Estudo da obra para violão de César Guerra-Peixe, sua importância dentro do repertório violonístico brasileiro, através de análises feitas com base nos textos do compositor. Elaboração do perfil do compositor relacionado a obra violonística com citações e depoimentos de personalidades relevantes. Levantamento do catálogo de obras para violão solo e música de câmara com violão, apresentando dados complementares coletados durante a pesquisa de campo e de informações preservadas pelo próprio autor. Pesquisa de terminologia empregada por Guerra- Peixe compatível com o seu pensamento amadurecido pelas distintas fases criadoras frente ao repertório para violão de cunho didático e de concerto. / The study of Cesar Guerra-Peixe guitar production, its importance among the Brazilian guitar repertory, through analyses done based on the compositor texts. Bibliography elaboration related to his guitar production with quotations and testimonies of relevant personalities. Research of the catalogue of solo and chamber music guitar productions, presenting the complementary data collected during the field research and, mainly, through pieces of information preserved by the author. Research of the terminology applied by Guerra-Peixe or, at least, compatible with his thought, matured by the distinct creative phases having as a perspective the guitar repertory to didactic and concert purpose.

Cette thèse se propose de faire une critique traductologique de la première traduction complète du Divân de Hâfez en français qui, dès sa parution, a suscité admirations et reproches et qui a valu au traducteur, Charles-Henri de Fouchécour, plusieurs prix et titres littéraires. Dans la première partie, intitulée « À la recherche du traducteur », on s’intéresse à C. H. de Fouchécour en tant que chercheur et spécialiste de la littérature classique persane et traducteur du Divân de Hâfez. Dans le premier chapitre, on étudie sa carrière dès ses commencements afin de révéler la manière dont il aborde et conçoit les œuvres persanes. Le deuxième chapitre est consacré au traducteur qu’est C. H. de Fouchécour et on révèle ce qu’il pense de l’acte de traduire (sa position traductive), le projet traductif qu’il a adopté pour traduire l’œuvre de Hâfez et enfin l’horizon traductif, c’est-à-dire la situation de la traduction poétique en France et surtout l’historique de la traduction des poèmes hâféziens en français. La deuxième partie de cette recherche, « La traduction et la poésie », est consacrée au texte à traduire et au texte traduit ; c’est-à-dire que dans le troisième chapitre, on présente une nouvelle lecture de la pensée hâfézienne en prêtant une attention privilégiée à la forme de sa poésie. Dans le quatrième chapitre, après avoir établi une méthode de confrontation tridimensionnelle fondée sur la lecture présentée dans le chapitre précédent, on aborde la confrontation de cinq ghazals hâféziens avec leurs traductions françaises d’A. Guy, G. Lazard et C. H. de Fouchécour. / This thesis intends to offer a “traductological critique” of the first complete translation of the Divan of Hafiz in French, which, upon its publication, aroused both admiration and criticism and earned its translator, Charles-Henri de Fouchécour, several literary awards and titles. In the first part, entitled "In Search of the translator," we focus on C. H. de Fouchécour as a researcher and specialist in classical Persian literature and translator of the Divan of Hafiz. In the first chapter, we examine his career from its beginning, to reveal how he approaches and presents Persian works. The second chapter is devoted to the translator that is C. H. de Fouchécour and reveals how he conceives translation, the specific perspective he adopted to translate the Divan of Hafiz and finally his “horizon traductif”, in other words the situation of the poetic translation in France and especially the history of the translation of Hafiz’s poems in French. The second part of this research, "Translation and poetry", is devoted to the source text and the translated text; that is to say, in the third chapter, we present a new reading of the Hafizian thought, paying a special attention to the form of his poetry. In the fourth chapter, having established a three-dimensional method of comparison, based to the reading presented in the previous chapter, we compare five ghazals of Hafiz with their French translations by A. Guy, G. Lazard and C. H. de Fouchécour.

