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The placement of Helenus, the Trojan seer, near the end of Pythagoras’ speech in Ovid’s Metamorphoses 15, humorously comments on the Augustan projection of Rome’s predestined world conquest. In Metamorphoses 15, the philosopher Pythagoras casts himself in the light of the Vergilian Helenus. Among the various common characteristics Helenus and Pythagoras share outstanding is their metaliterary identity as conveyed in an interfusion of comprehensive knowledge, communication of uncontested truth but also adherence to deception: the Ovidian Pythagoras’ speech is ridden with inaccurate information and chronological fallacies, while Ovid’s Helenus is in fact the Vergilian Helenus, a confused individual who lives in the deceptive contentment of an a-chronic world of ghosts. By means of undermining the infallibility of prophesying through the lack of credibility of the prophet, Ovid undermines the standardization of the literary motif of epic prophecies about Rome’s world conquest, a much advertized theme in the various expressions of Augustan ideology of global conquest.

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Harms's case "The Blue Notebook No 10", which is a cisfinite miniature about the infinity of human non-existence, is seen by the author as an a-rational (IT = NON/IT) creative inovation: the defictionalisation of the narrative convention of the character, up to the point of cisfinite zero.      Particular attention is drawn to the polemical intertextual "collisions" (The OBERIU Declaration) of Harms's reddish-brown man with a canonized pattern of the classic Russian realistic (and socrealistic) characterisation (the 'outer' and the 'inner portrait'; procedures, actions). Simultaneously, the 'demimesis' of the reddish-brown man destroys the traditional mimetic model of character structuralisation of the European romanesque production. Naturally, with a strong emphasis on the realistic model, which has already become an object of destruction - in the dadadistic avant-garde palimpsests (poeme simultane, dadaistic collage and photomontage, ready-made) as in the romanesque fiction of, for example, F. Kaf-ka, J. Joyce, W. Faulkner, J. P. Sartre, A. Camus.         As the defictionalisation of the character the universal epic literary convention in "The Blue Notebook No 10" becomes metapoetic DEFICTION/DEMIMESIS of the character as described by Aristotle in his Poetics.

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A Georgica legvégének dulcis alebat Parthenope sorát (IV, 563–564) a Serviusig visszanyúló olvasati hagyomány hol a Szirének egyikével, Neapolis/Parthenopolis védőistenségével hozza kapcsolatba; hol a szűzi tisztasága miatt Partheniasnak nevezett költőre utaló autoreferenciális játékot vél felfedezni benne. Az életrajzi és a lokális tradíción alapuló korábbi értelmezések kiegészítéséül a tanulmány a hely metapoetikus olvasatának lehetőségét veti fel. Parthenope megidézése a sphragisban az erotikus elbeszéléseiben a mítosz megújításával kísérletező, Vergiliusszal és Galluszal szoros kapcsolatban álló Parthenios előtti tisztelgésként is értelmezhető. Az Erótika pathémata latin utóéletének kutatása döntően az elegikusokra és Ovidiusra korlátozódik, noha a Georgica rejtett mitológiai allúzióinak hátterében ugyancsak jellegzetes partheniosi narratív sémák sejlenek fel. Vergilius rövid, többnyire szerelmi szenvedéstörténeten alapuló aitionjai tekinthetők egyes partheniosi történetvázak erkölcsi téttel kiegészülő, egységes világképbe rendeződő újraírásának is.

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At the end of the Georgics Virgil represents himself as someone nursed by sweet Parthenope (IV 536: dulcis alebat / Parthenope). According to the rather obscure tradition which goes back to Servius, Parthenope would be an allusion to one of the Sirens, patron divinity of Naples-Parthenopolis, which was the favourite place of the poet. Nevertheless, Parthenope used to be considered as a self-referential joke on the nickname of Virgil, called Parthenias (a virgin) because of his moral excellence. The paper offers a new metapoetic reading of the passage which wishes to complete the earlier interpretations based on biographical data and local tradition. The allusion should also be regarded as a statement about inspiration. By suggesting a new approach to the mythology (see the Muse replaced by the Siren), the name of Parthenope appears to create an homage to Parthenius of Nicaea and to his strange collection of erotic myths. The studies about the impact of the Erotica pathemata on Latin poetry generally focus on the Elegiacs and Ovid. Nevertheless, it cannot be excluded that the mythological allusions of the Georgics about the origins of plants, animals, etc. may be influenced by some typical narrative patterns of Parthenius. The series of these virgilian aetological notes alluding to tragic love stories of Greek mythology seems to prepare the great Orpheus myth of Book IV. On the other hand, Virgil’s short allusions might transmit a concept of human passion, which sometimes is rather similar to the emotional world of the Parthenian narratives, but which is always much more rich in ethical concerns.

