I denna uppsats undersöker jag hur det är möjligt att med hjälp av bland annat Ernst Cassirers teorier kring myter och genom att se hur dessa tar sig i uttryck i ett narratio, nå en utökad förståelse för argumentation genom att ta fasta på det som ligger utanför logikens och det rationella förnuftets område. Med utgångspunkt i Cassirer, kompletterad av Jean-Pierre Vernant, Cornelius Castoriadis och Jesper Svenbro, visar jag hur mŷthos hela tiden är närvarande i vårt tänkande, hur mŷthos skapar och omskapar mening samtidigt som denna mening sätts i spel genom olika myter. I argumentation tar dessa myter formen av det som i den antika dispositionen för ett argumenterande tal kallades narratio. En av de viktigaste funktionerna för narrationen är att skapa trovärdighet åt ett mŷthos och detta sker på fyra olika sätt: prosans genrekarakteristiska, diakrona handlingskopplingar, anagnorisis, samt den synkrona sammanlänkningen. Den sistnämnda ger också övergången till en annan viktig aspekt av trovärdighetsskapandet; elocutio, där jag undersöker två typer av figurer och troper: överförande och förstärkande. I de överförande figurerna kan vi se hur mŷthos bricoleras av betydelser hämtade från andra fält, medan vi i de förstärkande figurerna kan se vad som skapat ett specifikt mŷthos och vilket pathos som varit viktig för mytskaparen. Uppsatsens slutsats blir därmed att människan, trots vår uppfattning om argumentation som en rationell företeelse byggd på logik, istället alltid är, med Derridas ord, mytopoetiska bricoleurer. Vi kan därmed inte bortse från myterna när vi undersöker argumentation samtidigt som vi därmed också måste lämna önskan om att värdera, rangordna och systematisera all argumentation, en tro som ur detta perspektiv bara blir till en myt. För denna argumentationssyn med grunden i retoriken blir istället Aristoteles ideal fronesis viktigt, då detta synsätt innebär förståelse, som i förlängningen ger en klokhet om vilka handlingsval som i slutändan gör gott. / In this essay I examine how we, with the help of Ernst Cassirers theories concerning myths and by examining how these are expressed in a narratio, can achieve an expanded understanding of argumentation by also taking to account that which lies beyond the area of reason and logic. By building on Cassirer, complemented with the thinking of Jean-Pierre Vernant, Cornelius Castoriadis and Jesper Svenbro, I’m able to show how mŷthos always is present in our thinking, and how mŷthos always creates and recreates meaning while at the same time putting that meaning to use in various myths. In argumentation these myths take the form of the roman concept narratio. One of the key features of the narrative is to provide credibility to mŷthos, and this is done in four ways: through the characteristics of the prosaic genre, the diachronic linking of events, anagnorisis and the synchronic linking of events. The latter also provides the transition to another of the vital parts in the process of credibility¸ elocutio, where I examine two types of figures and tropes: transferring and emphasizing. The transferring figures gives us an insight of how we create mŷthos by taking in meaning from other fields, while the emphasizing figures show us how pathos always is important to the myth-maker. The conclusions of this essay is thus that man, despite our conception of argumentation as a rational phenomenon based on reason and logic, rather is, in Derrida’s words, a mythopoetic bricoleur. We can not ignore this when we set out to investigate argumentation and we have to abandon our wish to evaluate, rank and systematize all argumentation. Instead Aristotle provides us with an answer in his rhetorical ideal fronesis, because when we reach understanding of our myth-making it’s also possible for us to make decisions that will hopefully do good.

