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Znaš bila sam udata pre mnogo godina a kad je otišao moj muž je odneo moje sveske. Sveske u spiralnom povezu. Znaš taj hladni prepredeni glagol pisati. Voleo je da piše, nije voleo što svaku misao mora da otpočne sam. Iskoristio je moje početke u razne svrhe, na primer u džepu sam mu našla pismo koje je započeo (tadašnjoj ljubavnici) koje je sadržalo rečenicu koju sam prepisala iz Homera: ’εντροπαλιξομένη je, kaže Homer, Andromaha otišla...
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Na ovom divnom svetu ima raznih smradova, ali ništa tako ne smrdi kao dinstani bupci. I kad im se doda sitno iseckani luk, biber, ljuta papričica, iz nadahnu}a strugano morsko orašče, opet ništa. Ili kad se preliju kečapom. Uzalud. Smrde nekako na dugo zadržavani prdež.
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Un père de famille ne sait plus quoi faire pour sauver son fils en difficulté. Il se résout à suivre des passants dans la rue en espérant qu’ils lui serviront de porte-bonheur. Un couple attire son attention.
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This paper analyses the relationship between the author and the reader in two of Borges’s most representative fictions: “Tlön, Uqbar, Orbis Tertius” and “Pierre Menard, Author of the Quixote”. In the first writing, the fictional reader and narrator Borges not only challenges the non-fictional reader to interpret correctly the various references that appear in the text, but he also invades his real-life world. In the second story, “Pierre Menard”, the fictional reader and narrator challenges the non-fictional reader again by claiming that two identical texts may acquire different values when they are attributed to two different authors living in different periods of time. By exploring these provoking texts, the article attempts to establish Borges’s own perspectives on “authorship” and “readership” starting from the premise that, in the Borgesian stories, the line between the reader and the author is blurred.
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