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Taking its cue from Stanley Cavell's framing of Romanticism as a 'quest of the ordinary', this essay revisits the amplification of the category of the ordinary in the English literature of the Romantic era. Focusing on a specific genre, the preface to poetry, it examines the construction of poetry as a special case of that category in three Romantic prefaces: Wordsworth's 'Preface' to Lyrical Ballads (1800) Hazlitt's prefatory lecture 'On Poetry in General' in his Lectures on the English Poets (1818) and Shelley's 'Preface' to Prometheus Unbound (1820). By tracing and comparing the conceptual bases of these prefaces, it attempts to nuance and discriminate their differing versions of ordinariness. Variations notwithstanding, the reciprocal characterisation of poetry and ordinariness, at the heart of the poetics of three major Romantic writers, is shown to be fundamental also to their arguments for agency and their resistance to what Cavell calls 'the drive to the inhuman'. [ABSTRACT FROM AUTHOR]

1.Introduction Human thought is rooted in systematic principles and structures, essential not only for intellectual and scientific accomplishments, but also for a more enriching human life. The existing social system, the order in interactions among people, and the development of various sciences are all outcomes of these structures. Another instance of these structures can be found in works of art, especially in literature. Literature, as the most visible layer of thought, has a high capacity to reveal those hidden structures. From this, we can propose the notion that every literary text operates within a discernible framework and structure. In essence, even the most seemingly unstructured literary works are purposefully situated within an underlying structure. This issue can be recovered both in Classical and modern works. Literary works throughout old and modern history consistently follow a format that includes a preface, body, and conclusion. Such a process is also established in modern narratives, and it is expressed in three structures: Begining, Climax, and Ending. Newer narratives may seem confusing, but they shape the text to fit narrative needs and ideological principles. It is worth noting that the macrostructure consists of structures that can also be divided into microstructures. The microstructures serve as the foundational elements for the triple structures, which ultimately determine the overall structure of the literary work. The upcoming research will concentrate on examining the role of prefaces as an essential component within a systematic whole. This presents an opportunity to shed light on the underlying structure of prefaces in classical Persian prose works. Methodology A descriptive and analytical approach is used to align with the qualitative nature of the research. Within this framework, the focus will be on the general definition of structural thinking rather than a specific theory. At data collection level, the historical approach will be used. In order to achieve accurate results in the study, the Quota Sample has been implemented, taking into account the multitude of prefaces that existed in the classical Iranian Literature. The researchers have submitted five Classical Prose works: Kalla wa-Dimna, Gulistan, Asrar al-Tawhid, Tarikh-e-Jahangushay, and KTmaye-Saadat. Prefaces from a variety of fields have been chosen, including history, scholarship, ethics, and education, to showcase the attributes of theoretical receptivity discussed in the study.. Discussion There is a structure in the prefaces of Persian classical prose works that have managed to remain sustainable despite various historical and social developments. Here we point to three sections of this structure: praise to God, political issues, and motivational factors. All the authors began their work with the praise of God. They praise God for his various attributes. A part of these praises is enumerating various attributes of God. These attributes are selected according to the general content of the work, the author's introverted or extroverted attitude, social conditions and other factors. Abu'l-Ma'ali Nasrollah effectively generates polarization by pitting two distinct groups, "allies" and "enemies," against each other. This creates a dual dynamic that is prevalent in his political discourse. The authors in other parts of the prefaces have paid attention to politics and institutions of power. In other words, in a hierarchical movement, while moving from top to bottom, the authors have moved towards the institution of power as a link between heaven (God and religion) and earth (politics and society). Such an approach, on the one hand, is the result of trying to give legitimacy to the rulers, and on the other hand, trying to immortalize their works by presenting them to the officials. Also, the authors of the Prefaces have paid attention to the motivation factors. Their motivation to write the works is either human or spiritual. Human factors are classified into three categories: First: The group is of lower status than the author, and is evident in the didactic, mystic, or moral prefaces. Second: The author and his friends are equal, which exists in the Preface of Sa'di's Gulistan. Third: Owners of political power, such as the king or the minister, constitute another group of motivation factors. They are in a higher status than the authors. This can be observed in: Kalla wa-Dimna. 4. Conclusion Persian prose works demonstrate a threefold structure, comprised of a Preface, a substantial body, and a conclusion. However, prefaces, as part of this three-part structure, can have a specific and tangible structure. This research shows that the prefaces of various classical Persian prose works, including five under study, follow a similar structured pattern despite differences in genre. There are some variations in the components, but the overall macrostructure remains the same. They are limited or expanded according to the author's mental postures, the perspective of the work and some other metatextual or intertextual factors. The mentioned structural pattern is composed of nine elements, which can be generalized in other Persian prose works. These nine elements have acted as a guiding force for authors in the creation of their works prefaces. From a more structuralist perspective, the constructions of prefaces can be summarized in three macrostructures titled "other", "self", "other". On the other hand, the existence of a single structure that is hidden in the prefaces of Persian prose texts means that the author of the prose text was faced with a limited and predetermined framework in writing the preface, and he had to perform artistic and literary innovation within this assumed framework. find, an issue that, while challenging the literary abilities of the authors, reveals the extent of their artistic ability and literary innovation within a framework. [ABSTRACT FROM AUTHOR]