Le corpus des Tombeaux français, dont la production s'étend du milieu du XVIIe siècle jusqu'à la troisième décennie du XVIIIe siècle, regroupe des pièces instrumentales dont le titre emprunte un nom de genre poétique. Si le tombeau poétique est un hommage posthume, qu'advient il de cet hommage en musique, quelles sont les stratégies musicales suscitées par ce titre littéraire, qui ne renvoie à rien de musical ?On a choisi, pour répondre à cette question, de tenter une analyse menée grâce à l’emprunt de notions rhétoriques appartenant aux domaines de l’elocutio et de la dispositio. Les stratégies représentatives, imitatives, affectives et formelles adoptées par les Tombeaux ont ainsi pu être appréhendées. Représentant, par l’insistance sur le mouvement descendant de la catabasis, la chute dans la mort, ils donnent à entendre, pour certains, les cloches des cérémonies funèbres ou les défaillances de la voix plaintive et affectent l’auditeur d’un malaise que celui-ci sait mimétique des souffrances du deuil. Exposant, clairement leur dessein, en début de pièce (représenter la chute), ils culminent, pour la majorité d’entre eux, en un crescendo émotionnel propre à la péroraison, d’autres pièces préférant, en revanche, une stratégie d’apaisement ou encore de consolation.Si les notions rhétoriques mobilisées ont permis d’accéder à l’éloquence des Tombeaux, en retour le succès de certaines de ces notions témoigne de leur pertinence, au delà du seul discours verbal. La rhétorique devient bien, alors, cette « structure mère » de la pensée européenne, à l’époque baroque, décrite par Marc Fumaroli. / The corpus of French instrumental work, the Tombeau, whose production extends from the middle of the seventeenth century to the third decade of the eighteenth century, borrows its name from a poetic genre. If the poetic, literary tombeau is a posthumous homage, how do we approach this musical homage? What are the corresponding musical strategies of a genre whose title is derived from a literary and not a musical genre? In order to answer this question, we chose an analysis that borrows from rhetorical notions, in particular, those belonging to the domain of elocutio, as well as those belonging to the domain of dispositio. Through this type of analysis, the representational, imitative, affective and formal strategies, appropriated by the musical Tombeaux, are understood. The Tombeaux, insisting on the descending movement of the catabasis – the falling into death – may convey to the ear the toll of funeral bells or the failure of the plaintive voice and affect the listener with a malaise, which replicates the suffering of mourning. Clearly exposing their design at the beginning of the piece (representing the fall), the majority of the Tombeaux culminate in an emotional crescendo characteristic of the peroratio, while others prefer a strategy of calming and consolation.If the use of rhetorical notions in our analysis permit access to the eloquence of the Tombeaux, in return, the success of certain of these notions is proof of their pertinence beyond their usage for verbal discourse. Thus, rhetoric becomes, as described by Marc Fumaroli, the structure mère of European thought during the Baroque period.

Ce travail propose de montrer de quelle manière Clément Marot a conçu son métier d’auteur. À cette fin, il prend d’abord appui sur une reconstruction synthétique et critique de la carrière du poète, des premiers engagements auprès de Nicolas de Neufville ou (peut-être) de la reine Claude, jusqu’au service de François Ier, afin d’en comprendre les contraintes, et la façon dont elles conditionnent l’écriture (I). Suit logiquement l’étude des représentations du métier d’auteur dans l’œuvre, c’est-à-dire du discours par lequel le poète se met en scène en tant qu’auteur ; celle-ci comprend ainsi l’analyse de la signature marotique ainsi que des choix lexicaux et métaphoriques qui caractérisent le regard que le poète pose sur son activité (II). Marot faisant partie des premiers écrivains à s’impliquer fortement dans le processus d’impression, la troisième partie est consacrée à l’enquête bibliographique qui s’intéresse à la totalité des éditions marotiques autorisées : elle en présente les différents acteurs et propose une description matérielle des ouvrages, afin de reconstituer l’histoire de leur fabrication et de déterminer la mesure de la collaboration du poète (III). Les conclusions de l’enquête sont exploitées dans la dernière partie pour mettre en évidence le sens du projet poétique et éditorial des recueils considérés. L’étude de leur ordonnancement en est la clé principale, Marot s’emparant du critère de l’organisation pour se réapproprier une œuvre qui lui échappe en raison même de son succès, et faire finalement de la presse un instrument essentiel pour réaliser ses intentions (IV). / This study offers to show how Clément Marot conceived of his role as an author. For this purpose, it begins with a synthetic and critical narrative of the poet’s career, from the first appointments, under the patronage of Nicolas de Neufville or (maybe) Queen Claude de France, to the service of Francis I, so as to bring to light the constraints of the office and the way they influenced his writing process (I). The study then explores the representations of the author’s work in the text, i.e. the way the poet portrays himself as an author; it includes the analysis of Marot’s signature and of the lexical and metaphorical choices which define the way the poet looks at his own activity (II). Because Marot is one of the first writers to get fully involved in the printing process, the third part is devoted to a bibliographical inquiry dealing with all the authorized editions of Marot’s works: it presents the various actors involved and offers a material description of the books, in order to reconstruct the story of their making and to determine the extent of the poet’s collaboration in the process of their production (III). The findings of the inquiry are used in the last part to highlight the import of Marot’s poetical and editorial project. To this end, the study of the books’ dispositio provides the main key, as Marot uses it to reclaim a work that eludes him because of its very success, managing to turn the printing press into an instrument at the service of his auctorial intentions (IV).

