Esta dissertação examina a construção dos exórdios dos diálogos de Cícero e aponta alguns elementos que entram em sua composição. No exórdio, articulam-se os preceitos do gênero, anunciado como sermo e disputatio; introduz-se a continens oratio como uma das formas de interlocução; ressaltam-se a auctoritas entre as características que o romano deseja ver nas personae que circulam nos diálogos, o otium e as feriae Latinae como circunstâncias adequadas, e o ambiente familiar e agradável no campo como cenário decoroso ao gênero. Verifica-se a conversação preliminar como uma espécie de exórdio da conversação, exercendo papel complementar ao exórdio do diálogo. É parte integrante deste trabalho a tradução em português dos exórdios estudados. / This work examines the construction of the prefaces of Cicero’s dialogues and points some elements which are part of its composition. In preface, genre’s precepts are articulated; genre is announced as sermo and disputatio; the continens oratio is introduced as one way of interlocution; auctoritas is pointed up among features which Romans want to see in personae who circulate in the dialogues. Otium and feriae Latinae are adequate circumstances, and pleasant familiar environment in countryside is suitable set to genre. Preliminary conversation is verified as a preface of conversation, performing a complementary role to preface of dialogue. The translation into Portuguese of the referred prefaces is also obtainable.

With the discourse analysis as framework, this study focuses on the ethos, the representation of the Other and the argumentation in the discourse of religious controversy of the protestant Philippe Duplessis-Mornay. The corpus, which consists of the prefaces of two editions of the Traité de l’eucharistie (1598 and 1604), was subject to a systematic survey of the personal pronouns je, nous, vous as well as references to Duplessis-Mornay’s direct opponents, in a diachronic perspective (the two editions have been compared). The analysis has shown the discursive strategies of Duplessis-Mornay, including a subtle management of the ethos and the relationship with the Other in order to convince the reader. The build-up of an ethos by an interposed author (frequent use of quotations), observed in the edition of 1598, has increased in that of 1604. This edition is also characterized by an ethos of justification which intends to invalidate an unfavourable prediscursive ethos resulting from adverse reactions to the first edition. The ethos of caritas and the authorial ethos are also very present in the discourse of the author in both editions. In his relation to the Other, Duplessis-Mornay uses a strategic approach, alternating nous inclusif and nous exclusif, and referring most often the notion of vous dans l’erreur to authors recognized by Catholics themselves, through quotations. Only direct opponents of the author are stigmatized by their representation in the third person. Duplessis-Mornay’s discourse, in both prefaces, is characterized by a diplomatic and persuasive attitude.

Esta dissertação examina a construção dos exórdios dos diálogos de Cícero e aponta alguns elementos que entram em sua composição. No exórdio, articulam-se os preceitos do gênero, anunciado como sermo e disputatio; introduz-se a continens oratio como uma das formas de interlocução; ressaltam-se a auctoritas entre as características que o romano deseja ver nas personae que circulam nos diálogos, o otium e as feriae Latinae como circunstâncias adequadas, e o ambiente familiar e agradável no campo como cenário decoroso ao gênero. Verifica-se a conversação preliminar como uma espécie de exórdio da conversação, exercendo papel complementar ao exórdio do diálogo. É parte integrante deste trabalho a tradução em português dos exórdios estudados. / This work examines the construction of the prefaces of Cicero’s dialogues and points some elements which are part of its composition. In preface, genre’s precepts are articulated; genre is announced as sermo and disputatio; the continens oratio is introduced as one way of interlocution; auctoritas is pointed up among features which Romans want to see in personae who circulate in the dialogues. Otium and feriae Latinae are adequate circumstances, and pleasant familiar environment in countryside is suitable set to genre. Preliminary conversation is verified as a preface of conversation, performing a complementary role to preface of dialogue. The translation into Portuguese of the referred prefaces is also obtainable.

The thesis deals with prefaces to the works of Friedrich Nietzsche, especially with those he wrote retrospectively. The goal of the thesis is to state what purposes Nietzsche meant to achieve with his prefaces and what literary strategies he used to achieve these purposes. The core assumption of the thesis is that Nietzsche decided to utilize his copyright and used his prefaces as a means to establish himself as an author. My approach is based on 20th century literary theories dealing with the concept of "the author" and on approaching the preface as a self-contained genre. Aside from the various literary strategies Nietzsche used in his prefaces, I will also focus on the work Ecce Homo treating it as one great preface to the whole lifework of Nietzsche. Keywords: Nietzsche, author, reader, authorial strategies, preface, author's posture

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Since its inception in 1984, the IEEE International Conference on Data Engineering (ICDE) has become a premier forum for the exchange and dissemination of data management research results among researchers, users, practitioners, and developers. Continuing this long-standing tradition, the 31st ICDE will be hosted this year in Seoul, South Korea, from April 13 to April 17, 2015. It is our great pleasure to welcome you to ICDE 2015 and to present its proceedings to you.

