Academic literature on the topic 'Deadpool'

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Journal articles on the topic "Deadpool"

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Rohmawati, Rohmawati. "Subtitling Strategies of Swear Words in Deadpool One & Deadpool Two Film." Indonesian Journal of EFL and Linguistics 6, no. 1 (May 19, 2021): 217. http://dx.doi.org/10.21462/ijefl.v6i1.360.

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Subtitles has always been seen as a savior by a lot of people because it breaks all language barriers and made various films and series to be more understandable and watchable. However, the act of subtitling is not as easy as other people think. There are so many restraints in subtitling. One of those restrains is cultural differences in translating swear words. This research aims to obtain data concerning the subtitling strategies of swear words that are found in the subtitles of Deadpool One and Deadpool Two films. The descriptive qualitative method is employed because this research relies on the data obtained from subtitles, which are non-numerical data, and the data analysis will be served descriptively. The results of this research show that according to Gottlieb's (1992) theory, the subtitlers for Deadpool One and Deadpool Two used six different subtitling strategies in each film. The subtitler in Deadpool One tends to use the paraphrase and deletion strategies, followed by condensation, decimation, and transfer, with expansion being the least employed. The subtitler in Deadpool Two, on the other hand, employs deletion as the most used strategy. The subtitler's next most used strategies are paraphrase, condensation, decimation, and transfer; the least commonly employed strategy is expansion.
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Pretty Sitanggang, Maria Ayu, Eddy Setia, and Rohani Ganie. "DYSPHEMISM USED IN DEADPOOL MOVIE PAPER TITLE." Lire Journal (Journal of Linguistics and Literature) 4, no. 2 (October 12, 2020): 125–39. http://dx.doi.org/10.33019/lire.v4i2.73.

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This thesis entitled Dysphemism Used in Deadpool Movie. Dysphemism in Deadpool is problematized in its home country, i.e. the United States, due to its excessive occurrences. For this reason, this study aims at 1) to find out the types of dysphemism which illuminate the uses of dysphemism, and 2) revealing the functions which explain why the characters utilize such dysphemistic words. The theory of Dysphemism proposed by Allan & Burridge (2006) is used to reveal the functions of the use of dysphemism. In addition, the author also uses a semantic approach by delineating the meaning of dysphemism in a lexical and contextual manner along with examples of its use in context. Moreover, the analysis of componential meaning is used to observe the types of dysphemism based on Allan & Burridge's theory and Rawson's theory. The method used in this research is descriptive qualitative. The data of this research are words and phrases which indicated dysphemism. The sources of the data are transcript and video. There are 95 dysphemism data obtained and observed by the writer. The result of this research shows that three types of dysphemism are found in the movie, i.e. profanity, obscenity, and insult. The dysphemism type mostly found is the obscenity with 31 data (33%). In addition, there are seven functions of the use of dysphemism revealed: to humiliate something or someone else, to express anger, to emphasize thing or condition, to state and represent a very bad thing or condition, to express astonishment or amazement, to show intimacy and to express excitement. The most dominant function of dysphemism that is used in this movie is to humiliate something or someone else with 79 data (83%).
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Lokody, Isabel. "Deadpool: using pop culture for cancer advocacy." Lancet Oncology 17, no. 3 (March 2016): 285. http://dx.doi.org/10.1016/s1470-2045(16)00094-2.

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Tuan Ibharim, Mohamad Zakuan, and Hasuria Che Omar. "Strategi Penyarikataan Humor Deadpool: Kekal, Sisih atau Tambah? (The Strategies Of Subtitling Humour In Deadpool: Retain, Eliminate Or Add?)." GEMA Online® Journal of Language Studies 21, no. 1 (February 27, 2021): 186–203. http://dx.doi.org/10.17576/gema-2021-2101-11.

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Hluska, Tomáš, Lucia Hlusková, and R. J. Neil Emery. "The Hulks and the Deadpools of the Cytokinin Universe: A Dual Strategy for Cytokinin Production, Translocation, and Signal Transduction." Biomolecules 11, no. 2 (February 3, 2021): 209. http://dx.doi.org/10.3390/biom11020209.

