Call number: LD2668 .T4 1959 F53

Le doublage, mode de TAV le plus répandu en France, est peu étudié par les chercheurs, pour diverses raisons : difficulté matérielle à saisir la parole orale, dévalorisation culturelle d’un mode né de la volonté des studios américains de toucher un public de masse, impossibilité d’assigner au film un auteur dans une production collective. Mais un cinéma d’auteur existe, en marge du système hollywoodien et donc peu représenté aux États-Unis. Woody Allen, cinéaste américain indépendant des majors, est un cas à part : il a su préserver son autonomie artistique tout en usant de réseaux internationaux de diffusion pour s'assurer une véritable reconnaissance en France, grâce aux VOST et VD de ses films. Cinéma d'auteur et doublage sont pourtant antinomiques : l'un s'adresse à un public élitiste, l'autre s'avère ontologiquement lié à une diffusion de masse. Au cœur de ce paradoxe, la mise en français des films d'Allen doit osciller entre deux pôles, l’un tourné vers la parole de l’auteur, l’autre vers la facilitation du travail du spectateur. On étudie ici comment le doublage a pu négocier en diachronie les contradictions de cette situation et quelle place l’auteur occupe encore en VD. L’approche se fonde sur les théories de la réception et les concepts d’Auteur et Spectateur Modèle qui permettent d’appréhender le fonctionnement des diverses instances en jeu dans le contrat de spectature. Basée sur un corpus de 9 comédies couvrant différents genres abordés par Allen en 30 ans, cette étude descriptive et contrastive compare les VO des films, les traductions éditées en français et les VD en utilisant les outils traductologiques de la théorie bermanienne des tendances déformantes. / Dubbing is the most common AVT technique in France but few scientific studies have beenconducted on the subject, due to everal factors: the difficulty in understanding oral speech, the cultural devaluation of a mode of translation initiated by the American studios to target the masses or the impossibility of assigning an author to a collective production.Nonetheless, a Cinéma d’auteur exists, far from Hollywood studios, and thus quite rare inthe American film system. Woody Allen, an American director independent from theMajors, is a unique example: he has been able to preserve his artistic autonomy while using international distribution channels. They have brought him a real fame in France, thanks tosubtitled and dubbed versions of his films. Cinéma d’auteur and dubbing can however beregarded as an antinomy as the former is supposed to address an elite and the latter isontologically tied to mass media. The « Frenchification » of Allen’s films lies at the veryheart of that paradox and demands a balance between two poles, one leading towards theauthor’s speech, and the other towards the facilitation of the spectator’s work. This dissertation seeks to understand how dubbing has negotiated the contradictions at the veryheart of this situation, and what room is ascribed to the author in the dubbed versions,between the Model Author and Addressee as defined by the reception theories. Based onexamples taken from nine of Allen’s comedies over a 30-year period, this descriptive diachronic and comparative study contrasts the original versions of the films with their translations in French editions and their dubbed versions, using Berman’s theory of « deforming tendancies ».