Lorsque Pierre de Larivey publie ses six premières comédies en 1579, la comédie n'a pas encore répondu totalement aux aspirations des auteurs de la première génération de la Pléiade qui prétendaient enrichir la langue française, combattre le latin et la farce, et exalter la grandeur nationale de la France par l'imitation des texte antiques et italiens qu'ils traduisaient. Malgré les nouveautés proposées, il faudra attendre la seconde génération d'auteurs comiques, parmi lesquels Larivey est le meilleur représentant, pour que la comédie puisse s'imposer et prétendre rivaliser avec le modèle italien, dont elle tire profit, et le genre noble de la tragédie. Le type de réponse apporté, et plus particulièrement le travail effectué par Larivey pour repenser ce genre en devenir, suscite dès lors des interrogations. Par ailleurs, si l'ensemble des neuf pièces de Larivey semble désigner ce traducteur/adaptateur de pièces italiennes comme le principal actant du renouvellement et de l'émancipation de la comédie française à partir de l'apport italien, d'autres italianisants de la même génération, tels Louis Le Jars, François d'Amboise et Odet de Turnèbe, ont également pris part à ce grand projet qui, tout en rénovant le genre comique lui-même, participe de l'évolution et de l'affirmation de la langue française. Notre étude se propose donc, à partir de la lecture du comique d'œuvres publiées fin XVIe-début XVIIe siècle, de déterminer la nature des liens qui unissent ces dramaturges et de mieux comprendre comment la comédie française a pu être renouvelée et mise au service de leurs aspirations les plus nobles et les plus ambitieuses. / Pierre de Larivey published his first six comedies in 1579, before the theatrical comedy had managed to fulfill the aspirations of the first generation of la Pleiade authors – namely, to enrich the French language, to fight Latin and farce, and to exalt the greatness of the French nation by imitating the very Ancient and Italian texts they translated. In spite of the innovations this first generation of authors introduced, it was not until the second generation, among whom Larivey is the best representative, that the comedy was able to come into its own, and to challenge the Italian model, of which it takes advantage, and to rival as well the noble genre of the tragedy. The precise nature of the innovations they introduced, and more specifically the actual work done by Larivey to rethink this evolving genre, both raise profound questions from this point forward. Larivey’s nine plays seem to designate this translator/adaptor of Italian plays as the main agent of the revival and emancipator of the French comedy from its Italian roots. But other Italianates of the same generation, such as Louis le Jars, Francois d’Ambroise, and Odet de Turnèbe, also took part in this ambitious project, which not only revitalized the comic genre, but also contributed to the evolution and affirmation of the French language itself. From the close reading of comic works published from the late sixteenth to the early seventeenth centuries, this study aims to determine the nature of the links between these playwrights, and to understand better how they helped to revitalize the French comedy and to place it at the service of their noblest and most ambitious aspirations.

Esta pesquisa estuda o projeto de canto orfeônico nas escolas públicas paulistas das décadas de 1910 e 1920. Nesta época, os mentores do movimento orfeônico João Gomes Junior, Carlos Alberto Gomes Cardim, Fabiano Lozano, Lázaro Lozano, Honorato Faustino e João Baptista Julião foram pioneiros em trazer essa modalidade de ensino musical para a escola brasileira. Ainda assim, muitos deles foram em grande medida esquecidos ou, ao menos, colocados num segundo plano na história da educação musical. Este projeto de ensino musical buscava civilizar os costumes, favorecer a construção de uma identidade nacional e ensinar uma audição de mundo associada aos padrões da música ocidental moderna erudita. O período abordado é de notável importância para o ensino musical, uma vez que as experiências e postulados aí desenvolvidos representaram a fonte de Villa-Lobos para fazer do canto orfeônico um fenômeno de dimensão nacional no Brasil na década de 1930. / This research studies the Orpheonic Singing project in public schools of São Paulo State in the 1910s and 1920s. At that time, the men who idealized such initiative João Gomes Junior, Carlos Alberto Gomes Cardim, Fabiano Lozano, Lázaro Lozano, Honorato Faustino e João Baptista Julião were pioneers in bringing to Brazilian schools this kind of musical teaching. Despite of that, many of them have been largely forgotten or, at least, have had their role minimized in Brazilian history of music education. This project intended to civilize social customs, with the objective of building national identity, and to teach a point of earring tied to the standards of western erudite music tradition. Musical teaching experiences and axioms of the 1910s and 1920s decades were especially important for they were the main source used by Villa-Lobos to become Orpheonic Singing a national phenomenon in the 1930s in Brazil.