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A poiétés-grammatikos Philétas életéről rendkívül hézagosak az ismeretek. A tulajdonképpen egyetlen, kései szerzőktől származó, látszólag érdektelen információ szerint a költő állhatatos, éjt nappallá tévő munkája következtében rendkívül sovány volt s ez vezetett halálához is. Az anekdota a források egy csoportjában (Ailianos, Athénaios) bizarr motívummal bővül, amely szerint a leptoteros Philétas lábán ólomsúlyokat hordott, hogy a szél fel ne kapja. A jelző bizonyára nem függetleníthető a hellenisztikus irodalomkritika lepton fogalmától s a történet metapoetikus olvasatának lehetőségét veti fel. A dolgozat kiindulópontja egy szintén Ailianos nál olvasható zoológiai paradoxon, amely a szél ellen védekező, könnyű és muzikális, szorgosan gyűjtögető méhekkel kapcsolatban hasonló ellensúly motívumot hoz. Az ebből adódó implicit méh — költő megfeleltetés (amely tradicionális, szakrális konnotációjú metaforája a görög irodalomnak s meghatározó a hellenisztikus poétika képrendszerében is) több szempontból is illenék a Philétas- hagyományba. A periergos alkotót élénk természettudományos érdeklődés jellemzi, töredékei között több mézzel, méhhel kapcsolatos maradt fenn, s a melissa a legújabb rekonstrukció alapján fontos szerepet játszhatott a Démétér ben is. Ugyanezen típusú metapoetikus természeti képen alapulnak emellett a Philétas művészetével kapcsolatos kortárs megnyilvánulások (l. a VII. idyll sáska-béka synkrisis ét, az Aitia előszavában szereplő kalász- tölgy metaforát) s a kósi alkotó hagyományosan önrefl exív kijelentésként értelmezett égerfa -verse is. Mindezek alapján az anekdota költőreprezentációja a könnyűség s az ellensúly motívuma révén poetológiai vonatkozásokkal bír.

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The study discusses Ivan Slamnig’s novel entitled Bolja polovica hrabrosti with focusing on the narrative features of the beginning of the novel. Using the results of the Croatian literary studies, the paper places the novel in the context of Croatian prose as the first postmodern Croatian novel and an outstanding example of Beat literature in Croatia and Yugoslavia, which Aleksandar Flaker called jeans prose.

The paper compares the narrative features and metapoetic meanings of the beginning of the novel with the narration of the whole novel and its closure. It establishes that the beginning of the novel gives a dominant role to eventuality, coincidence, and meaninglessness instead of causally motivated storytelling. The beginning of the novel does not make sense at the level of the story told in the whole novel, however, it is important at the metalevel of narration and in its possible readings.

The main character of the novel called Flaks lands without a known aim aft er escaping from somewhere. At the end of the novel, he escapes again from the story prescribed for him. The “story within a story” structure has an important role in the novel. The novel thus has two narrators and two narrated stories. According to Genette’s classification, the narrator of the whole novel (Flaks) is an extradiegetic-homodiegetic narrator of his own story. The other narrator (Aunt Matilda) is a character in Flaks’s story and fictive author of the embedded story with its own heterodiegetic narrator. Flaks is an implied reader of Matilda’s short story. The two narratives are in a metadialogue wiTheach other. Flaks has no organized life and no organized story. Matilda’s life is well organized, and her written short story is well organized, too. Matilda tries to make sense to the random happenings of Flaks’s life in her own story. With the story she tells, she tries to bring both her own and Flaks’s life story to a meaningful end.

The beginning of the novel is associated with the characteristics of the Yugoslavian version of Beat literature, the jeans prose: generational confrontation and the denial of conformism to the post-war Yugoslavian establishment. The protagonist’s drift ing without any plan, which is typical for the genre, is taken by Slamnig as a basis so that he can direct our attention to the activity of the implied author and to the fact that the events portrayed in the novel and also the implied author are constructed. This is reinforced by the “story within a story” structure. The novel shows that the beginning and the ending of the events in the narration is arbitrary, and the meaning of the story depends on the selection of the starting point and the end point.

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