The article examines the historical context of writing and the thematic and stylistic features of the prefaces dedicated to the patrons of Arabic Christian printing in the Middle East, namely the prince of Wallachia Constantin Brâncoveanu and the Ukrainian hetman Ivan Mazepa. These prefaces are contained in the first old prints in Arabic script which were published in Wallachia (the 1701 Liturgikon and the 1702 Horologion) and in Aleppo (the 1706 Psalter and the 1708 Tetraevangelion). The inclusion of accompanying texts of this kind to the books was due, firstly, to the European tradition of those times, and secondly, to the sincere gratitude of Syrian Christians for the material support that the Church of Antioch desperately needed. Mazepa's financial assistance came at a time when the newly created Aleppo printing press was on the verge of ceasing its activities due to lack of funds. The hetman allocated six thousand gold pieces, which made it possible to print several more books before the printing press ceased to function after 1711. The prefaces in honor of both patrons were signed by the former patriarch of Antioch (at that time metropolitan of Aleppo) Athanasios III Dabbās, the initiator of Arabic printing in the East. In addressing his benefactors, the author resorts to the genre of panegyric, closely intertwined with the sermon, which brings the texts of the analyzed prefaces closer to the style of baroque sermon that was widespread in Europe at the time. The texts contain many quotations from Scripture, allusions to biblical images and events and historical figures. The leitmotif of the panegyric is the theme of alms, in the context of patrons' donations to Arabic printing. By using such stylistic devices as metaphor, simile, antithesis, and parallelism, the virtues of the benefactors are praised, and they are compared to biblical characters, apostles, and saints. The publication offers a Ukrainian translation of the first preface from the Bucharest Horologion (1702) and the Aleppo Psalter (1706) dedicated to Constantin Brâncoveanu, as well as the preface in honor of Ivan Mazepa from the Aleppo Tetraevangelion (1708), known in historiography as the "Mazepa's Gospel". [ABSTRACT FROM AUTHOR]

Copyright of Alsun Beni-suef International Journal of Linguistics, Translation & Literature / Mağallaẗ Kulliyyaẗ Alsun Banī Swaīf Al-Dawliyyaẗ Li Luġawīyāt wa Al-Tarğamaẗ wa Al-Adab is the property of Beni Suef University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article, I aim to challenge previous interpretations of the phrase inscitia rei publicae ut alienae in Tacitus’ Histories 1.1.1, offering a new reading which has been overlooked in Tacitean scholarship. I argue that this phrase reflects Tacitus’ criticism of Augustan historians, who, in distancing themselves from the state, were no longer concerned with state affairs and abandoned historical writing. I trace parallels between Hist. 1.1.1 and Ann. 1.1.2, arguing that both texts refer synchronously to imperial historiography’s decline, which suggests that the inscitia rei publicae ut alienae emerged at the midpoint of Augustus’ reign. The rules that Augustus implemented to enforce the quorum for the senatorial assembly and the penalties imposed for absenteeism in 9 BC offer compelling evidence in support of this interpretation. [ABSTRACT FROM AUTHOR]

Preface for 13.1

Abstract Objective To investigate the mechanism of ultrasound microbubbles (UTMB) promoting stem cells homing to fibrotic liver. Methods Bone marrow derived mesenchymal stem cells (BMSCs) were divided into 5 groups with or without ultrasound microbubbles and continuously irradiated with ultrasound conditions of frequency 1 MHZ and output power 0.6 W/cm2 for different times, and then injected into a mouse model of liver fibrosis through the tail vein with or without ultrasound microbubbles, with sound intensity. The effect of ultrasound microbubbles on MSC expression of CXC chemokine receptor 4 (CXCR4) and homing fibrotic liver was evaluated by flow cytometry (FCM), western blot (WB) and immunohistochemistry (IHC) analysis. Results The level of CXCR4 expression was significantly higher in the ultrasound microbubble group than in the non-intervention group (P