Die Büchersammlung des Göttinger Universitätsprofessors und reformierten Pastors Lüder Kulenkamp (1724-1794) bildet mit über 9.000 Handschriften, Abschriften, Inkunabeln und Drucken ab 1501 die viertgrößte private Gelehrtenbibliothek Göttingens im 18. Jahrhundert. Die Sammlung ist ausschließlich über den 1796 gedruckten Auktionskatalog sowie zwei, mit Käufer- und Preisangaben versehene durchschossene Exemplare dokumentiert. Über inhaltliche Aussagen hinaus, die den hybriden Charakter der Sammlung als Arbeitsinstrument und bibliophile Kollektion zugleich offenlegen, versucht die Arbeit, unter Einbeziehung von Marginalien und handschriftlichen Einträgen Kulenkamps sowie von in Vorlesungen benutzten bzw. in eigenen Publikationen zitierten Titeln, ein Bild des gelehrten Büchersammlers und -lesers an seinem Standort und zu seiner Zeit zu vermitteln. Die durchschossenen Exemplare des Versteigerungskatalogs bilden quellenorientiert die Basis für bibliothekarisch motivierte Käufe seitens der Bodleian Library, der herzoglichen Bibliothek Gotha und der Universitätsbibliothek Göttingen sowie für privat motivierte Käufe seitens Studenten, Buchantiquariaten und akademischen Sammlern, die das Erstellen gesellschaftlicher und individueller Rezeptions- und Leserbiographien ermöglichen. Der in Bibliotheken gelangte Bestand der Büchersammlung wird darüberhinaus im Sinne einer Provenienzaufarbeitung per Autopsie erschlossen. / The private library of the university professor and reformed pastor Lüder Kulenkamp (1724-1794) forms with over 9.000 manuscripts, transcripts, incunables and printed books the fourth largest private book collection in Göttingen during the eighteenth century. The collection is documented by an auction catalogue printed in 1796, of which two interfoliated copies have been located that provide useful information about buyers and prices. The dissertation delves into each of the titles within Kulenkamp’s library, while pointing out the hybrid character of the collection, which was both an instrument for teaching and research and the result of the owner’s bibliophilia. A careful consideration of Kulenkamp’s marginalia and handwritten notes, his course announcements and the titles of the books he refers to in his writings provides a lively picture of how an erudite book collector and reader might have looked like in his place and time. The interfoliated exemplars of the auction catalogue were the basis for Kulenkamp’s books being the subject of library acquisitions that were decided for at the Bodleian Library, the Herzogliche Bibliothek Gotha and the Universitätsbibliothek Göttingen as well as for private acquisitions by students, book antiquarians and academic collectors. They are of great interest for the development of public and private book circulation and the shaping of readers’ biographies. In compliance with the requirements of provenance-research, all books of the collection of which we know they had been acquired by public libraries have been looked into by autopsy.