I denna studie undersöks den känsla av författarnärvaro som präglar Asta Olivia Nordenhofs roman Penge på lommen. Genom att undersöka hur Nordenhofs ethos och persona förhåller sig till bokens berättartekniker, samt hur detta samverkar med berättarpåträngningar, är det möjligt att visa hur författaren, genom en paus i narrativet, förmedlar sin egen röst och sammansmälter sin litterära persona med sitt ethos. Detta resultat kontextualiseras genom att beskriva Nordenhofs litterära samtid i Danmark. Därigenom skapar uppsatsen förståelse för vilka etiska dimensioner som ryms i romanens berättartekniker, i synnerhet blickens ökande och minskande distans till romankaraktärerna. Avslutningsvis diskuteras författarnävaron utifrån blickens etiska aspekter.

A study has been undertaken of the biblical prefaces of Mikael Agricola. All the prefaces are based on those of Luther and/or translations of the same in the Swedish Bible of 1541 (GVB). The New Testament prefaces, like GVB, keep closely to the originals. There are however visual differences — in punctuation, capital letter usage and paragraphing. The literal translation makes the material very suitable for a study of Agricola's use of capital letters and punctuation in comparison with the Lutheran Bible and GVB. The material is too limited for any conclusions to be drawn about the principles underlying paragraphing. Agricola, like Luther (from 1539 onwards) and GVB, sometimes uses capital initial letters in the substantive designations of God and Christ the Holy Spirit the Bible and its books the Church and its sections occupations nationalities Adjectives relating to the above groups may also have capital initials. Personal pronouns relating to God or important persons may also be written with capital initials. Unlike the originals, Agricola's texts may also give prominence to other pronouns than the personal, to verbs, adverbs, numerals and intensifies. The punctuation corresponds partly with present usage: complete clauses are usually separated by punctuation marks. One basic difference is that in Agricola, Luther and GVB breathing pauses for reading aloud are indicated with commas or full stops. As Agricola stressed his utterances differently from his models, it follows that his punctuation differs from theirs. Agricola's prefaces to Old Testament writings are also based on Luther's, but only two of them are direct translations. Agricola's exclusions and additions have been studied. The former include many of the brief descriptions of contents in Luther's prefaces. The additions are interesting; sometimes Agricola does not accept Luther's brief biographical summaries about the authors of various biblical books, and uses instead Hieronymus' prefaces in Vulgata. He also refers to the old Jewish work on the human condition, Seder Olam. Agricola's longest preface, to the Psalms, is very much his own. A few pages are devoted to Agricola's summary of commentaries on the Psalms made by two Fathers of the Church — Augustinus Aurelius and Basilius the Great. Here Agricola makes generous use of the popular stylistic device of the time — amplification, an accumulation of more or less synonymous expressions for the same idea. Even in sentences directly translated from Luther and GVB, Agricola often extends the amplifications. Agricola's four rhyming prefaces are not based on any model at all. They were written in the Germanic doggerel metre, and have much in common with late mediaeval rhyming chronicles. Agricola's often drastic way of expressing himself makes delightful reading. / digitalisering@umu