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Cytokinins are plant hormones, derivatives of adenine with a side chain at the N6-position. They are involved in many physiological processes. While the metabolism of trans-zeatin and isopentenyladenine, which are considered to be highly active cytokinins, has been extensively studied, there are others with less obvious functions, such as cis-zeatin, dihydrozeatin, and aromatic cytokinins, which have been comparatively neglected. To help explain this duality, we present a novel hypothesis metaphorically comparing various cytokinin forms, enzymes of CK metabolism, and their signalling and transporter functions to the comics superheroes Hulk and Deadpool. Hulk is a powerful but short-lived creation, whilst Deadpool presents a more subtle and enduring force. With this dual framework in mind, this review compares different cytokinin metabolites, and their biosynthesis, translocation, and sensing to illustrate the different mechanisms behind the two CK strategies. This is put together and applied to a plant developmental scale and, beyond plants, to interactions with organisms of other kingdoms, to highlight where future study can benefit the understanding of plant fitness and productivity.
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Silva, Gabriela Spinola. "O mercenário tagarela e a tradução: os palavrões nas legendagens dos dois filmes de Deadpool (2016; 2018)." Revista do Sell 8, no. 2 (December 18, 2019): 314. http://dx.doi.org/10.18554/rs.v8i2.4052.

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O presente trabalho apresenta uma análise dos palavrões encontrados no áudio original dos filmes estadunidenses Deadpool (2016, dir. Tim Miller) e Deadpool 2 (2018, dir. David Leitch) e em suas legendas oficiais em português, presentes nos blu-ray de ambos os filmes. Trata-se de uma pesquisa descritiva, que enfatiza a problemática do uso de palavrões e compara suas traduções (feitas por pessoas diferentes, com orientações distintas em relação a como tratar os palavrões e em momentos diferentes, porém visando o mesmo público), usando as estratégias de legendagem descritas por Gambier (2003) como base para a análise dos palavrões encontrados. Sabe-se que existem várias restrições e tecnicalidades envolvidas no processo de legendagem (KARAMITROGLOU, 1998) e a tradução de palavrões, termos que nem sempre são aceitos pela sociedade, é uma das questões mais delicadas existentes na tradução audiovisual. Assim, além da comparação entre originais e traduções, busca-se ainda contextualizar o papel da censura aos palavrões (tanto a literal, no período da ditadura militar no Brasil, quanto a moral, que ocorre ainda hoje, por motivos de pudor das distribuidoras e do público) (FRANCO, 1991) nos resultados das análises realizadas.
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Z Namli, Atakan, and Zeynep Gencyigit. "Superhero Genes in Axolotl Limb Regeneration: Could Deadpool be Real?" Acta Scientific Microbiology 3, no. 11 (September 30, 2020): 98–107. http://dx.doi.org/10.31080/asmi.2020.03.0723.

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Triana, Benjamin. "Deadpool: When Our (Anti)Heroes Do Less and We Reward Them More." Journal of Popular Culture 51, no. 4 (August 2018): 1016–35. http://dx.doi.org/10.1111/jpcu.12712.

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Kareem, Abdul, Dhanya Radhakrishnan, Yash Sondhi, Mohammed Aiyaz, Merin V. Roy, Kaoru Sugimoto, and Kalika Prasad. "De novo assembly of plant body plan: a step ahead of Deadpool." Regeneration 3, no. 4 (August 2016): 182–97. http://dx.doi.org/10.1002/reg2.68.

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Lozano Treviño, David Fernando. "Héroes protagónicos y satisfacción en el entretenimiento de los espectadores." Mercados y Negocios, no. 35 (February 7, 2017): 75–100. http://dx.doi.org/10.32870/myn.v0i35.6115.

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El presente artículo de investigación analiza la forma en la que las Organizaciones de Producción Cinematográficas elaboran sus personajes principales heroicos para satisfacer las necesidades de entretenimiento de los espectadores. Se define el concepto de héroe analizando los tipos y sus descripciones. Se detallan las características de los mismos y cuáles de éstas tienen más agrado entre los espectadores. Otro objetivo de la presente investigación es proponer estrategias de marketing para aumentar la participación de mercado. El concepto de héroe circunstancial se propone con base en las aportaciones recabadas por medio de un focus group y una revisión documental del personaje llamado Deadpool.
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Dissertations / Theses on the topic "Deadpool"

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Day, Kenna Alise. "Crazier than Sack of Ferrets!: Deadpool as the Post-Watchmen Superhero." Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/75308.