Zugl.: Hamburg, Univ., Diss., 2006

Submitted by Erika Demachki (erikademachki@gmail.com) on 2014-12-29T15:32:05Z No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Roberta do Carmo Ribeiro - 2014.pdf: 7658201 bytes, checksum: 4fd35bdeba6c553abef54c474c8df832 (MD5) / Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2014-12-29T15:38:41Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Roberta do Carmo Ribeiro - 2014.pdf: 7658201 bytes, checksum: 4fd35bdeba6c553abef54c474c8df832 (MD5) / Made available in DSpace on 2014-12-29T15:38:41Z (GMT). No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Roberta do Carmo Ribeiro - 2014.pdf: 7658201 bytes, checksum: 4fd35bdeba6c553abef54c474c8df832 (MD5) Previous issue date: 2014-03-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Thinking about Woody Allen as "historian movie maker" will be the central idea and core theme of this research. We will examine how Woody Allen "writes" the History of the United States during the interwar period in some of his works, starting with his personal education as an American Jew and artist concerned about the question of the Jewish identity. We will present the main features of his cinematographic language, that is, using satire and ironic language in order to discuss with the audience. We will provide a synthesis of Allen's official biografy, as well as a presentation of his public image, charting a parallelism among these elements and some episodes from his autobiografical movie Radio Days (1987). The relation between History and Cinema will be highlighted too, starting with the concept of the "Movie maker - historian", as defined by the theorist Robert A. Rosenstone, looking for its exemplification in Woody Allen's works. We will analyze Zelig (1983) as a case of study, a fake documentary that reflects on the History of the Jews in America. We will also examine irony as a language, in the light of the Jewish tradition of humor and of Hayden White's historical theory of fiction. Under these premises, we will analyze The Purple Rose of Cairo (1985), which shows in its background the United States during the Great Depression, and Midnight in Paris (2011), which provides a critique to the glorification of past times. In all these movies, chosen for dealing with the interwar period and for using irony as a language, we will examine historical aspects and contributions to the Jewish identity in Allen's production. / Pensar Woody Allen como “cineasta historiador” será o fio condutor desta pesquisa e tema central dessa dissertação. Pretendemos analisar como Woody Allen “escreve” em algumas obras de sua filmografia a História da América do período entreguerras a partir de elementos advindos de sua formação enquanto judeu americano e artista preocupado com a questão da identidade judaica. Para isso faremos uma apresentação das principais características de sua linguagem cinematográfica. Faz-se, a saber, o uso da linguagem irônica e da sátira para dialogar com o público. Mapearemos a construção da biografia oficial do cineasta, assim como a construção de sua imagem pública, traçando um paralelo entre esses elementos e alguns episódios do filme de inspiração autobiográfica A Era do Rádio (1987). Será também destacada a relação entre História e Cinema, a partir do conceito de Cineasta-Historiador, conforme estabelecido pelo teórico Robert A. Rosenstone, enfatizando sua aplicação à obra de Woody Allen. Como estudo de caso, analisaremos Zelig (1983), um falso documentário que reflete sobre a História do judeu na América. Analisaremos ainda a ironia enquanto linguagem, à luz da tradição judaica do humor e da teoria da narrativa histórica de Hayden White. A partir desses pressupostos, analisamos A Rosa Púrpura do Cairo (1985), filme que tem como pano de fundo os Estados Unidos na época da Grande Depressão, e Meia-Noite em Paris (2011), uma crítica à glorificação do passado. Em todos os filmes destacados por sua escolha sobre o período entreguerras e tendo como base a ironia como linguagem, investigaremos aspectos históricos e de produção da identidade judaica na obra do cineasta.

Woody Shaw is one of the most influential jazz trumpet players of the past fifty years. Despite his importance, very few models exist that contextualize Shaw's improvisatory approach inside modern jazz pedagogy. Writers such as Rex Richardson, Eric O'Donnell, and Gavin Franklin have identified key elements of Shaw's style, and have begun a critical examination of Shaw's music. While extensive, these approaches do not take into consideration the impact free jazz had on Shaw's technique, nor do they provide a model for how to duplicate Shaw's style. This project examines four elements of Shaw's style as seen in three improvised solos on "The Moontrane." These solos are taken from early, middle, and late stages of Shaw's career. By studying scale choice, sequence and the sequential treatment of motifs, pentatonic approaches to harmonic sequence, and atypical rhythmic phrasing, this study is able to show (1) how these elements developed over the totality of Shaw's career, (2) provide a better understanding of Shaw's improvisational style, and (3) provide a basis for implementing these procedures in modern music.