Cette thèse se propose d’étudier comment, entre 1527 et 1555, l’affermissement de l’épître en vers à l’intérieur du champ poétique s’est produit par une diminution paradoxale de son statut, depuis le prestige de l’héroïde ovidienne jusqu’à la forme modeste et familière dépréciée par Du Bellay dans la Deffence et Illustration de la langue Françoise (1549). Lieux de construction d’une figure auctoriale affirmée, les recueils d’auteur ont constitué le medium privilégié de cette « personnalisation » du genre épistolaire. Dans une première partie, une analyse diachronique révèle qu’aux balbutiements imprimés de l’épître personnelle (1527-1532) succède une période d’hégémonie éditoriale du modèle familier (1532-1549), avant que la diffusion imprimée de l’épître ne soit corrélée à la défense d’une poétique « marotique » (1549-1555). La deuxième partie examine les représentations de l’épître personnelle à l’intérieur du corpus : celle-ci s’affirme en exhibant sa modestie, que ce soit par la revendication d’un intertexte récent, par l’élaboration d’un decorum soulignant la marginalité du poète ou par la mise en œuvre d’une poétique du sermo. La troisième partie articule les approches matérielle et poétique pour monter comment la dispositio des sections épistolaires donne à voir le surgissement d’une familiarité débordant les principes de composition chronologiques et hiérarchiques, en même temps qu’elle exprime la singularité de cette nouvelle poétique épistolaire. / This dissertation offers to uncover how, between 1527 and 1555, the establishment of the French verse epistle as a poetic genre paradoxically happened through a diminishing of its status, from the prestigious Ovidian héroïde to the “low” familiar type criticized by Du Bellay in his Deffence et Illustration de la langue Françoise (1549). It argues that the marotique-type printed collections, which are built around the assertion of a strong auctorial figure, played a great part in this transformation, as they proved to be a designated supporting medium for the “personalization” of the epistle. The first part of this thesis analyzes from a diachronic perspective the interplay between the poetic establishment of the genre and its anthologization: this led to the singling out of a first period in which poets explored the genre through the debuting medium of the recueil d’auteur (1527-1532), a second period that consecrated the printed familiar epistle (1532-1549) and a third period during which epistles’ authors redefined the genre in order to challenge Du Bellay (1549-1555). The next part investigates the way printed epistolary collections reflect a specific image of the genre, which asserts itself by highlighting its own modest status, whether this means hiding its Horatian background, emphasizing the humble social status of the poet or elaborating a decorum that revolves around marginality. Finally, a third part analyzes the dispositio of several emblematic epistolary collections, arguing that the order through which the epistles were displayed was orientating the readers’ reception of the genre as well as expressing the singularity of the epistolary poetics elaborated by our authors.

Mediante el concepto de “geografía cultural”, una vez sometido a maduración crítica, la presente investigación se propone reconstruir disposicionalmente la imagen del Sureste español, atendiendo con preferencia a su fenomenografía y tomando como referente constante el habla, sobre todo a través del léxico, la unidad “palabra”. La investigación se organiza en cuatro partes. La primera, relativa a la base del territorio histórico así como a los conceptos fundamentales de la lengua y el habla; la segunda parte relativa a la extensión y a las fronteras del habla del Sureste; la tercera está dedicada a las variedades comarcales, que configuran el núcleo del habla murciana; y una cuarta y última parte aplicada a la especialización de la lengua literaria del dialecto murciano, que reúne tanto tradición popular como elaboración técnicamente culta.