This is a prognostic report by the Japanese Breast Cancer Society on breast cancer extracted from the National Clinical Database-Breast Cancer Registry of Japan. Here, we present a summary of 457,878 breast cancer cases registered between 2004 and 2016. The median follow-up duration was 5.6 years. The median age at the start of treatment was 59 years (5–95%: 38–82 years) and increased from 57 years between 2004 and 2008 to 60 years between 2013 and 2016. The proportion of patients with Stage 0–II disease increased from 74.5% to 78.3%. The number of cases with estrogen and progesterone receptor positivity increased from 74.8% to 77.9% and 60.5% to 68.1%, respectively. Regarding (neo-)adjuvant chemotherapy, the taxane (T) or taxane-cyclophosphamide (C) regimen increased by 2.4% to 8.2%, but the (fluorouracil (F)) adriamycin (A)-C-T/(F) epirubicin (E)C-T and (F)AC/(F)EC regimens decreased by 18.6% to 15.2% and 13.5% to 5.0%, respectively. Regarding (neo-)adjuvant anti-human epidermal growth factor-2 (HER2)-targeted therapy, the use of trastuzumab increased from 4.6% to 10.5%. The rate of sentinel lymph node biopsy increased from 37.1% to 60.7%, while that of axillary dissection decreased from 54.5% to 22.6%. Improvements in disease-free and overall survival were observed in patients with HER2-positive breast cancer, but there was no apparent trend in patients with hormone receptor-positive, HER2-negative, or triple-negative breast cancers. [ABSTRACT FROM AUTHOR]

The authors of the article analyze Stendhal’s novel “The Red and the Black” from the standpoint of intertextuality. The main attention is focused on the paratextuality of the work, that is, on the relationship of the text with the titles, epigraphs, preface and afterword – its frame. The novel has all the elements of a framework: a title complex, a framework text, a division into chapters, parts. The text is structurally divided into two parts and chapters (2 and 75 respectively). The element of the framework is the content at the end of the text (both in the original and in various translations). The authors of the article note that the content is used by Stendhal with a traditional purpose. The elements of the framework text in the novel are "Preface" – "To the reader" (explanation about the time of publication and writing of the work) and "Afterword" – section L, the author's notes related to artistic fiction. It is the "Afterword" that is connected with the genre subtitle of the novel and the main Epigraph, they form the additional frame of the text. The authors pay special attention to the headings – to the main one and to each chapter (71 of 75 chapters are titled). The names of the chapters in Stendhal's novel "The Red and the Black" are diverse in terms of substantive and factual information: they indicate the characters of the work, convey chronotopic information, name the theme, concentrate the main idea of the work, present the plot of the work or name one culminating event, express the author's assessment of the work and its characters, etc. The headingss analyzed, the writer is noted to use various artistic means to nominate the chapters of the novel, which activates the reader's perception, creating a certain obstacle for understanding, and arouses interest: titles-symbols, titles-metaphors, titles-epithets. In such headings, the meaning is reinterpreted, expanded. Besides, extratextual information is used, when the essence of the heading is not only the content of the novel, but its associative connection with other aesthetic objects. In general terms, the authors analyze the epigraphs to both parts of the novel, 71 chapters, and explain the writer's use of "own" and "other people's" quotations in the inscriptions before the text, their linguistic design and functions.

The Soviet regime tended to play a crucial and decisive role in the transformation of people's values. Latvia was subjected to different types of oppression, restriction and control and, as regards translation policy, was dependent on Moscow's position. To grasp the scale of imperative activities – both conspicuously visible and masterfully veiled – taken by the regime authorities to ensure ideological indoctrination of society, institutional, individual and socio-cultural domains are to be examined and analysed. The present work studies, as an indispensable part of the translation policy implemented under the Soviet rule, important external structures of text – interpretation, facts – as represented in forewords and/or afterwords of Latvian publications of Anglophone literature issued in the years of 1953–1964, during the Khrushchev's time, which can be characterised by the acute confrontation in the Cold War. To mould Latvians into New Soviet People – collectivistic, patriotic, loyal to the Communist Party – various channels to address the society were exploited. By applying the postcolonial perspective, culture-historical approach, and comparative method the research focuses on examining the ways the translated literature was manipulatively presented and represented in Soviet Latvia aimed at being included in the narrative of constructing a New Soviet Person. [ABSTRACT FROM AUTHOR]

