culled all insults found in the original version of the seven films of Tarantino I have based my data on [Reservoir Dogs, Pulp Fiction, Four Rooms, Jackie Brown, Kill Bill vol. I and II, Death Proof and Inglorious Basterds], briefly mentioning four of the most critically acclaimed films within which he has had an important input on, but not directed: True Romance, Natural Born Killers, From Dusk Till Dawn and Sin City; secondly, I selected the ones which appeared more frequently, the sex-related ones, and have compared them with the sex-related insults in the Spanish dubbed versions. It is important to mention that I encountered 1526 examples of bad words in Tarantino’s work, which I organized in 1117 tables. In order to complete my work, I dealt with issues such as taboo behaviour and obscenity, which include sex, death, bodily functions, specific emotions, racism, and religion. Then, I introduced the concept of swearing, and explored possible causes for it: social, linguistic, and psychological reasons. I have dealt with questions related to the discipline of translation studies, and the problems with the translation of swearwords in films in order to apply it to Tarantino’s work. From a linguistic perspective the defining characteristic of Tarantino’s films is his ability to introduce bawdy language in every film bypassing American censorship. Therefore, I felt that it would be important to discover whether this phenomenon also takes place in the Spanish translation, or whether censorship and self-censorship would be applied following the government’s regulations of bygone eras whose influence might, nevertheless, still be felt implicitly or explicitly in the present. / Quentin Tarantino, representante del cine moderno independiente, se hizo popular con su opera prima, Reservoir Dogs, estrenada por primera vez en 1992. Dos años más tarde, obtuvo la Palme D’Or en el Festival de Cannes con su segunda película, Pulp Fiction. Después de tres años de ausencia, dirigió una de las cuatros historias de Four Rooms, film dirigido junto con Allison Anders, Alexandre Rockwell y Robert Rodríguez. En 1997, Tarantino realizó un film basado en la novela de Elmore Leonard (Rum Punch, 1992), llamado Jackie Brown. Durante 2003 y 2004, el director norteamericano estrenó los dos volúmenes de Kill Bill (I y II). En el año 2007, estrenaba Grindhouse: Death Proof y, finalmente, en el 2009 Tarantino presentó la que es su última película en el Festival de Cannes, Malditos bastardos. De estas siete películas se deriva el corpus sobre el cual he basado mi trabajo: un análisis de los insultos que aparecen en los siete filmes dirigidos por el cineasta norteamericano, Quentin Tarantino, y cómo estos insultos han sido traducidos (doblados) del inglés al español prestando especial atención a aquellos que más se repiten: los insultos sexuales. La conexión entre Tarantino y los insultos se establece desde que el cineasta estrenara su primera obra, ya que introdujo un número bastante significativo de lenguaje soez y no ha cesado de hacerlo desde que emprendiera su carrera cinematográfica. Como resultado, ha hecho de su manera de trabajar un campo peculiar y extremadamente interesante desde el punto de vista académico.

Reproduction de : Mémoire d'ingénieur : informatique : Grenoble, CNAM : 1977. / Titre provenant de l'écran-titre. Bibliogr. p. 248.

French and English literature in the eighteenth century are generally held to have a symbiotic relationship and the links between the two sentimental traditions, in particular, have been well documented by scholars. However the connections between the sentimental and the libertine discourse have tended to be obliterated. The main assumption underlying this project is the existence of an intimate interplay between sentimentalism and libertinism. Its main aim is to trace the strong attraction existing between the two and to question the genre and national dimensions which have been perpetuated by previous critical discourses through close textual analyses of mid-century French and English novels (Sterne's A Sentimental Journey and Crebillon's Les Egarements du Coeur et de I 'esprit and Les Heureux Orphelins, Haywood's The Fortunate Foundlings, Riccoboni's Lettres de Milady Juliette Catesby, Burney's Evelina, and Cleland's Fanny Hill). The focus will be on the moment when the libertine is tempted to behave sentimentally or when the sentimental (wo)man is tempted to act as a libertine. The relationships between these core texts being very rich, they will be approached from different perspectives in each of the issue-based chapters which will centre on questions of language, non-linguistic communication, sociability, epistolarity and difference.

