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Angelika Molnár

the ‘closed’ text of the poetic genre to disintegrate, rendering discourse a space for conflicting languages and voices. Belinsky’s assertion, for a long time omnipotent (and therefore monologic), that “ Onegin [is] an encyclopaedia of Russian life,” 3 is corrected by Bakhtin, who claims that

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Lonny Harrison

Nights and elsewhere, descends in concrete ways from De Quincey’s opium eater. Moreover, both Alekseev and Ipatova posit that De Quincey’s character Anne of Oxford Street, the kind-hearted prostitute whom the narrator of Confessions credits with saving his life, is a conceptual model for an assortment

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Dorottya Szávai

surmising from the words and the forms of their organization the specific, living interrelations of the author with the world he depicts and entering into those interrelations as a third participant (the listener’s role). 34 This fragment from Discourse in Life and Discourse in Art does not

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Marika Mägi

and sheep. But there are no inhabited places except the town of Ǡbū´a [Åbo?] and the town of Oalmār. These are two big towns. Between these two towns one can notice a nomadic way of life and the inhabitants there are particularly poor. They have less daily bread than they need, and it is raining