O presente trabalho tem por objetivo, inicialmente, investigar os modos como Horácio organiza seus poemas e livros e como faz a passagem de um poema a outro, buscando seus antecedentes, seja na poesia grega, seja na latina. Concentra-se, depois, no livro de Epodos, que apresenta duas partes muito claras: a primeira do epod. 1 ao 10 e a segunda do epod. 11 ao 17. Tal divisão é a base da tese que se propõe a distinguir iambo de epodo na obra invectiva de Horácio, que se serviu não só dos modelos gregos, arcaicos e helenísticos, mas também de modelo latino. Do estudo que se fez decorrem alguns critérios da tradução proposta em verso: é a primeira tradução poética em português de todo livro dos Epodos. Recolhem-se, por fim, todas as traduções poéticas em português que foram encontradas, apresentadas por pequena introdução. / The initial objective of the present work is to investigate how Horace organizes his poems and books and how he operates the transition from one poem to the next. In order to accomplish that, his predecessors both in Greek as in Latin poetry were studied. Subsequently, it focuses on the Book of Epodes, which can be clearly be divided into two parts: the first, from epod. 1 to 10, and the second from epod. 11 to 17. Such division is the basis of this thesis, which proposes a distinction between iambus and epodes in Horaces invective work. Horace made use not only of Archaic Greek and Hellenistic but also of Latin models. From this study, some criteria for the proposed translation in verse were derived: this is the first poetic translation into Portuguese of the whole Book of Epodes. Finally, all the poetic translations into Portuguese that could be found were gathered and they are preceded by a brief introduction.

O presente trabalho tem por objetivo, inicialmente, investigar os modos como Horácio organiza seus poemas e livros e como faz a passagem de um poema a outro, buscando seus antecedentes, seja na poesia grega, seja na latina. Concentra-se, depois, no livro de Epodos, que apresenta duas partes muito claras: a primeira do epod. 1 ao 10 e a segunda do epod. 11 ao 17. Tal divisão é a base da tese que se propõe a distinguir iambo de epodo na obra invectiva de Horácio, que se serviu não só dos modelos gregos, arcaicos e helenísticos, mas também de modelo latino. Do estudo que se fez decorrem alguns critérios da tradução proposta em verso: é a primeira tradução poética em português de todo livro dos Epodos. Recolhem-se, por fim, todas as traduções poéticas em português que foram encontradas, apresentadas por pequena introdução. / The initial objective of the present work is to investigate how Horace organizes his poems and books and how he operates the transition from one poem to the next. In order to accomplish that, his predecessors both in Greek as in Latin poetry were studied. Subsequently, it focuses on the Book of Epodes, which can be clearly be divided into two parts: the first, from epod. 1 to 10, and the second from epod. 11 to 17. Such division is the basis of this thesis, which proposes a distinction between iambus and epodes in Horaces invective work. Horace made use not only of Archaic Greek and Hellenistic but also of Latin models. From this study, some criteria for the proposed translation in verse were derived: this is the first poetic translation into Portuguese of the whole Book of Epodes. Finally, all the poetic translations into Portuguese that could be found were gathered and they are preceded by a brief introduction.

Syftet med undersökningen är att analysera och jämföra Carl XVI Gustafs och Stefan Löfvens tal till nationen angående covid-19 pandemin. De retoriska dragen jag har valt att grunda min undersökning på är ethos, pathos och logos, dispositio samt topikerna kausalitet och definition. De retoriska medlen används för att visa hur de används i en retorisk krissituation och vilka likheter eller skillnader det finns mellan talarna.            Resultatet visar att både Löfven och Carl Gustaf samspelar med ethos, pathos och logos. Skillnaden på dispositionen mellan talarna är att Löfven avviker från Renbergs standardposition medan Carl Gustaf följer den. Definitions- och kausalitetstopiker används av båda talare för att framställa logos och pathos och beskriva orsak och konsekvenser samt definiera vad de egentligen pratar om.            Slutsatsen utifrån resultatet visar att Löfven använder sig mest av pathos och logos medan Carl Gustaf fokuserar mest på ethos och pathos. Undersökningen visar att båda talare använder topiker men att defintionstopiker förekommer oftare än kausalitetstopiker i talen. I dispositionen använder både Löfven och Carl Gustaf två argument tillsammans med ett motargument.

