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  • Author or Editor: Zoltán Csehy x
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The paper deals with the strategies of using the proper names, intertextuality and allegory in the genre of neolatin bucolic poetry with special regards to Boccaccio’s eclogue Faunus. The study examines the possibilities of using the ancient code as an intertextual necromancy, the position of ego and identity in the poem, the tension between acustic and visual elements. The meaning or association-basis of the given name (mask) has special effect on the enrichment of the poetical imaginary, while the name also influences the context and the global allegorical level of the poem. The poet often uses pseudoetimological, mitological or historical approaches in the levelling of the poem, which is the part of his selfcanonisation strategies, while the genre of eclogue seems to be the mouthpiece of power.

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The study discusses the possibilities of the scholarly processing of Hungarian queer literature. In particular, it takes into account the diversity of interpretive strategies and focuses on methods that can productively liberate canonized interpretations and act subversively against the expropriation and manipulation of literary texts. The imported categories of queer study of literature can often only be applied with modifications to Hungarian and Central European literature. The author argues that queer interpretation is not a stigma, nor is it a trademark, but a field of freedom.

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