In this study, the English translation of Kıyı Kitabı (Book of the Edge), a poetry book by Ece Temelkuran is analysed through paratexts, where the translator's and the poet's voices become obvious and a great deal about the translation in terms of both process and a product is revealed. The translator, Deniz Perin, has written a preface, which includes information about the poet, the socio-political context, and translation strategies she used including the close cooperation with the author. It is followed by an interpretation of the poems based on political and spiritual themes. Socio-political focus and gender sensitive translation decisions draw attention, which are in line with Temelkuran's articles and books. In the translation, in addition to the translator's preface, there is also a foreword formed of a poem from the poet in her native language, where the voice of the source text writer is heard apart from the translated text. This can be assumed as a cooperation, contribution and support. In the study, these issues are discussed with a sociological perspective and by tracing the voices in the paratexts the journey of two different texts, two different languages and two different authors to become "one" through translation is examined.

The paper is a narratological study that problematizes the graphic or textual demarcation between the preface to the novel as a secondary text and the novel as a primary text. Methodologically, it draws on the study Thresholds (Seuils, 1987) and attempts to explain Genette’s structural and functional definition of prefaces, especially those that the French structuralist labels as pseudo-editorial, through more recent studies on the frame narrative (e.g. Abbot 2004, Fludernik 2009, Wolf 2006). On one hand, it outlines the possibilities of the above-mentioned structural categories coinciding, while on the other hand it points to the presence of an independent, broader fabula in both the preface and the frame narrative. In particular, it focuses on the problem of the functional image of certain prefaces in the Enlightenment novel, analysing the prefaces to Prévost’s Manon Lescaut and Marivaux’s The Life of Marianne, while taking Cervantes’s Don Quixote as a historical starting point. The chosen examples demonstrate how and why the boundary between the preface and the novel became blurred in the 18th century, a time when the novel as a narrative genre was articulated and established. One of the main, if not the only, functions of the pseudo-editorial preface, which is per definitionem fictional, is to create the impression of authenticity, with the preface-writer most often using the topos of a found manuscript. However, it turns out that its “dramatization” goes beyond the textual boundaries of the preface and continues in the novel itself, proving that the graphic image of the preface as a paratext no longer corresponds to its functional image. Even if we can trace a similar narrative strategy in both Baroque and Enlightenment novels, it is necessary to distinguish between the reasons for it application. Don Quixote is an example of artful, dynamic, “ingenious” composition and parodies the preface as a rhetorical convention. The fictional nature of the Enlightenment novel, however, inevitably rests on an impression of verisimilitude, and consequently the preface, the privileged place where these two characteristics meet, becomes a full-fledged literary component of the narrative work.

The Congregation for the Doctrine of the Faith issued two documents concerning the liturgy of the Latin Church on February 22, 2020. These are general decrees about the liturgy of 1962, previously known as the extraordinary form of the Roman Rite, approved in forma communi by Pope Francis on December 5, 2019. It was the end of the Pontifical Commission Ecclesia Dei’s work which had been erected in 1988. According to these decrees, during liturgical celebrations, it is possible to use seven new prefaces ad libitum and to honor the Saints who have been introduced into the current Calendarium Romanum. The issued decrees are part of the process of mutual enrich­ment between the earlier liturgical tradition and the liturgy introduced after the Second Vatican Council.

In the preface to her 1956 revised edition of The Meaning of Treason, Rebecca West lays out the rationale for the newly reframed volume—already the third distinct version of that work to be published in the UK since the first American publication by Viking in 1947. This preface enacts the process to which I will point in this essay—the way that anticommunist activism takes on an increasing formal dimension in West's writing, altering the balance one sees in her earlier work between the recognition of incompatible narratives and the desire to impose historical meaning. This particular formal shift plays itself out in relation to the mechanics of reputation, the counternarrative, and the media smear, a constellation of journalistic devices to which West, herself a lifelong journalist, became in this period highly sensitized. The stridency of West's anticommunism increased during the mid-1950s along with her sensitivity to the manipulation of reputation—including her own. Always alert for slights and protective of her public image, West found herself during these years repeatedly the subject of 'mendacious misrepresentation' both in response to her anticommunist journalism and, simultaneously, in the 'clotted spite' of her son Anthony's autobiographical novel—campaigns that, it was suggested, might actually be related. West's appropriative reframing of the media in the successive editions of The Meaning of Treason signals the extent to which the mechanisms of modernist celebrity helped determine, in the 1950s, both the representation of communist 'disinformation' and the formal response to it—offering an important precursor to the preemptive anti-media rhetoric of today's political landscape. [ABSTRACT FROM AUTHOR]