Abstract This dissertation contributes to the research on behavioral biases among individual investors by demonstrating how investors increase their portfolio volatility, i.e., risk, following favorable outcomes. This work also shows the influence of the first investment on subsequent risk-taking preferences. It also shows how stock prices, through unrealized capital gains, create an evident momentum effect following both bull and bear markets. The work is quite new because house money, quasi-hedonic editing rules and mental accounting are not frequently used in the financial literature. The data used are from the Finnish Central Securities Depository (FCSD), which is unique in the financial research literature. The results of the first essay indicate that individual investors purchase stocks that increase portfolio risk or volatility after a period of negative market returns. These results propose that investors attribute these returns to themselves. Therefore, they are supporting a self-attribution bias. Ergo, investors gamble with their winnings over the next investment session. This behavior is consistent with the house money effect, which has not been before analyzed in the background of the stock market. Inexperienced investors are particularly prone to this effect. The second essay investigates the effect of the outcome of the first investment on subsequent risk-taking preferences, which has not been previously analyzed in the context of financial markets. The database allows for analyses of new investors making their first stock market investment. The results show that in first or subsequent investments the win effect is stronger. The effect in the first investment situation results in higher volatility. Therefore, the result suggests that realized money is more likely to be risked in the situation of the first stock than in the situation of the other stocks. The third essay, using a technique not before applied to research regarding momentum asymmetry, shows that deviations from the holdings- or volume-based reference price, i.e., the so-called capital gains overhang, can account for momentum. The results propose that after accounting for the disposition effect, overconfidence and biased self-attribution are not able to explain momentum asymmetry. / Tiivistelmä Väitöskirja edistää yksittäisten sijoittajien käyttäytymishäiriöitä koskevaa tutkimusta osoittamalla, kuinka sijoittajat lisäävät salkun riskiä myönteisten tulosten jälkeen. Väitöskirja osoittaa myös, kuinka sijoittajat lisäävät salkun riskisyyttä ensimmäistä investointia myöhemmille riskinottopäätöksille. Se esittää myös, kuinka realisoitumattomat myyntivoitot aiheuttavat ilmeisen momentum-vaikutuksen, sekä nousevilla että laskevilla markkinoilla. Teos on melko uusi, koska talon rahoilla pelaamista, lähes-hedonisia muokkaussääntöjä ja henkistä kirjanpitoa ei käytetä kovin paljon talouskirjallisuudessa. Käytetyt tiedot ovat Rahoitustutkimuksen ainutlaatuinen Suomen Arvopaperikeskus (FCSD) aineisto. Ensimmäisessä esseessä, kun sijoittajat ovat saavuttaneet tuottoja negatiivisten markkinatuottojen jälkeen, he ostavat osakkeita, jotka lisäävät salkun riskisyyttä. Nämä tulokset viittaavat siihen, että sijoittajat määrittävät nämä tuotot itselleen. Siksi he tukevat itsemääräämisoikeutta, joten sijoittajat pelaavat voitoillaan seuraavan sijoituskauden aikana. Käyttäytyminen on yhdenmukainen talon rahan vaikutuksen kanssa. Vaikutus, jota ei ole aiemmin analysoitu osakemarkkinoiden yhteydessä. Kokemattomat sijoittajat ovat erityisen alttiita tästä vaikutuksesta. Toinen essee tutkii ensimmäisen investoinnin tuloksen vaikutusta myöhempään riskinottopäätökseen. Sitä ei ole aiemmin analysoitu rahoitusmarkkinoiden yhteydessä. Tietokannan avulla analysoidaan uusia sijoittajia, jotka tekevät ensimmäisen pörssi-investoinninsa. Tulokset osoittavat, että kummassakin tapauksessa, ensimmäiset tai toiset voitot, voittoefektit ovat voimakkaammat kuin voitto-dummy ja ensimmäisellä tasolla olevat voitot antavat suuremman vaikutuksen riskisyyteen. Kiinnostavaa on se, että tulo, joka kertoo, onko realisoitunut raha todennäköisemmin riski ensimmäisessä osakkeessa, on suurempi kuin riski muissa osakkeissa. Kolmas essee käyttää menetelmää, jota ei ole aikaisemmin käytetty momentum-symmetrian tutkimukseen. Tämä tutkimus osoittaa, että poikkeamat volyymi- tai omistukseen perustuvasta viitehinnasta, eli ns. myyntivoiton ylitys, voivat selittää momentumia. Tulokset viittaavat siihen, että disposition ja liiallisen itseluottamuksen ja harhaisen itse-attribuution jälkeen ei voida suurella todennäköisyydellä selittää momentumin epäsymmetriaa.

