Pompeu Fabra University

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    Postil·les musicals franceses als «Estramps» de Jordi de Sant Jordi

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    Representations of hegemonic masculinities in Medieval Leonese-Castilian and Almohad chronicles

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    This article compares two twelfth-century Iberian dynastic chronicles to show the ways in which Muslim and Christian hegemonic masculinities were textually constructed as relational to high-status males of the same and rival religious faiths. I explore the roles religion plays in shaping the concept of hegemonic masculinity, in constituting the royal protagonist¿s elevated political and masculine status, and in positioning allies and foes in relation to the sovereign as well as within the spectrum of masculinities. Drawing on John Tosh's notion of a 'reciprocal relationship' between the political and the masculine virtues, and on Stephen Boyd's thesis of a 'convenient symbiosis' between divine omnipotence and masculine dominance, I argue that religiosity functions as a key virtue that constitutes normative or ideal royal hegemonic masculinity in both chronicles. Yet, when positioning other high-status men in relation to the royal hero, religious identity appears to be less decisive than other gendered qualities and practices, since neither chronicler automatically equates religious alterity with deviant masculinity. The comparison focuses on three themes: royal hegemonic masculinity, religious identity and masculinity, and the geography of warrior hegemonic masculinity

    Subtitling television series: a corpus-driven study of police procedurals

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    Television series are regarded as significant works of popular culture in today¿s society, which explains the increasing demand to translate them into other languages to reach larger audiences. This book focuses on one of the two most common modes of audiovisual translation for this type of product: subtitling. The naturalness that is expected in television dialogue together with the spoken-to-written medium conversion entailed in subtitling pose a challenge for professionals, who have been typically blamed for neutralising the source dialogue. Little to no empirical evidence, however, has been provided to effectively address this issue to date. This book offers a contrastive study of the American English television dialogue and the Castilian Spanish subtitles of three popular police procedurals: Castle (2009), Dexter (2006) and The Mentalist (2008). After introducing some basic notions to frame the study ¿ such as translation norms, audiovisual text and fictive orality ¿ more than twenty lexical and morphosyntactic features in the series are analysed from a qualitative and quantitative point of view. Throughout the chapters, a combination of corpus-based and corpus-driven methodologies are used to offer a sound, empirically grounded characterisation of the language employed in these audiovisual productions and their translations

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