Copyright of Turkbilig/Turkoloji Arastirmalari Dergisi is the property of Turkbilig/Turkoloji Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This special issue of Foundations of Physics collects together articles representing some recent new perspectives on the hole argument in the history and philosophy of physics. Our task here is to introduce those new perspectives.

The article attempts to reveal some probable biographical aspects of two artistic and philosophical dialogues of Hryhoriy Skovoroda, written in 1783: Archstrategist Michael’s Struggle with Satan and The Devil’s Controversy with Varsava. The dedication of the first work to Mykhaylo Kovalyns’kyy and the later preface to this dialogue could have been inspired by the family tragedy of the Kovalyns’kyy couple – the death of their young son. It is probably not by chance that H. Skovoroda addressed the theme of the Resurrection three times in the preface, persistently reminding that the death of the body is not the end of human life, but only a rough appearance of the end. Everyone who crosses the threshold of apparent death actually passes to a new life, so the father of the dead son had to believe that in time he would meet his beloved child again, and already forever. The second dialogue is perhaps the most autobiographical in H. Skovoroda’s writings. The lines of both protagonists of this work (Daimon and Varsava) sound like the inner voices of the author of the dialogue. At the same time, according to one of the hypotheses, the prototype of Daimon can be considered not just some abstract force of doubt that was either outside the soul and consciousness of H. Skovoroda, or within his rational understanding of the metaphysics of the universe, but a specific person – Samuyil Myslavs’kyy, a younger friend of H. Skovoroda during the years of study at the Kyiv Mohyla Academy, and later the bishop and head of the Kharkiv College, because of whom, perhaps, the “official” pedagogical career of our philosopher ended forever. In general, the issue of the biographical “fullness” of certain prose works of H. Skovoroda is extremely complex and debatable in Ukrainian literary studies. Perhaps the versions highlighted in the article will somewhat bring the two “heavenly” dialogues of 1783 closer to their “earthly” reader’s perception.

Tranface is a valuable resource for the readers that contains useful information about the translator and translation. It also enables the translator to become more visible and promote his/her status in the society. The present study investigated the status of tranface among Iranian readers. To do so, a questionnaire consisting of 12 questions of both open-ended and closed-ended items was prepared based on Genette’s (1997) definition of the preface/tranface and the importance he considers for both. Furthermore, a semi-interview was set up with the three translation teachers, who were the faculty members of Iranian translation universities, to have a rich discussion and obtain the desired results. As the results indicated, a great majority of the participants either were unfamiliar with tranface or ignored it when reading the book. This alludes to the unsatisfactory position of tranface and its low status among Iranian readers, which unfortunately tranface enjoys it.

Radical orientation in the feminist movement evoked numerous criticisms calling for a more neutral and non-political paradigm toward women. The urge for visibility is a long-established intersection between gender and translation. Paratexts, as elements outside the text proper, have created a promising avenue for redirecting translators’ visibility outside the textual background. This study sets out to investigate how male and female fiction translators employ their prefaces as an opportunity to elaborate on themselves as translators and their profession as a delicate and serious task. One hundred translators’ prefaces in the fictions translated from English into Persian were analyzed using thematic analysis. The contents of translation- and translator-oriented themes reflected female translators' preference for speaking in the first person and asserting more personal accounts, whereas men preferred the third-person point of view and focused mostly on introducing the original authors and their works. The overall results of this study showed that female and male translators were mostly reluctant to talk about their translation process and its possible challenges or delicacies.