Text in Afrikaans / Hoewel die retorika bykans 26 eeue oud is, word die relevansie daarvan vir ons eie tyd toenemend besef - as 'n sleutel tot die wyse waarop mense dinkargumenteer en oorreed. Hierdie studie ondersoek retoriese (oorredende) strategiee in Afrikaanse historiese romantekste, binne 'n historiese konteks en teen die agtergrond van eietydse historiografiese insigte. Die aspekte van die kommunikasiesituasie wat saamhang met die retorika, word verbind met die vernuwende denke daaroor binne die hedendaagse literatuurteorie en historiografie. Die konteks van die outeur en roman word telkens bestudeer, gevolg deur 'n retoriese analise. Aristoteles se idees oor die retorika kry hierby voorrang, vanwee sy nadruk op die inventio of vinding, maar die retorika word eerder geassosieer met 'n dinamiese metode as met rigiede kategorisering. Aandag word veral bestee aan retoriese strategies in S.J. du Toit se Di koningin fan Skeba (1898) en Andre P. Brink se Houd-den-bek (1982), maar ook aan resente historiese romans wat hedendaagse historiografiese en retoriese opvattinge en konvensies ontgin en problematiseer. Beide S.J. du Toit, wat kennelik 'n goeie kennis van die antieke retorika gehad het en Andre P. Brink, met sy romanonderwerp wat aansluit by die geregtelike rede, betree die retoriese terrain op sodanige wyse dat hul romans tipiese produkte van hul eie tyd genoem kan word. Beide die geskiedskrywing en die historiese roman is gemedieerde weergawes, gekenmerk deur 'n subjektiewe seleksie (inventio) van gegewens en die kombinasie daarvan binne eie verbale strukture (dispositio). Dit kan in verband gebring word met nie-tegniese oorredingsmiddele, waar die sender sy informasie van buite kry. Hy gebruik dan sogenaamde empiries-verifieerbare feite as retoriese strategie ten einde 'n waarheids- en I of werklikheidsillusie te skep wat bydra tot die roman se oorredingsskrag. Die keuse vir die skryf van 'n historiese roman, impliseer reeds ook 'n keuse vir die bakens van die geskiedskrywing, maar 'n skeppende skrywer is, anders as 'n historikus, eties vry om nie-tegniese bewysmiddele te transformeer tot tegniese bewysmiddele, in aanpassing by 'n nuutgeskepte argumentatio en 'n eie causa. Na aanleiding van die tekste kom die ontvanger op sy beurt tot 'n eie seleksie en skep sy eie kousale en argumentatiewe strukture / While rhetoric has been part of the history of mankind for nearly 26 centuries, it is increasingly regarded as extremely relevant for our time - as a key to the way in which people think, argue and persuade. This study investigates rhetorical (persuasive) strategies in Afrikaans historical novels. The novels and their authors are first situated in their historical contexts and against the background of contemporary historiographical inquiry, and then analyzed by means of rhetorical concepts. Aspects of communication, which coincide with rhetorical categories, are combined with recent developments in the field of literary theory and historiography. Aristotle's views on persuasion and rhetoric are used as point of departure, but rhetoric is regarded as a dynamic method rather than a rigid categorization. Attention is given to rhetorical strategies in the novel Di konlngin fan Skeba [The queen of Sheba] by S.J. du Toit (1898) and Andre P. Brink's Houd-denbek [translated into English by the author as A chain of voices], but also to recent Afrikaans historical novels which exploit contemporary historiographical and rhetorical conventions. In S.J. du Toit's novel (which illustrates his knowledge of ancient rhetoric) as well as Andre P. Brink's (where the topic can be linked to litigation) rhetorical strategies are employed in such a manner that their texts can be regarded as products of their historical contexts. Both historiography and historical novels are mediated representations, characterized by a subjective selection (inventio) of data and its combination in verbal structures (dispositio). This can be related to 'extrinsic' or 'inartificial' proofs, which are not contrived by the author. The author exploits the so-called empirically verifiable facts as rhetorical strategies to create an illusion of truth or verisimilitude, which greatly contributes to the persuasiveness of the novel. The decision to write a historical novel implies a choice to keep to the historical 'facts', but the writer, in contrast to the historiographer, is ethically free to transform the inartificial proofs into artificial proofs, in combination with his own invented argumentatio and causa. Prompted by these texts the reader, in his turn, makes his own selection and creates his own causal and argumentative structures / Afrikaans & Theory of Literature / D. Litt. et Phil. (Afrikaans)