[pt] Esta pesquisa tem como objetivo realizar um estudo acerca das fronteiras entre o Campo do Design, o Campo da Arte e o Campo do Artesanato. Compreendemos que ambos se encontram por serem percebidos hegemonicamente como profissões resultantes de uma prática criativa, e desse modo analisaremos quais as semelhanças e distinções entre os produtos ou mercadorias que circulam entre n ó s e como são legitimados para o consumo. Com base no que se entende hoje por criatividade, conduziremos uma argumentação pautada na figura do artista e na construção histórica da crença do gênio criativo e autônomo. Em uma sociedade cuja a estrutura fundamental de consumo é capitalista, desejamos localizar a inserção do artista, do designer e do artesão neste cenário comercial. Analisaremos também o que é tido como cultura erudita e cultura popular, em razão de que essas noções estão intimamente conectadas com as práticas profissionais em questão. Do mesmo modo, examinaremos o valor de uso e o valor de troca simbólica do s objetos, entre o público consumidor e nos espaços destinados a venda e a exposição das obras de arte, das peças de artesanato e dos objetos de design. Esta pesquisa se desenvolve em um contexto brasileiro e apresentaremos uma investigação empírica realizada com artesãos, artistas e designers nos estados de Pernambuco, Paraíba e Alagoa. Enfim, desejamos verificar como se constituem as diferenciações simbólicas destes objetos tidos como especiais em relação aos demais, e como podemos estabelecer classificações que possam distinguir cada campo específico e os profissionais que neles atuam. / [en] This project analyzes the boundaries between the Field of Design, the Field of Art, and the Field of Handicrafts. We understand that each is hegemonically perceived as a profession resulting from a creative practice and we will analyze the similarities and differences between the products or goods circulating among us and how they are legitimized for consumption. Based on what is known today about creativity, we will lead an argument based on the role of the artist and the historical construction of the creative and autonomous genius. In a society whose fundamental structure of consumption is capitalist, we aim to locate the insertion of the artist, designer, and artisan in this commercial setting. We will also analyze what is considered erudite culture and popular culture as these concepts are closely connected to the professional practices in question. Similarly, we will examine the value of use and the value of symbolic exchange of objects within the consumer public a nd the spaces intended for selling and exhibiting the works of art, handicrafts, and design objects. The research focuses on the Brazilian context as we will present an empirical investigation conducted with artisans, artists, and designers in the states of Pernambuco, Paraíba and Alagoa. Finally, we aim to verify how the symbolic differentiation of these objects is considered special compared to others and how we can establish classifications that can distinguish each field and the professionals who work w ithin them.

Made available in DSpace on 2016-04-25T20:20:46Z (GMT). No. of bitstreams: 1 Arlete Fonseca de Andrade.pdf: 3808359 bytes, checksum: fc9f03750c109e884cd87527a55b7d29 (MD5) Previous issue date: 2012-08-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research refers to the artistic and cultural production of Cornelius Pires (1884-1958) and the historical context of the country from the effects of colonization in the socio-economic and cultural, the presence of different ethnic groups and their inter-relations that have contributed to the formation of the regional culture paulista, the rustic. This background is relevant in the light of the stigmas attached to the rustics in view of "poverty" of São Paulo and its inhabitants by the end of the nineteenth century compared to other national locations and the downside of these distorted views with the resumption of popular culture on the part of intellectuals and artists by means of movements such as regionalism and the Modernism in search of a possible national identity. The justifications of these questions relate to historical tension that exists between popular culture and erudite culture and in the mediation of these two notions the contribution of laughter, humor as a way to smoothen the communication and insertion of the popular space in hegemonic society. Thus did Cornelius Pires, with his style facing the rural theme plus the humor in its production and penetrated hegemonic spaces allowing communication between the antagonisms present in our society such as: rural and urban, tradition and modernity, popular and erudite / A presente pesquisa refere-se à produção artística e cultural de Cornélio Pires (1884-1958) e ao contexto histórico do país a partir dos efeitos da colonização no campo socioeconômico e cultural, da presença de diferentes etnias e suas inter-relações que contribuíram para a formação da cultura regional paulista, a caipira. Essa contextualização é relevante em função dos estigmas atribuídos ao caipira em vista da pobreza de São Paulo e seus habitantes até fins do século XIX, comparado a outras localidades nacionais e o reverso dessas concepções distorcidas com a retomada da cultura popular por parte de intelectuais e artistas por meio de movimentos como o Regionalismo e o Modernismo, na busca de uma possível identidade nacional. As justificativas dessas questões referem-se à tensão histórica que existe entre cultura popular e cultura erudita e na mediação dessas duas concepções, a contribuição do riso, do humor como forma de suavizar a comunicação e inserção do popular no espaço hegemônico da sociedade. Assim fez Cornélio Pires, com seu estilo voltado para a temática rural acrescido do humor em sua produção, adentrando espaços hegemônicos e possibilitando a comunicação entre os antagonismos presentes em nossa sociedade como: rural e urbano, tradição e modernidade, popular e erudito