Lyric poetry is frequently viewed by critics as distinct from narrative poetry and prose. This distinction rests largely on the positioning of the lyric speaker vis-à-vis the poet author. Part of any definition of the lyric is the understanding that the lyric speaker is identical to the poet and therefore the poem is the unmediated direct expression of the poet’s thoughts and experiences. These assumptions which are endemic to literary and sometimes linguistic criticism have led to restricted critical studies and a preponderance of inappropriate biographical criticism. This thesis examines how the speakers in certain types of lyric poetry are positioned, and identifies where conceptions of lyric speakers may be causing the problem of the biographical fallacy. The central questions that structure this thesis are: • Why is the lyric speaker so often considered by critics to be identical to the poet and therefore an unmediated direct expression of the poet’s thoughts and experiences? • Can lyric poetry instead make use of the same complexity of perspectives, voices and mediation that narrative prose does? • What linguistic and narratological features in poetry deemed ‘personal’ to the poet might be creating the illusion of personalness, causing us to reduce this potential complexity to unmediated and monologic autobiography? I argue that the assumption that lyric poetry represents the monologic and unmediated voice of the poet is endemic in criticism and without a more precise examination of what lyric speakers do, poetic criticism will continue to fall back on biographical criticism despite the many theoretical attempts to leave it behind. By demonstrating that there is narrativity present in lyric poetry, I argue that narratological concepts can and should be applied to lyric poetry, and therefore I join a growing discussion about how theoretical approaches to poetry can be improved by using the tools that are used to analyse narrative. Overall, my thesis is an application of narrative theory to three distinct types of lyric poetry that best demonstrate the multiperspectivism of the lyric, but are at the same time central examples of the genre: lyric poetry which uses a turn or volta to encode multiple viewpoints, poetry which appears extremely personal and connected to its poet, and poetry based on experiences of real conflict. By using narrative theory (and where necessary drawing on literary linguistic models, such as text world theory, relevance theory and transitivity) , I analyse the point(s) of view expressed in poems considered quintessentially lyric and the positions and levels of mediation that the lyric speaker can adopt, thus demonstrating not only that lyric poetry can make use of the same complexity of perspectives, voices and mediation that narrative prose does, but that the poetic speaker operates in much the same way as that of a prose narrator. I argue that this should cause us to rethink how the speaker in lyric poetry is approached. In addition, I argue that by examining poetry in this way, we can move on from making assumptions about the biographical links between poetry and poets, and instead identify the linguistic features which cause us to assume that such a link is present.

Key uncertainties in the global carbon cycle are explored with a 2-D model for the oceanic carbon sink. By calibrating the key parameters of this ocean carbon sink model to widely referenced values, it produces an average oceanic carbon sink during the 1980s of 1.94 Pg/yr, consistent with the range estimated by the IPCC of 2.0 Pg/yr +/- 0.8 Pg/yr. A sensitivity analysis of the parameter values used as inputs to the 2-D ocean carbon sink model developed for this study suggests that the IPCC's range for the oceanic carbon sink of 1.2 to 2.8 Pg/yr during the 1980s may be too conservative. By applying the Probabilistic Collocation Method to this simple ocean carbon sink model, the uncertainty in the size of the oceanic sink for carbon and hence future atmospheric CO₂ concentrations is quantitatively examined. An average 1980s oceanic carbon sink of 2.06 ± 0.9 Pg/y (with 67% confidence) is estimated. This uncertainty is found to be dominated the uncertainty in by the rate of vertical mixing of dissolved carbon from the surface into the deep ocean which is parameterized in this study by vertical diffusion. It is observed that a wide range of parameter values can be used to balance the contemporary carbon cycle due to the large uncertainties in the total oceanic and terrestrial sinks. For a reference set of emissions similar to the IS92a scenario of the IPCC, the uncertainty in the atmospheric CO₂ concentration in 2100 is found to be 659 ppm +/- 35 ppm (with 67% confidence). This uncertainty is solely due to uncertainties identified in the "solubility pump" mechanism of the oceanic sink, which is only one of the many large uncertainties lacking a quantitative examination in the global carbon cycle. Such uncertainties have implications for the predictability of atmospheric CO₂ levels, a necessity for gauging the impact of different rates of anthropogenic CO₂ emissions on climate and for policy-making purposes. Because of the negative feedback between the natural carbon uptake by the terrestrial ecosystem and atmospheric CO₂ concentration, taking changes in the former into account leads to a smaller uncertainty in the latter compared to that in the case with the fixed terrestrial uptake. / Abstract in HTML and technical report in PDF available on the Massachusetts Institute of Technology Joint Program on the Science and Policy of Global Change website. (http://mit.edu/globalchange/www/) / Includes bibliographical references (p. 22-25).

