The Thesis deals with the area of cardio stimulation. It describes the different stimulation modes and their specifics. It describes the creation of a virtual cardio stimulator based on R-waves, designed in the LabVIEW application. Part of the thesis is the software realization of the model and the verification of its functionality.

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The intent of this thesis was to test if one of the many fitness-tracking devices, Microsoft’s Band 2 (MSB2), is accurate and reliable in detecting changes in Heart Rate (HR) and R-R intervals, during the repeated trial of two conditions of a working-memory test known as the N-Back. A 2 (devices: ECG, MSB2) × 4 (epochs: baseline 1, 1-back task, baseline 2, 3-back task) repeated measures factorial design was conducted. The participants were simultaneously equipped to the MSB2 and an electrocardiogram (ECG). The results of this study validated the MSB2 for the use in a cognitive task. The study suggests that fitness-tracking devices with similar sampling rates and features are candidates for further exploration as alternatives to ECG, in hope of making the inclusion of physiological data in psychological research more available and accessible. .

Abrupt decreases and increases in systolic arterial blood pressure produce baroreflex mediated shortening and lengthening, respectively, of the R-R interval. This phenomenon, otherwise known as the cardivagal baroreflex, is best described by the sigmoid relationship between R-R interval length and systolic blood pressure. The linear portion of this relationship is used to derive the slope or gain of the cardiovagal baroreflex. Importantly, lower levels of cardiovagal baroreflex have been associated with poor orthostatic tolerance and an increased cardiovascular disease-related mortality. The most commonly used and accepted technique to assess cardiovagal barorelex gain is the modified Oxford techinique. Bolus injections of sodium nitroprusside followed by phenylephrine HCL are used to decrease and raise blood pressure ~15 mmHg, respectively. The baroreflex control of the cardiac vagal outflow can then be assessed by the relation of the R-R interval to systolic blood pressure. However, the modified Oxford technique does not always reveal the nonlinear nature of baroreflex relations. The reasons for this has been unclear. Thus, analysis of baroreflex gain when nonlinearities are not revealed is problematic. Five classifications of baroreflex trials have been identified: acceptable, threshold-heavy, saturation-heavy, linear-heavy, and random trials. A new method of gain estimation was developed that combines the strengths of the current methods of gain estimation with the knowledge of the classifications of baroreflex trials. Using this method, cardiovagal baroreflex gain assessment can be maximized if threshold-heavy, saturation-heavy, and random trials are filtered out of the analysis and the manual method is used to estimate gain on the remaining trials. In addition, a link seems to exist between the variability of delta and the variability in baroreflex gain between different subjects. / Master of Science

D'enfant intrigué par des inscriptions en gallois, Tolkien évolue vers un apprentissage précoce du latin, du grec et de nombreuses langues anciennes. Sa passion pour les langues ne se dément pas: bientôt il travaille à l'élaboration de langues inventées basées sur le finnois, puis il fonde un club de lecture de sagas en norrois. Dans son étude des langues, il s'intéresse aux anciens textes qui recèlent leur évolution: très vite, pour lui, le langage et le mythe sont indissociables. Le langage génère du mythe et ce dernier survit à travers les langages. Du propre aveu de l'auteur, c'est pour donner vie à ses langues inventés qu'il créa leur monde: « [...] il lui fallait une « histoire » pour lui servir de base. [...] Il mettait ce langage au point, maintenant il lui fallait trouver les gens dont ce serait la langue. » (Carpenter, 2002). En marge de ses recherches universitaires, il construit donc sa mythologie personnelle, un travail étalé sur toute une vie dont quelques vingt ans sur le seul Seigneur des Anneaux pour lequel il s'attarde minutieusement sur chaque mot: « It was begun in 1936, and every part has been written many times. Hardly a word in its 600 000 or more has been unconsidered. » (Carpenter, 1981). En parcourant la biographie de ce linguiste-écrivain, qui peut se surprendre de voir le langage comme personnage principal de son oeuvre Le Seigneur des Anneaux? Son récit se veut une reconstruction moderne basée sur les légendes anciennes qu'il affectionne et il y inclut à cet effet nombre des éléments langagiers, relevant souvent de la pensée mythique, qui donnent à ces récits anciens leur saveur particulière. Parmi ces éléments, nous avons relevé le traitement accordé à la nomination et celui accordé aux manifestations de la parole poétique que sont ces chants et poèmes que l'on retrouve égrenés dans la narration en prose. En premier lieu, nous exposerons l'intérêt de l'auteur pour le langage et les littératures médiévales (principalement germaniques et finnoise), notamment pour leurs techniques langagières particulières. Nous nous appuierons en cela sur ses essais consacrés aux sources et à la genèse du texte (Tolkien, 1981, 1997). Puis, nous mettrons en relief ce qui, de la pensée mythique, éclaire la perspective et l'utilisation par Tolkien du nom et de la parole poétique avec l'appui de l'essai de Mircea Eliade: Aspects du mythe. Ensuite, il nous faudra étudier la littérature médiévale germanique avec l'aide des ouvrages de Régis Boyer y ayant trait. Nous pourrons ensuite nous pencher sur la question du traitement de la nomination dans l'oeuvre de Tolkien: quel est sa nature, son sens et ses fonctions pour le récit et qu'est-ce qui la rattache à la pensée mythique? Enfin, nous nous intéresserons aux nombreux chants et poèmes propres à l'oeuvre. Nous verrons comment ils définissent des cultures, relatent un passé et des mythes; bref, comment ils ajoutent à la cohérence et à la profondeur de l'univers fictif dépeint. Ainsi, et plus que de simples artifices stylistiques, ces manifestations langagières singulières qui imprègnent Le Seigneur des Anneaux participent de la structure même du récit et sont étroitement liées à la pensée mythique: le langage, le mot, a un véritable pouvoir chez Tolkien. Voilà ce que ce travail tendra à démontrer. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Mythe, Nomination, Parole poétique, Fantasy.