Made available in DSpace on 2016-04-26T14:53:43Z (GMT). No. of bitstreams: 1 Arlete Fonseca de Andrade.pdf: 3808359 bytes, checksum: fc9f03750c109e884cd87527a55b7d29 (MD5) Previous issue date: 2012-08-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research refers to the artistic and cultural production of Cornelius Pires (1884-1958) and the historical context of the country from the effects of colonization in the socio-economic and cultural, the presence of different ethnic groups and their inter-relations that have contributed to the formation of the regional culture paulista, the rustic. This background is relevant in the light of the stigmas attached to the rustics in view of "poverty" of São Paulo and its inhabitants by the end of the nineteenth century compared to other national locations and the downside of these distorted views with the resumption of popular culture on the part of intellectuals and artists by means of movements such as regionalism and the Modernism in search of a possible national identity. The justifications of these questions relate to historical tension that exists between popular culture and erudite culture and in the mediation of these two notions the contribution of laughter, humor as a way to smoothen the communication and insertion of the popular space in hegemonic society. Thus did Cornelius Pires, with his style facing the rural theme plus the humor in its production and penetrated hegemonic spaces allowing communication between the antagonisms present in our society such as: rural and urban, tradition and modernity, popular and erudite / A presente pesquisa refere-se à produção artística e cultural de Cornélio Pires (1884-1958) e ao contexto histórico do país a partir dos efeitos da colonização no campo socioeconômico e cultural, da presença de diferentes etnias e suas inter-relações que contribuíram para a formação da cultura regional paulista, a caipira. Essa contextualização é relevante em função dos estigmas atribuídos ao caipira em vista da pobreza de São Paulo e seus habitantes até fins do século XIX, comparado a outras localidades nacionais e o reverso dessas concepções distorcidas com a retomada da cultura popular por parte de intelectuais e artistas por meio de movimentos como o Regionalismo e o Modernismo, na busca de uma possível identidade nacional. As justificativas dessas questões referem-se à tensão histórica que existe entre cultura popular e cultura erudita e na mediação dessas duas concepções, a contribuição do riso, do humor como forma de suavizar a comunicação e inserção do popular no espaço hegemônico da sociedade. Assim fez Cornélio Pires, com seu estilo voltado para a temática rural acrescido do humor em sua produção, adentrando espaços hegemônicos e possibilitando a comunicação entre os antagonismos presentes em nossa sociedade como: rural e urbano, tradição e modernidade, popular e erudito

Esta pesquisa estuda o projeto de canto orfeônico nas escolas públicas paulistas das décadas de 1910 e 1920. Nesta época, os mentores do movimento orfeônico João Gomes Junior, Carlos Alberto Gomes Cardim, Fabiano Lozano, Lázaro Lozano, Honorato Faustino e João Baptista Julião foram pioneiros em trazer essa modalidade de ensino musical para a escola brasileira. Ainda assim, muitos deles foram em grande medida esquecidos ou, ao menos, colocados num segundo plano na história da educação musical. Este projeto de ensino musical buscava civilizar os costumes, favorecer a construção de uma identidade nacional e ensinar uma audição de mundo associada aos padrões da música ocidental moderna erudita. O período abordado é de notável importância para o ensino musical, uma vez que as experiências e postulados aí desenvolvidos representaram a fonte de Villa-Lobos para fazer do canto orfeônico um fenômeno de dimensão nacional no Brasil na década de 1930. / This research studies the Orpheonic Singing project in public schools of São Paulo State in the 1910s and 1920s. At that time, the men who idealized such initiative João Gomes Junior, Carlos Alberto Gomes Cardim, Fabiano Lozano, Lázaro Lozano, Honorato Faustino e João Baptista Julião were pioneers in bringing to Brazilian schools this kind of musical teaching. Despite of that, many of them have been largely forgotten or, at least, have had their role minimized in Brazilian history of music education. This project intended to civilize social customs, with the objective of building national identity, and to teach a point of earring tied to the standards of western erudite music tradition. Musical teaching experiences and axioms of the 1910s and 1920s decades were especially important for they were the main source used by Villa-Lobos to become Orpheonic Singing a national phenomenon in the 1930s in Brazil.