Bu makalenin konusu, ülkemizde yazılan Türkçe meallerin yazılış amaçlarını tespit etmektir. Toplumda meallere gösterilen ilgi ve bu meyandaki tartışmalar, bizi böyle bir çalışma yapmaya sevk etmiştir. Bu çalışma sayesinde, meallerde yer verilen giriş, ön söz, sunuş ve takdim gibi yazılarda, yazar/lara ait amaç cümlelerinden hareketle, meallerin ele alınış gayelerini kategorize ederek analizler yapılacak ve hem okuyuculara hem de yeni çalışmalara katkı sağlanacaktır. Ön sözlerde belirtilen gayeler, çoğu defa mealin yazılış metot ve muhtevasına da işaret etmektedir. Bu gaye aynı zamanda kelime ve ayet düzeyinde tercih edilecek anlamı belirlemede de en önemli unsurlardan biridir. Çünkü meal yazarının başta koyduğu amaç, Kur’an’a bakış perspektifini de biçimlendirmektedir. Bu çalışmada Türkçe yazılan yüz elli civarında meale başvurulmuştur. Meal yazımı, bireysel düşüncelerden doğabildiği gibi kimi zaman da toplumsal sebeplere dayanabilmiştir. Birçok meal de ihtiyaç argümanıyla kaleme alınmıştır. Örneğin toplumdaki dini muhtevalı sorunlara çözüm üretmek ve dini bir kültür oluşturmak için Kur’an’ı anlamanın önemli olduğu, bunun için de Kur’an çevirilerine gereksinim duyulduğu, bazı meallerde amaç olarak ön plana çıkmıştır. İhtiyaç odaklı yazılan melaller, muhteva ya da şekil bakımından yenilikleri de beraberinde getireceği şeklinde bir işaret taşımaktadır. Buna göre, bazı meal sahiplerinin günümüz insanına hitap etme, Kur’an’ın mesajının insanlara ulaştırılması misyonu gütme, yaşayan dili yakalama, Kur’an’ın anlamını Arapça bilmeyenlere ulaştırma gibi açılardan bu ihtiyacı karşılamak üzere eserlerini kaleme aldıkları görülür. Bunun yanında, Kur’an metni olmadan sadece Türkçe çeviriyi vermek, Arapça metinle Türkçe anlamı karşılıklı sayfalarda yazmak; birbirleriyle ilişkili olan ayetlere ya da ayetlerin izahı olacak hadislere atıf yapmak; satır arası, renklendirilmiş, dipnotlu ya da parantezli usûl takip etmek, dikkat çekici yazı puntoları ve tasarım kullanma gibi şekilsel olarak da farklı çalışmalar yapılmaktadır. Sonuç olarak, kimi mealler dil ve üslûba, sadelik ve kolay anlaşılırlığa; bazı mealler Kur’an’ın nüzûl dönemindeki anlamına; bazıları Kur’an’ı ana dilde anlamaya ya da ulusçuluk düşüncesini yaygınlaştırmaya; bazıları, ideolojik, meşrebî ya da mezhepçi perspektife; bazıları siret, tarih, bağlam, kronolojik, bilimsel gelişmeler vb. yaklaşımlar şeklinde çeşitlendirilebilecek çerçevelerde Kur’an’ı yorumlamaya odaklanmıştır. Bu çalışmada varılan önemli sonuçlardan biri de meal yazımında kapsayıcı bir metodun geliştirilmesine olan ihtiyacı yeniden vurgulama gereğidir. İlmî kriterleri ve yöntemi baştan belirlenmiş meal çalışmalarının daha nitelikli sonuçlar vereceği bir gerçektir. Bunun yanında ortaya çıkan meal metninin dil, üslûp, şekil ve içerik bakımında da editöryal süreçlerden geçirilmesi kaliteli bir çalışmanın diğer gerekliliğidir.

The preface which initiates textbooks is a significant convention in writing academic textbooks as it introduces the book, explains assumptions, clarifies expectations, and convinces the readers to read on. In the present study, using Martin and White’s (2005) Appraisal framework, ninety textbook prefaces written by both native and nonnative writers, in both hard and soft sciences, were selected and analyzed aiming at exploring writers’ preferences for the type and frequency of appraisal resources. The statistical analysis of the data revealed that the writers plentifully used appraisal resources in the prefaces to express their attitudes, positions, and goals of the inclusion of various sections in the book. Attitude resources, in terms of frequency, are the most frequent, and Engagement elements are the least with Graduation items coming in the middle position. This is quite natural as all academic writing is to express opinions and positions, and prefaces, specifically, are less probable to indicate others’ attitudes and stances, but the authors’ positions and purposes behind the book. Based on the findings, it is concluded that native textbook writers are superior to nonnative writers in terms of communication power, establishing solidarity, and a convincing and forceful voice. The frequency of the subsystem of the main appraisals is also detailed in the article. This study can have implications for textbook writers, teachers, EFL learners, and materials developers.