It has been more than two centuries since the latitudinal pattern of increase in taxonomic richness from poles to equator was first documented. After two centuries of research, and with more than two dozen hypotheses proposed, an understanding of the mechanisms underlying this pattern and their relative importance remains incomplete. Factors such as evolutionary history, area and latitude associated variables such as temperature, solar energy, climatic stability and seasonality are known to influence species richness by affecting geographic range size and location over ecological and evolutionary time. Understanding the forces that affect geographic range size is, therefore, integral to our understanding of latitudinal patterns in species richness. Using woody plants as a study system, my dissertation deciphers the latitudinal pattern, if any, in species richness within the evergreen forests of the Western Ghats. These wet evergreen forests form an evolutionarily distinct biogeographic zone, which has remained isolated from its counterparts. This has resulted in a high percentage of endemism among the evergreen woody plants and, therefore, the global geographic ranges of most of these plants are restricted within the boundaries of the Western Ghats. The first main objective of this dissertation is to understand the determinants of geographic range size in the evergreen woody plants of the Western Ghats. Further, the Western Ghats are characterized by a sharp climatic gradient in temperature and rainfall seasonality that is not correlated with mean annual temperature or annual rainfall. This allows a direct test of the hypotheses and predictions that are based on climatic seasonality, without the confounding effect of other climatic correlates of latitude. Therefore, the second main objective of this dissertation is to understand the mechanisms underlying latitudinal patterns in species richness of evergreen woody plants in the Western Ghats. Regional species richness is an outcome of two factors- local species richness of each location within the region and turnover in species composition among the locations, which in turn are a result of patterns in range size, range location and range overlap. To address these two objectives, I first test the effect of climatic niche of a species in determining geographic range size and then examine the effect of latitude associated climatic seasonality on range location and range overlap. Next, I link the observed pattern in range geometry to latitudinal patterns in species turnover and finally to latitudinal patterns in species richness. While the first part of my dissertation study deals with factors that generate spatial variation in species richness, the second part deals with the factors underlying spatial variation in species composition. Environmental heterogeneity and dispersal are considered the most important determinants of species turnover i.e. change in species composition. However, their relative importance in structuring in diverse plant communities within tropical regions across different scales is poorly understood. Hence, the third objective of this dissertation is to understand the processes that influence change in species composition of woody plants within the Western Ghats. Geographic range size and population size are important attributes of species rarity, which are directly linked to their extinction risk. Hence, data on distribution and population status of species can help us focus our efforts on those species that require conservation attention. This is achieved through carrying out species threat assessments based on attributes such as range and population size and then assigning then to a threat category. A majority of species endemic to the Western Ghats have not yet been assessed, largely due to lack of data on their population and distribution status. Therefore, the fourth and the final part of my dissertation explores the application of information on species range size and abundance in prioritizing species for conservation. To address these objectives, I sampled the wet evergreen forests of the Western Ghats along a series of locations distributed across its entire latitudinal gradient. Based on 156 plots, covering a latitudinal gradient of more than 1200 km and comprising of more than 20,000 occurrence locations belonging to more than 450 species of woody plants, I derived quantitative estimates of latitudinal gradients in range size, local and regional richness as well as species turnover. I used a combination of statistical and simulation approaches to discern the mechanisms underlying large-scale pattern in species ranges, richness and turnover. My dissertation is structured as follows.

The problem which concerns this thesis is the directing, designing, and mounting of Woody Allen's Play It Again, Sam under the auspices of the 1974 North Texas State University Summer Repertory Theatre Company. Chapter I contains a detailed examination of the playscript, an analysis of each of the characters, and criticism of Woody Allen's work. Chapter II deals with the chief problems and strategies involved in production. The preparation of the playscript, the cast and production staff, the design process, the front-of-house activities, and rehearsal experience are discussed in detail. Chapter III is the production book itself and includes the script, the blocking, and the light and sound cues. Chapter IV contains a critical summary of the project and recommendations for future study.

Made available in DSpace on 2016-08-10T11:22:03Z (GMT). No. of bitstreams: 1 VINICIUS FERREIRA BARBOSA.pdf: 2016371 bytes, checksum: fc359b0d35aa00926fad19d226ef30d1 (MD5) Previous issue date: 2016-03-21 / This study aims to think our contemporaneity with Nietzsche, focusing on some of the films US directors Woody Allen and Martin Scorsese. The study here developed allowed us to establish, creatively, a possibility of understanding the history of Western culture. Add philosophy and cinema was a way of thinking about the current conditions of human subjectivity islanded this condition called "individual," their ways of relating to the real currency of their experiences. The film is as tool in this search, as philosophy is. The film witnesses the relationship "individual-modernity." Nietzsche is a thinker who gave us the tools to think about the individual s relationship with nihilism and the tragic in some of the characters of Allen and Scorsese films. / Este trabalho tem por finalidade pensar com Nietzsche a nossa contemporaneidade, enfocando algumas das obras cinematográficas dos diretores estadunidenses Woody Allen e Martin Scorsese. O estudo aqui desenvolvido permitiu estabelecer, de forma criativa, uma possibilidade de entendimento da trajetória da cultura ocidental. Juntar filosofia e cinema foi uma forma de pensar as condições atuais da subjetividade humana ilhada nesta condição chamada indivíduo , as suas formas de se relacionar com a atualidade real de suas vivências. O cinema é tão ferramenta, nessa pesquisa, quanto a filosofia o é. O cinema testemunha a relação indivíduomodernidade . Nietzsche é pensador que nos ofereceu as ferramentas para pensar sobre a relação do indivíduo com o niilismo e o trágico, em alguns dos personagens dos filmes de Allen e Scorsese.

Abstract not available

Die musiktheoretische Analyse setzt die Musik Bartóks mit der Beirachs und Shaws in Beziehung und fragt nach Schnittstellen in der Musik der drei Komponisten.