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Watchmen has been hailed as revolutionary not only for the literary quality of Alan Moore's script and the precise execution of Dave Gibbon's art, but also for the novel's successful exploration of sophisticated subject matter and realistic moral conflict. Perhaps the most interesting question Watchmen forces us to consider is why an individual would put on the costume and don the mask, and how such a constructed persona affects the individual psychologically and morally. For those heroes that came before, the compulsion to fight crime was often an in-born ideology of justice. But for Moore's Watchmen, we find that even superheroes are corruptible, flawed, imperfect, and even (more than) a little crazy. In the wake of what is arguably one of the most influential superhero novels published to date, the comics industry saw a rise in the popularity of anti-heroes like Moore's, but it wasn't until the 1991 creation of Marvel's Deadpool that fans saw exactly what it means to be a hero in the post-atomic, post-Vietnam age. Through self-reflexivity, genre deconstruction, and dark hysteria, Deadpool shows us that it isn't so easy to walk the straight line of the righteous, and that sometimes it's much easier to submit to the madness of a chaotic, morally ambiguous world.
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Books on the topic "Deadpool"

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1966-, Posehn Brian, Hawthorne Mike, Colak Mirko 1975-, Pallot Terry, Koblish Scott, Bellaire Jordie, Redmond Ruth, et al., eds. Deadpool: Axis. New York: Marvel Worldwide, Incorporated, 2015.

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Deadpool & Wolverine. New York, New York: Marvel Worldwide, Incorporated, 2016.

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author, Posehn Brian 1966, Staples Val color artist, Sabino Joe letterer, Cowles Clayton letterer, and Moore Tony 1978 artist, eds. Deadpool: [Dead presidents]. New York: Marvel Worldwide, 2013.

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ill, Posehn Brian 1966, Lucas John, and Koblish Scott, eds. Deadpool: Original sin. New York, NY: Marvel Worldwide, Incorporated, 2014.

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ill, Posehn Brian 1966, Brown Reilly, and DeCastro Nelson, eds. Deadpool: Dracula's gauntlet. New York: Marvel Worldwide, 2014.

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Deadpool Pulp Deadpool. Marvel Comics, 2011.

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Deadpool Kills Deadpool. Marvel Comics, 2013.

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Deadpool Volume 10 Deadpool. Marvel Comics, 2012.

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Hastings, Christopher, and Salvador Espin. Deadpool: Secret Agent Deadpool. Panini UK Limited, 2019.

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author, Posehn Brian 1966, Koblish Scott author, and Hawthorne Mike artist, eds. Deadpool: Deadpool vs. S.H.I.E.L.D. Marvel, 2014.

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Book chapters on the topic "Deadpool"

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Manninen, Tuomas W. "Deadpool’s Killogy as Philosophy: The Metaphysics of a Homicidal Journey Through Possible Worlds." In The Palgrave Handbook of Popular Culture as Philosophy, 1–18. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-319-97134-6_96-1.

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Erden, Yasemin J. "“There Is a Man … with a Typewriter”." In Critical Directions in Comics Studies, 54–76. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828996.003.0003.

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“Do I still think in those little yellow boxes?” asks Deadpool. The fourth wall is broken. This chapter argues that Deadpool’s fourth wall breaking smashes both his world and ours. The structure of the work is compromised; the audience’s passivity confronted. These features are central to Deadpool’s identity as are his vigilantism, anarchism, heroism, and villainy. He is rebel and monster inhabiting a world without certainty, without meaningful existence or relations between reason and action. A world not, in fact, so unlike our own. Deadpool is an existentialist antihero with whose actions the reader becomes entangled. He enacts existential ideas of limitless choice, action, and responsibility in a world (both his and ours) where life can be laughably yet painfully meaningless. He shows us what Sartre described when he said we are condemned to be free. A burden that is both liberating and overwhelming.
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Dodson, Cheryl Hogsten. "Deadpool and Anticipatory Grief." In Superhero Grief, 51–54. Routledge, 2020. http://dx.doi.org/10.4324/9780429056666-12.

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Harrington, Jill A., Kim A. Ruocco, and John R. Jordan. "Deadpool 2 and Suicide After Bereavement." In Superhero Grief, 131–41. Routledge, 2020. http://dx.doi.org/10.4324/9780429056666-30.

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Conference papers on the topic "Deadpool"

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Philip, Jan, Scott Edelstein, Franck Balson, and Sebastien Zeb Chort. ""Deadpool" + Colossus." In SIGGRAPH '16: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2936733.2936739.

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Dey, Somdip, Amit Kumar Singh, Xiaohang Wang, and Klaus Dieter McDonald-Maier. "DeadPool: Performance Deadline Based Frequency Pooling and Thermal Management Agent in DVFS Enabled MPSoCs." In 2019 6th IEEE International Conference on Cyber Security and Cloud Computing (CSCloud)/ 2019 5th IEEE International Conference on Edge Computing and Scalable Cloud (EdgeCom). IEEE, 2019. http://dx.doi.org/10.1109/cscloud/edgecom.2019.00025.

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