Copyright of Akofena is the property of Universite Felix Houphouet Boigny and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Warner’s draft of a preface to her novel The True Heart probably dates from the mid-1960s. It includes details about the background and composition of the novel that were not included in the shorter version of this piece that appeared as the preface to the 1978 Virago Press edition of the book.

These two short fragmentary pieces from the Sylvia Townsend Warner and Valentine Ackland Archive in the Dorset History Centre concern Lolly Willowes (1926) and The Fairy-Faith in Celtic Countries by Walter Evans-Wentz. One piece appears to be the unfinished draft of a preface to Lolly Willowes, and the other, the start of a review of a reprint of Evans-Wentz’s book.

In A Familiar Preface to the ‘autobiographical’ volume A Personal Record. Some Reminiscences, Joseph Conrad provides that, in this work, there is no ‘veil’ separating the reader from the author. Despite this declaration, Conrad’s ‘memories’ goes beyond autobiography and you can risk the thesis that all ‘autobiographical’ texts are rather telling – in the idiomatic way – not about a man but cultural contexts, which formed him. Conrad ’s paratexts (the famous preface to The Nigger of the ‘Narcissus’, mentioned A Familiar Preface and Author’s notes written by Conrad for subsequent volumes of his works in the period 1917-1920) make an even greater problem of interpretation. They contain not only the artistic statements, but also a surprising ‘autobiographical’ reference and ‘guidance’ of interpretation – that really explains very little and seem to talk about something else. It is difficult to treat Conrad’s paratexts as autobiographical texts (though they often pretend to be); in turn proposal of seeing in them ‘author function’ in the classic form, indicated by Michel Foucault, also appears to be incomplete, because these paratexts simultaneously create author and his cultural context and literary craftsmanship. It seems, therefore, that Conrad considered his paratexts (especially Author’s notes) as a separate literary genre, in accordance with the instructions of Kierkegaard.

Preface

The paper is a narratological study that problematizes the graphic or textual demarcation between the preface to the novel as a secondary text and the novel as a primary text. Methodologically, it draws on the study Thresholds (Seuils, 1987) and attempts to explain Genette's structural and functional definition of prefaces, especially those that the French structuralist labels as pseudo-editorial, through more recent studies on the frame narrative (e.g. Abbot 2004, Fludernik 2009, Wolf 2006). On one hand, it outlines the possibilities of the above-mentioned structural categories coinciding, while on the other hand it points to the presence of an independent, broader fabula in both the preface and the frame narrative. In particular, it focuses on the problem of the functional image of certain prefaces in the Enlightenment novel, analysing the prefaces to Prévost's Manon Lescaut and Marivaux's The Life of Marianne, while taking Cervantes's Don Quixote as a historical starting point. The chosen examples demonstrate how and why the boundary between the preface and the novel became blurred in the 18th century, a time when the novel as a narrative genre was articulated and established. One of the main, if not the only, functions of the pseudo-editorial preface, which is per definitionem fictional, is to create the impression of authenticity, with the preface-writer most often using the topos of a found manuscript. However, it turns out that its "dramatization" goes beyond the textual boundaries of the preface and continues in the novel itself, proving that the graphic image of the preface as a paratext no longer corresponds to its functional image. Even if we can trace a similar narrative strategy in both Baroque and Enlightenment novels, it is necessary to distinguish between the reasons for it application. Don Quixote is an example of artful, dynamic, "ingenious" composition and parodies the preface as a rhetorical convention. The fictional nature of the Enlightenment novel, however, inevitably rests on an impression of verisimilitude, and consequently the preface, the privileged place where these two characteristics meet, becomes a full-fledged literary component of the narrative work. [ABSTRACT FROM AUTHOR]

These two short fragmentary pieces from the Sylvia Townsend Warner and Valentine Ackland Archive in the Dorset History Centre concern Lolly Willowes (1926) and The Fairy-Faith in Celtic Countries by Walter Evans- Wentz. One piece appears to be the unfinished draft of a preface to Lolly Willowes, and the other, the start of a review of a reprint of Evans-Wentz's book. [ABSTRACT FROM AUTHOR]

Warner's draft of a preface to her novel The True Heart probably dates from the mid-1960s. It includes details about the background and composition of the novel that were not included in the shorter version of this piece that appeared as the preface to the 1978 Virago Press edition of the book. [ABSTRACT FROM AUTHOR]