Este estudio parte de la hipótesis de que existe una evolución en la figura del músico en la obra de Ludwig Tieck, y que esta evolución - así como el valor que se le otorga a la música - puede ser representativa del continuo proceso de cambio del Romanticismo alemán.La elección de la figura del músico para realizar este recorrido no es gratuita, y está justificada precisamente por el nuevo status que adquiere la música en este periodo, consecuencia de un cambio profundo en el sistema filosófico y estético, del abandono general de la estética mimetista a favor de la expresivista, lo que provoca un cambio no sólo en el valor que se le otorga a las artes, sino también en las relaciones entre las mismas: La música desplaza a la poesía y a la pintura y se sitúa en la cúspide de la pirámide de las artes, y a partir de ese momento, la producción y la recepción musical empiezan a ocupar un lugar destacado en la creación literaria. Especialmente en este periodo, los músicos y la música en los textos son objeto de demostración para algo distinto fuera de los mismos: son representativos de la idea de música absoluta que se genera en el epicentro de la estética romántica, y si hasta entonces el poeta era considerado como el prototipo del artista, con la exaltación de la música su representante se convierte en el artista genial por excelencia.El arte en el Romanticismo se rebela contra un mundo que ya no lo representa. A través del arte se podía compensar la realidad y crear otro mundo, que en los casos más extremos lo constituía el arte mismo. Para conformar esa otra realidad a la que les conducía la nostalgia, los románticos utilizaron el recurso del pasado, la propia historia, en concreto, la Edad Media alemana. Una percepción panteísta y armónica de la Edad Media la convierte en Edad de Oro, la música es su lenguaje, y la religión el elemento unificador y baluarte del arte. El Minnesang es una parte constituyente de la Edad Media y en la figura del Minnesänger, Tieck cree encontrar no sólo el ideal existencial romántico en su relación panteísta con Dios y con la naturaleza, sino también la esencia de la música en la palabra o de la música de la palabra. En consecuencia, establecida la innegable relación entre música y Edad Media en el ideario de Ludwig, se han seleccionado aquellos textos en los que se podía encontrar la figura del músico en cualquiera de sus representaciones, desde sus primeras creaciones, en las que todavía no había desarrollado una teoría artística propia, hasta la obra que cierra una etapa en su vida, Musikalische Leiden und Freuden, escrita en 1822, en la que revisa sus postulados iniciales.Siguiendo un orden cronológico en la medida de lo posible, se analiza la figura del músico en cada uno de los textos seleccionados, y se intenta mostrar en su configuración y en su evolución, cómo se produce el primer acercamiento de Tieck a la música y a la Edad Media, su inmersión en ambos mundos, así como su posterior alejamiento y acercamiento a la realidad exterior, aunque sin abandonar nunca sus principios, sino moldeándolos y adaptándolos. / The aim of this study is to state a development of the figure of the musician in Ludwig Tieck's literary work and to show that this evolution and the value awarded to music can be representative of the continuous changing process of German Romanticism. This study is justified by the new status that music acquires in this period due to a deep change in the philosophic and aesthetic system - the mimetic aesthetic is substituted by an expressive one - that provokes a change not only in the value awarded to the different arts, but also in the relation between them: music displaces poetry and painting and reaches the peak of the pyramid of the arts. Therefore music and the figure of the musician enter literature, representing now the idea of absolute music generated in the epicentre of romantic aesthetics.The arts in the Romanticism rebel against a world that does not represent them anymore. Through art the romantics could counterbalance reality and create another world. To build this new world, drawn by their infinite nostalgia they looked back and idealized their own history, the German Middle Ages, which for authors like Ludwig Tieck became the Golden Age, and in the figure of the Minnesänger he found the ideal of the romantic artist. Once established the relation between music and the Middle Ages as representative of the same nostalgia, we analyse the figure of the musician in Tieck's work - in any of its representations - and try to show through its development Tieck's own first approach to music and the Middle Ages, his immersion in both worlds, as well as his ulterior relinquishment and his definite approaching to reality.

Thesis (M.S.)--Ohio University, November, 1983. / Title from PDF t.p.

Richard Schmalensee. / Bibliography: p. 38-40.

Ralph Katz, Thomas J. Allen. / Bibliography: leaves 33-34.

John van Maanen, Marc L. Miller, Jeffrey C. Johnson. / Bibliography: p. 30-32.