出版社：Znanstvena založba Filozofske fakultete Univerze v Ljubljani (Ljubljana University Press, Faculty of Arts)
摘要：Pričujoči članek je intertekstualna študija Flaubertovega romana Gospa Bovary in njegovega fragmentarnega, postumno izdanega dela Slovar splošno priznanih resnic. Avtor s primeri ponazori tematska sovpadanja in podobnost formulacij ter dokaže prisotnost socioloških, zgodovinskih in literarnih vzorcev, ki so v Slovarju konkretizirani – skorajda teoretsko – kot splošno priznane resnice, v romaneskni obliki pa izgrajujejo »družbeno scenografijo«, katere parafraza je tudi podnaslov Gospe Bovary: Značaji s podeželja. Zato opozarja, da Gospa Bovary ni (samo) roman o Emmi Bovary in da zgodbo osmislijo, če ne celo upravičijo, šele poteze omenjenih značajev s podeželja. Pri Flaubertu se konceptualizacija in literarizacija »splošno priznanega« odvijata vzporedno, zato o časovni primarnosti ene ali druge ni mogoče govoriti. Vendar v Gospe Bovary ravno kot družbena scenografija dobi podobo zgoščena satira Slovarja, ki ga avtor vidi kot presek in sintezo pisateljevega opusa, hkrati pa kot komplementarno čtivo k dotičnemu romanu.
其他摘要：The present article is an intertextual study of Flaubert’s novel Madame Bovary and his fragmentary, posthumously published work Dictionary of Accepted Ideas. By listing examples of thematic parallelisms as well as those in formulation, the author proves the presence of certain sociological, historical and literary patterns which are, almost theoretically, concretized as accepted ideas in the Dictionary whereas in a novelistic form, they shape a kind of “social scenery”, paraphrased also by the subtitle of Madame Bovary: Patterns of Provincial Life. He consequently warns that Madame Bovary is not (merely) a novel about Emma Bovary whose story is, furthermore, given a meaning, if not even justified, only by the mentioned patterns of provincial life. In Flaubert’s work, conceptualisation and literarisation of the “universally acknowledged” are simultaneous and no temporal priority can thus be discussed. However, in Madame Bovary it is precisely under the form of social scenery that is reproduced the concise satire of the Dictionary, the latter being therefore perceived by the author as a cross section and a synthesis of the novelist’s entire work as well as a complementary reading to this particular novel.