Orientador: Clotilde de Almeida Azevedo Murakawa / Banca: Ana Rosa Gomes Cabello / Banca: Braz José Coelho / Banca: Catarina Vaz Rodrigues / Banca: Marymarcia Guedes / Resumo: Pretendeu-se, neste trabalho, analisar a evolução dos significados de alguns sufixos latinos (eruditos) utilizados, em Português arcaico, que apresentam uma contraparte popular. Inicialmente, foram revistos a História, a origem, os períodos e sub-períodos do Português, assim como os textos principais de sua fase arcaica. Em relação aos sufixos, objeto específico deste trabalho, faz-se uma revisão geral, em ordem cronológica ascendente, da literatura existente a esse respeito, tomando-se por base a opinião de alguns eminentes filólogos e gramáticos da História da Língua (Carolina Michäelis de Vasconcelos (1946), José Joaquim Nunes (1989), Manuel de Said Ali (1931 e 1964), Joseph Hüber (1986 [1933]), Theodoro Maurer Jr. (1951), José Leite de Vasconcelos (1959), Sousa da Silveira (1960)), gramáticos normativos (Fernão de Oliveira (1975 [1536]), Júlio Ribeiro (1913 [1881]), João Ribeiro (1926 [1901]), Gladstone Chaves de Melo (1978), Cunha e Cintra (1985), Evanildo Bechara (1999) e lingüistas - estruturalistas / gerativistas - (Joaquim Mattoso Camara Jr. (1979 e 1980), Margarida Basílio (1980 e 2004), Cacilda de Oliveira Camargo (1986), Antônio José Sandmann (1991 e 1992), Valter Khedi (2005), Graça Maria de Oliveira e Silva Rio-Torto (1993 e 2006), Luiz Carlos de Assis Rocha (1998), Alina Villalva (2000), Margarita Correia (2004), Margarita Correia & Lucia San Payo de Lemos (2005) e Soledad Varela Ortega (2005)). A partir de um corpus elaborado por nós, baseado em 20 obras, foram selecionados os seguintes pares de sufixos: -ato x - ado; -ático X -adego; -bil x -vel;-ense x -ês; -ario x -eiro;-(t)orio ~ -(s)orio x -(d)oiro e -(t)ura ~ -(s)ura ~ -(d)ura x -ura. Há sufixos com grande, média e baixa produtividades. Muitos deles vão ganhando, ao longo dos séculos, novos significados; outros, entretanto, mantém aqueles já presentes em Latim. / Abstract: The aim of this thesis is to analyze the development of the meaning of some erudite latin suffixes used in Archaic Portuguese which have a popular counterpart. Firstly, the history, the origin, the periods and subperiods of Brazilian Portuguese have been revised, as well as the main texts of its archaic period. A general review of the literature on suffixes, the specific object of this work, has been done in ascendant chronological order taking as its basis the opinion of some most eminent philologists and grammarians of the History of Language such as (Carolina Michaëlis de Vasconcelos (1946), José Joaquim Nunes (1989), Manuel de Said Ali (1931 and 1964), Joseph Hüber (1986 [1933]), Theodoro Maurer Jr. (1951), José Leite de Vasconcelos (1959), Sousa da Silveira (1960)); normative grammarians such as (Fernão de Oliveira (1975 [1536]), Júlio Ribeiro (1913 [1881]), João Ribeiro (1926 [1901]), Gladstone Chaves de Melo (1978), Cunha & Cintra (1985), Evanildo Bechara (1999); and structuralist/gerativist linguists such as (Joaquim Mattoso Camara Jr. (1979 and 1980), Margarida Basílio (1980 and 2004), Cacilda de Oliveira Camargo (1986), Antônio José Sandmann (1991 and 1992), Valter Khedi (2005), Graça Maria de Oliveira e Silva Rio-Torto (1993 and 2006), Luiz Carlos de Assis Rocha (1998), Alina Villalva (2000), Margarita Correia (2004), Margarita Correia & Lucia San Payo de Lemos (2005) and Soledad Varela Ortega (2005). The following suffix pairs which form the corpus have been selected based on 20 books: -ato x - ado; -ático X -adego; -bil x -vel;-ense x -ês; -ario x -eiro;-(t)orio ~ -(s)orio x -(d)oiro e -(t)ura ~ -(s)ura ~ -(d)ura x -ura. There are suffixes of high, medium and low productivity. Many of them acquire new meanings through the centuries; others, however, maintain the meanings used in Latin. / Résumé: Dans ce travail, on a eu le dessein d' analyser l' évolution des signifiés de quelques suffixes latins (érudits) utilisés en portugais archaïque et qui présentent une contrepartie populaire. D'abord, on a repassé l'Histoire, l'origine, les périodes et les sous-périodes de la Langue Portugaise, ainsi que les textes principaux de la phase archaïque du Portugais. À propos des suffixes - objet spécifique de ce travail - on a fait une révision générale de la littérature existante à ce sujet, suivant l'ordre chronologique ascendante et tout en prenant comme point de départ l'avis de quelques philologues et grammairiens éminents de L'Histoire de la Langue (Carolina Michäelis de Vasconcelos (1946), José Joaquim Nunes (1989), Manuel de Said Ali (1931 e 1964), Joseph Hüber (1986 [1933]), Theodoro Maurer Jr. (1951), José Leite de Vasconcelos (1959), Sousa da Silveira (1960)), des grammariens normatifs (Fernão de Oliveira (1975 [1536]), Júlio Ribeiro (1913 [1881]), João Ribeiro (1926 [1901]), Gladstone Chaves de Melo (1978), Cunha e Cintra (1985), Evanildo Bechara (1999) et des linguistes - structuralistes / générativistes - (Joaquim Mattoso Camara Jr. (1979 et 1980), Margarida Basílio (1980 et 2004), Cacilda de Oliveira Camargo (1986), Antônio José Sandmann (1991 et 1992), Valter Khedi (2005), Graça Maria de Oliveira et Silva Rio-Torto (1993 et 2006), Luiz Carlos de Assis Rocha (1998), Alina Villalva (2000), Margarita Correia (2004), Margarita Correia & Lucia San Payo de Lemos (2005) et Soledad Varela Ortega (2005)). À partir d' un corpus de textes extraits de 20 oeuvres, organisé par nous, les paires de suffixes suivantes ont été sélectionnées: -ato x -ado; -ático X - adego; -bil x -vel;-ense x -ês; -ario x -eiro;-(t)orio ~ -(s)orio x -(d)oiro e - (t)ura ~ -(s)ura ~ -(d)ura x -ura. Il y a des suffixes qui... (Résumé complet accès électronique ci-dessous) / Doutor