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This article examines the appearances of Augustus in Suetonius’ Lives of the Caesars outside Augustus' own Life. It shows how Suetonius contrasts the positive image of Augustus drawn in the Life of Augustus with the distortion of this image by Augustus’ successors, depicted in the later Lives. In their reception, he is still presented as an ideal to follow, yet as a role model for cruelty (Tiberius), adultery and military failure (Caligula), or lyre-playing (Nero)—roles which Suetonius’ real Augustus never or only marginally assumed. Thus in a series of close and intratextual readings, this article invites a more general reassessment of Suetonius’ work: it suggests that the Lives of the Caesars draw a more critical image of the Principate than has often been said, that they are more consciously part of an image-making process and, above all, that they should more commonly be understood as one whole work, rather than read individually and in isolation.

The opening lines of Seneca's Thyestes (1–13), which feature Tantalus’ reference to the so-called great sinners, have received little critical attention. Through both an intertextual and an intratextual analysis, this article reveals the peculiarities of this allegedly canonical list of sinners by comparing it to similar catalogues in other Senecan dramas, as well as by identifying its structural function within this particular tragedy. This kind of two-fold approach enables a reinterpretation of certain key passages of the drama vis-à-vis lines 1–13, as well as a reassessment of Tantalus’ role as the creative force and architect of the tragedy.

The article analyses the function of intra- and intertextual references in Ivana Dobrakovová’s first book Prvá smrť v rodine (First death in the family, 2009), taking the principle of disintegration as the basic principle of Dobrakovová’s writing. As a result of author’s intratextual work, the texts transgress the genre of short story and foreground the monoperspectival narrative consciousness. This in turn leads to a pronounced relativisation of the position of the narrative category of character and to situationally constituted narrative forms as related to the “theme-problem” horizon of the work. Intertextual work, on the other hand, contaminates the monoperspectival narrative consciousness and in this way disqualifies it. The principle of disintegration leads to an accentuation of the presence of the implied author which in turn makes the text seem more autobiographical. The figure of the implied author (which can never be identified with the empirical writer) is aesthetically productive: although it is fully governed by the poetics of the text, it also allows the readers to evoke the empirical author. The poetics thus creates conditions for ambivalence – the analysed texts can be read both as fiction and as autobiography.

The hairdresser who carries Ovid's invitation to his puella in Amores 1.11 is almost immediately blamed for his rejection in 1.12, before that blame is transferred to the tablets carrying that invitation. Nape (the enslaved hairdresser of the puella) has been linked to the character Dipsas, appearing in 1.7, specifically through the descriptor sobria. By focussing on the use of the verb uerto, the reference to the mythical strix, and curses related to the old age of both Dipsas and the tablets in 1.7 and 1.12, this note demonstrates that the supernatural word choice further connects Nape with Dipsas.

Recent years have witnessed an increased interest in classical studies in the ways meaning is generated through the medium of intertextuality, namely how different texts of the same or different authors communicate and interact with each other.

Examining the ring compositions that recent studies claim to have discovered in Numbers and Judges, the article argues that in both cases the reconstructions involve questionable treatment of the text's literary divisions and especially of the alleged and actual parallels between them. This, in turn, places a question mark over the entire quest for book-scale symmetric literary structures in the Hebrew Bible.

The series consists of a variety of monographs from the fields of Classical Philology and Ancient History. While maintaining a broad thematic and methodological scope, the editors are especially keen on studies showing a thorough and critical engagement with the relevant literary texts and primary sources.

In a key passage for the understanding of Lucian’s work, the Fisherman 25– 27, the philosopher Diogenes of Sinope complains that Parrhesiades, a Lucian-like authorial figure, mocks philosophers not within the fixed boundaries of a carnivalesque festival, as Old Comedy used to do, and to which Lucian’s work is otherwise highly indebted, but by means of his constantly published writings. This statement is even more relevant, since the Fisherman belongs to a group of texts which show clear cross-references to other writings within the corpus (such as Essays in Portraiture Defended, Apology , and The Runaways ). By creating indirect authorial commentaries and intratextual references throughout his œuvre—a hidden (auto)biobibliography, as it were—, Lucian thus reinforces the idea of an organic literary work and the coherency of his corpus which is—notwithstanding its thematic variatio —well-publicized and far away from carnivalesque exceptionality. In this way, the aesthetics of perpetual transgression is in a unique way related to the construction of authorial self-referentiality in Lucian’s satires.

Štúdia analyzuje funkčné uplatnenie intratextuálnych a intertextuálnych väzieb v prozaickom debute Ivany Dobrakovovej Prvá smrť v rodine (2009). Východiskovo je v nej zohľadnený základný princíp autorkinej poetiky, pomenovaný ako princíp rozpadu. Uplatnenie intratextuálnych postupov spôsobuje stratu poviedkového charakteru zbierky a zároveň vedie k posilneniu figúry monoperspektívneho naratívneho vedomia. Jeho dominantná pozícia relativizuje význam postáv a situačne konštituovaných rozprávačských foriem vo vzťahu k tematicko-problémovému horizontu diela. Uplatnenie intertextuality následne kontaminuje prejav monoperspektívneho naratívneho vedomia nepôvodnosťou, čím ho znehodnocuje. Princíp rozpadu preto vedie k zdôrazneniu prítomnosti implikovaného autora, pomocou ktorého dochádza k posilneniu autobiografického aspektu literárnych fikcií I. Dobrakovovej. Figúra implikovaného autora, ktorá nikdy nie je totožná s reálnym autorom, je v uvažovanom kontexte produktívna tým, že je z jednej strany plne určená poetikou textu, z druhej strany však vyzýva k recepčnej zámene s empirickým autorom. Poetika uplatnená v analyzovanej próze tým vytvára podmienky pre váhanie medzi fikčným a referenčným čítaním.

Abstract This article defends the rarely encountered suggestion that Matthew's insertion of \"Jesus\" in the titulus (27:37) recalls the word of the Angel to Joseph: \"You will call his name Jesus, for he will save his people from their sins\" (1:21). The reading has precedent in the work of John Gill but is altogether absent from Matthew commentaries and mentioned only in passing in a select few exegetical studies. The structure of Matthew's gospel, components of his form and style, the narrative shape of his crucifixion scene, and his attempt to associate the death of Jesus with the forgiveness of sins, all suggest that \"Jesus\" on the titulus is more significant than hitherto realized. Like the fulfillment of Scripture in the casting of lots and the words of mockery from the passersby, the inscription unwittingly witnesses to Jesus as the Savior of his people.