This study considers Härskarringen (1959–61), a Swedish translation of J. R. R. Tolkien’s The Lord of the Rings (1954–55), within the framework of translation studies and the description of norms within different fields of translation. As the work’s position as a translation has been questioned by a number of critics, the aim of the study is to identify features of the text which can be associated with this critique. The methodology employed by the study aims to separate departures in the target text from the source text within fields such as semantics and style. The departures are then ordered on the basis of linguistic form. The study suggests that the translation contains a number of features, and proposes possible explanations for these, based on the result of the study in relation to these points of departure as well as the circumstances in the context of the creation of the translation. The method used is partly based on a model developed by Rune Ingo (1991), and the results are analyzed by means of key concepts from Yvonne Lindqvist (2002). The study concludes that Härskarringen should be considered a work done mainly in accordance with an acceptable translation strategy, and thereby has characteristics of a low prestige translation. The study further considers that the critics of the translation hold, seemingly, that The Lord of the Rings should be translated as high prestige literature, and that they have reacted against the translation consequently. The study suggests that the reason for the questioning of Härskarringen’s position as a translation seems to be that the work has not been translated in accordance with the norms of the literary field to where it is today attributed. The critique can partly be viewed as a result of a raised status of The Lord of the Rings and J. R. R. Tolkien, and thus of the mobility of a work within the literary system. / Den här uppsatsen undersöker Härskarringen (1959–61), en översättning av J. R. R. Tolkiens The Lord of the Rings (1954–55), med en översättningsvetenskaplig deskriptiv metodik. Uppsatsen försöker utröna vilka egenskaper hos den svenska tolkningen som gjort att dess ställning som översättning, till helheten eller enskilda delar, har ifrågasatts av en rad kritiker. Undersökningen utförs genom att tillämpa en metod för utverkande av avvikelser mellan översättningen och originaltexten inom för uppsatsen ändamålsenliga kategorier, såsom betydelsemässiga avvikelser mellan översättning och original. De framkomna avvikande textställena sorteras sedan efter deras språkform, och utifrån resultatet samt förhållanden i översättningens tillblivelse karakteriseras sedan den undersökta aspekten av översättningen genom ett antal egenskapsdrag samt möjliga anledningar till dessa. Slutsatsen efter genomförd undersökning är att Härskarringen, huvudsakligen genom att på olika sätt förhålla sig fritt till originalet, bär många gemensamma drag med översättningar inom lågprestigelitteraturen, och att kritikerna – då dessa förefaller anse att Tolkiens The Lord of the Rings tillhör högprestigelitteraturfältet och bör översättas enligt dess normer – därför har reagerat mot översättningens utformning. Härskarringens ställning som översättning har ifrågasatts på grund av att verket inte har översatts i enlighet med normerna på det litterära fält där det i dag anses befinna sig. Företeelsen får delvis ses som en följd av The Lord of the Rings och J. R. R. Tolkiens ökade anseende, och är därmed ett exempel på återverkningar av ett verks rörlighet inom det litterära systemet.

Thesis (M.A.)--Brigham Young University. Dept. of English, 2002. / Includes bibliographical references (p. 67-69).

This thesis focuses on the formal and stylistic analysis and comparison of two works written by English authors, namely William Morris' poem The Story of Sigurd the Volsung and the Fall of the Niblungs (1876) and J. R. R. Tolkien's poetic work The Legend of Sigurd and Gudrún (published posthumously in 2009) with respect to how each of these works deals with the original Old Norse motives which they are based on. Both Sigurd the Volsung and The Legend of Sigurd and Gudrún can be described as poetic adaptations of the Old Norse tale of Sigurd Fafnisbani, which is recounted in the Saga of the Volsungs and in a cycle of poems found in the Poetic Edda. Both Morris and Tolkien borrowed this story to use it in their own works, yet each of them treats it in a different manner. Therefore, not only do both of the works differ from the original Old Norse texts on multiple levels, but they also differ one from another. The differences between them can be traced in the metrical properties of the individual poems, for instance, or in the use of specific stylistic elements. From this, it can be inferred that although it was the goal of both authors to evoke the atmosphere of the legendary heroic past where Sigurd's story takes place, each of them attempts to do so in a different way. This is probably caused by...