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In this paper, the objective is to analyze how the function-author notion works in the prefaces of the Dicionário Contemporâneo da Língua Portuguesa (DCA), by Francisco Júlio Caldas Aulete, published between the years 1881 and 1986. In this research, we considered the dictionary as the object of study and the prefaces of eight editions of the DCA as the corpus of analysis, three Portuguese editions -1881, 1925 and 1948 and five Brazilian editions - 1958, 1964, 1974, 1980 and 1986 - in light of the Discourse Analysis theoretical and methodological principles in consonance with the History of Linguistic Ideas, as they both were conceived in France and as they have been developed in Brazil. The interpretation about the prefaces conducted us to two main points to understand how the function-author works. The first point refers to the linguistic colonization/decolonization in Brazil and the second point relates to the establishment of the dictionaries as memory networks. About the first point, the analysis performed led us to realize that the DCA Portuguese editions lay emphasis on the linguistic unit of the Portuguese language, as it searches for the grammaticalization of a single language, Portuguese language, and the Brazilian editions are determined by diversity; we observed that there is, in some cases, the inclusion of brazilianisms and, in other cases, there is the grammaticalization of a language based on the Brazilian patterns. In this process, the function-author notion in the DCA is highlighted since the elaboration of a dictionary aims also at its constitution, formulation and circulation; the function-author works in these relations, because, in the process of sense constitution, there is the interpellation of the individual into subject, the constitution of its historical form-subject and the effects produced by its subject position in discourse; in the formulation process, there is a relation between the discourse and the text, that upgrades the memory in presence, the subject individuation by its function-author; in the circulation, there is the functioning of the enunciation circumstances and the social subjects that assume the function-author in their routes, in different places, whether in Portugal or in Brazil. Furthermore, the dictionaries establishment into memory networks, where a dictionary refers to others already published, also determines the functioning of the function-author notion, as other and new linguistic tools are being constituted and published, other and new are the subject positions. This is due to the different discourses that circulate in society, the different production conditions of these discourses, as well as the way the subject means himself and his own language. / Neste trabalho, temos por objetivo a análise do funcionamento da noção função-autor nos prefácios do Dicionário Contemporâneo da Língua Portuguesa (DCA), de Francisco Júlio Caldas Aulete, publicado entre os anos de 1881 e 1986. Para o desenvolvimento desta pesquisa, tomamos como objeto de estudo o dicionário e como corpus de análise os prefácios das oito edições do DCA, três edições portuguesas 1881, 1925 e 1948 e cinco edições brasileiras 1958, 1964, 1974, 1980 e 1986, sob a luz dos princípios teórico-metodológicos da Análise de Discurso em consonância com a História das Ideias Linguísticas, tal como ambas foram concebidas na França e como vêm sendo desenvolvidas no Brasil. O gesto de interpretação sobre os prefácios nos conduziu a dois pontos primordiais para compreender o funcionamento da função-autor. O primeiro ponto refere-se ao processo de colonização/descolonização linguística no Brasil e, o segundo, à constituição dos dicionários em redes de memória. Sobre o primeiro ponto, as análises realizadas nos levaram a compreender que as edições portuguesas do DCA primam pela unidade linguística do português, pois se procura a gramatização de uma só língua, a língua portuguesa, e as edições brasileiras são determinadas pela diversidade; observamos que há, em alguns casos, a inclusão de brasileirismos e, em outros momentos, a gramatização de uma língua pautada nos moldes brasileiros. Nesse processo, ganha destaque a função-autor no DCA, pois, na medida em que se tem a elaboração de um dicionário, visa-se também a sua constituição, formulação e circulação; é nessas relações que entra em funcionamento a função-autor, pois, no processo de constituição dos sentidos, temos a interpelação do indivíduo em sujeito, a constituição de sua forma-sujeito histórica e os efeitos que produz a partir de sua posição-sujeito no discurso; no processo de formulação, temos a relação do discurso com o texto, que atualiza a memória em presença, a individua(liza)ção do sujeito pela sua função-autor; na circulação, temos o funcionamento das circunstâncias de enunciação e os sujeitos sociais que assumem a função-autor em seus percursos, nos diferentes lugares, seja em Portugal, seja no Brasil. Além disso, a constituição dos dicionários em redes de memória, em que um dicionário remete a outros já publicados, também determina o funcionamento da noção de função-autor, pois, na medida em que outros e novos instrumentos linguísticos vão sendo constituídos e publicados, outras e novas são também as posições de sujeito. Isso se deve aos diferentes discursos em circulação na sociedade, às diferentes condições de produção desses discursos, bem como à forma de o sujeito se significar e significar a sua língua.

OLIVEIRA, Giuliana Plewka. Tutaméia: mímesis ensinada . 2008. 89f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2008. / Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-06-29T13:32:31Z No. of bitstreams: 1 2008_DIS_GPOLIVEIRA.pdf: 578584 bytes, checksum: 074aab6819c926b93314908dfcb16f90 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-23T12:46:32Z (GMT) No. of bitstreams: 1 2008_DIS_GPOLIVEIRA.pdf: 578584 bytes, checksum: 074aab6819c926b93314908dfcb16f90 (MD5) / Made available in DSpace on 2012-07-23T12:46:32Z (GMT). No. of bitstreams: 1 2008_DIS_GPOLIVEIRA.pdf: 578584 bytes, checksum: 074aab6819c926b93314908dfcb16f90 (MD5) Previous issue date: 2008 / O trabalho que desenvolvemos conta com três capítulos. Nele, abordamos como objeto de estudo primeiro os prefácios de Tutaméia- Terceiras Estórias, último livro publicado em vida pelo autor João Guimarães Rosa, enquanto paratextos e também enquanto produção literária. Nossa análise perfaz o caminho que os prefácios tomaram dentro da Literatura Brasileira e como chegaram a ser tratados por muitos autores, inclusive por Guimarães Rosa; como literatura – o que foge à sua definição primeira. Pretendemos com este trabalho, dar uma contribuição aos estudos de Teoria Literária no que tange à questão dos paratextos e, ainda, explorar a linguagem literária de Guimarães Rosa – levada para os prefácios que são literários e ao mesmo tempo compõem uma arte poética acreditada pelo autor, trabalhando também a questão de que o artista se valeu de toda sua erudição, principalmente do conhecimento que tinha de várias línguas para compor sua obra.