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This article is devoted to issues in the literary culture of the Polish-Lithuanian Commonwealth of the end of the 17th and the beginning of the 18th centuries. The material of prefaces to an anonymous recipient attached to works of 1675-1739 served as the basis for analysing the statements concerning the process of reception and the act of reading. The results of the analysis indicate that the authors of the prefaces perceived a crisis of readership and interest in books. To this end, they activated the audience for attentive and engaged reading. Moreover, the authors declared that they adapted the form and content of the works to the needs and tastes of readers. Going beyond the traditionally established convention of using topical motifs, they often extolled their offerings in direct, concise but succinct messages, which alludes to the characteristics of advertising language. [ABSTRACT FROM AUTHOR]

In his doctoral thesis, Wiedemann gave the editio princeps of a short medical writing entitled Epistula quod per omnes curas adhibenda sunt dei medicamenta. The article draws attention to the acephalous condition of this Epistula and relates it to the incomplete preface of a late antique medical recipe book called Teraupetica. This preface, in its incomplete form, and the so-called Epistula quod per omnes curas are two membra disiecta of the same text that would have been separated by accident. The unified text constituted the original preface of the Teraupetica, which is now presented for the first time in a complete critical edition, along with its translation into Spanish. [ABSTRACT FROM AUTHOR]

This study is aimed at identifying the pragmatic functions of the preface as a paratext in Chalres Dickens’s David Copperfield. To fulfill this aim, the study adopts an eclectic model combining Searle’s (1979) speech acts, Aristotle’s (2007) rhetorical theory, Levinson’s (1983) person deixis and Hyland’s (1998) reliability hedges. Through the descriptive qualitative approach, the data analysis shows that Dickens employs only three types of speech acts (representative, commissive and expressive), three modes of persuasion (pathos, logos and ethos), the first and third person deixis, and two reliability hedges. The analysis also brings into light that Dickens employs these linguistic tools to gain readers’ interest, sympathy and trust, and reinforce his credibility as an author, narrator and participant in the world of the novel they are about to enter. The results detect that the preface offers a few glimpses about the work in hand, and functions as a perception shaping device. تهدف الدراسة إلى التعرف على الوظائف التداوليّة للمُقدّمة باعتبارها عتبةً نصيّة في رواية دايڤد کوبرفيلد للکاتب تشارلز ديکينز. ومن أجل تحقيق هذا الهدف، تتبنى الدراسة نموذجًا انتقائيًا يجمع بين الأفعال الکلامية (Searle, 1979) والنظرية البلاغية (ِAristotle, 2007) والإشارات الشخصية (Levinson, 1983) وأساليب التحوّط الجديرة بالثقة (Hyland, 1998). وقد أظهر تحليل البيانات الذي تم إجرائه باتباع المنهج النوعيّ الوصفيّ أنّ ديکينز استخدم ثلاثة أنواعٍ فقط من الأفعال الکلامية (التمثيلية والإلزامية والتعبيرية)، وثلاثة أنماطٍ للإقناع (العاطفة والمنطق والأخلاقيات)، وإشارات شخصية بصيغة المُتکلِّم والغائب، واثنين من عبارات التحوّط الجديرة بالثقة. کما أوضح التحليل أنّ ديکينز قام بتوظيف هذه الأدوات اللُغوية لکسب اهتمام القراء وتعاطفهم وثقتهم، ولتعزيز مصداقيته کمؤلِّف وراوٍ ومُشارِک في عالَم الراوية الذي هم على وشک الولوج إليه. وتُشير النتائج إلى أنّ المُقدّمة تعرض بعض اللمحات عن العمل المُتناوَل، وکذلک تعمل کأداةٍ لتشکيل التصوّرات.

The review analysis the main theses contained in the monograph by Lewis Bagby, American slavicist, Professor Emeritus of Russian literature and language at the University of Wyoming, First Words: On Dostoevsky’s Introductions, that researches the functions of prefaces/introductions in Dostoevsky’s literary works. Bagby identifies ten Dostoevsky’s texts (The Village of Stepanchikovo and Its Inhabitants, Notes from the House of the Dead, Winter Notes on Summer Impressions, Notes from the Underground, “Bobok”, The Devils, “The Beggar Boy at Christ’s Christmas Tree”, “The Peasant Marey”, “A Gentle Creature”, and The Brothers Karamazov) and attempts to analyze the introductions using Gérard Genette’s typology. This classification seems ill-suited to the task of describing and studying the introductions in Dostoevsky’s work. The review points out inconsistencies and controversial moments in the book.

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