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Title:Medmedialnost v stripih po motivih književnih del Ivana Cankarja : magistrsko delo
Authors:ID Sedminek, Patricija (Author)
ID Čeh Steger, Jožica (Mentor) More about this mentor... New window
Files:.pdf MAG_Sedminek_Patricija_2023.pdf (1,48 MB)
MD5: 2A368082D7CA8A139AE846783BA91C5F
 
Language:Slovenian
Work type:Master's thesis/paper
Typology:2.09 - Master's Thesis
Organization:FF - Faculty of Arts
Abstract:Magistrsko delo obravnava medmedialnost, natančneje medmedialne relacije in kombinacijo medijev, v izbranih delih Ivana Cankarja, in sicer v drami Hlapci, Hlapec Jernej in njegova pravica in zbirki črtic Moje življenje ter njihovih adaptacijah v stripovsko formo, Hlapci – ko angeli omagajo, Hlapec Jernej in pasja pravica in Moj lajf. V teoretičnem delu magistrskega dela je predstavljena medmedialnost kot literarnovedna disciplina, ki se deli na tri področja: intramedialnost, intermedialnost in transmedialnost. Predstavljene so likovne prvine in elementi stripa ter prepletanje medmedialnosti in stripa. V analitični del magistrskega dela so zajeta tri izbrana dela Ivana Cankarja (Hlapec Jernej in njegova pravica, Hlapci in Moje življenje) in stripovske adaptacije Igorja Šinkovca in Žige X Gombača (Hlapec Jernej in pasja pravica), Damijana Stepančiča in Andreja Rozmana - Roze (Hlapci – ko angeli omagajo) ter Tanje Komadina in Boštjana Gorenca - Pižame (Moj lajf). Na osnovi modela so analizirane medmedialne relacije in kombinacije medijev v stripovskih adaptacijah. Medmedialne relacije so analizirane na ravni vsebine skozi literarne osebe in pripovedovalca, literarni prostor in čas ter motive, teme in ideje. Kombinacije medijev so analizirane na ravni forme, in sicer z vidika stripovskega besedišča, vizualnih elementov ter kombinacije besedila in slike. Ob analizi stripovskih adaptacij ugotovimo, da so medmedialne relacije in kombinacije medijev zaznamovale tako vsebinsko kot formalno obliko stripa. Medmedialne relacije so opazovane na ravni literarnih oseb, ki so v stripovske adaptacije največkrat prenesene in dodane (pripovedovalka Neža, angel in nadangel ljubezni, Tanja Komadina in Boštjan Gorenc - Pižama itd.), pripovedovalca, literarnega prostora in časa ter motivov, tem in idej, ki so pogosto označene z različnimi simboli. V obliki kombinacije medijev je opazovano stripovsko besedišče, ki največkrat zajema vizualno upodobljene zvočne učinke ter govorne in miselne oblačke. Vizualni elementi se dopolnjujejo z besedilom, avtorji uporabljajo različne tehnike upodobitve vizualnih elementov (Šinkovec uporablja tanko linijo flomastra, odsotnost barv; Stepančič uporablja kombinirano tehniko barvnih tušev, akvarela in mehkega svinčnika; Komadina uporablja digitalni kolor v toplih barvah). Kombinacija besedila in slik je opazovana s pomočjo teorije Scotta McClouda, ki razlikuje sedem kombinacij, s katerimi se lahko povezujeta slika in besedilo. V stripih prevladuje izmenična kombinacija besedila in slike, pojavijo pa se tudi montaža, besedno specifične in slikovno specifične kombinacije. Analiza izbranih stripov nam je pokazala, da se stripovska adaptacija Hlapci še najbolj približa izhodiščnemu besedilu, medtem ko stripa Hlapec Jernej in pasja pravica ter Moj lajf le sledita motivom izhodiščnega medija. Glavna funkcija kombinacij besedila in likovnih upodobitev je približevanje literarnih likov, ki nam zgodbe naredijo bolj doživete. Vloga medmedialnosti v stripih Hlapec Jernej in pasja pravica ter Moj lajf je zlasti aktualizacija dogajanja. Stripi imajo poudarjeno didaktično funkcijo. Vsebina je na nekaterih delih podvržena mainstreamovski kulturi. Tako v Hlapcu Jerneju mladi Sitar postane požrešni kapitalist, v Mojem lajfu pa se Ivan Cankar spremeni v Hulka.
Keywords:Ivan Cankar, Igor Šinkovec, Žiga X Gombač, Damijan Stepančič, Andrej Rozman - Roza, Tanja Komadina, Boštjan Gorenc - Pižama, strip, medmedialne relacije, medmedialne kombinacije, vloga medmedialnosti
Place of publishing:Maribor
Place of performance:Maribor
Publisher:P. Sedminek
Year of publishing:2023
Number of pages:1 spletni vir (1 datoteka PDF (XII, 69 str.))
PID:20.500.12556/DKUM-86625 New window
UDC:821.163.6.09(043.2)
COBISS.SI-ID:188920323 New window
Publication date in DKUM:14.03.2024
Views:563
Downloads:129
Metadata:XML DC-XML DC-RDF
Categories:FF
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Licences

License:CC BY 4.0, Creative Commons Attribution 4.0 International
Link:http://creativecommons.org/licenses/by/4.0/
Description:This is the standard Creative Commons license that gives others maximum freedom to do what they want with the work as long as they credit the author.
Licensing start date:22.12.2023

Secondary language

Language:English
Title:Intermediality in Comics based on the Motifs of Ivan Cankar's Literary Works
Abstract:This master's thesis deals with intermediality, more specifically intermedial relations and combinations of media in the selected works of Ivan Cankar: the play Hlapci, the novella Hlapec Jernej in njegova pravica and in short story collection Moje življenje, and their adaptation into comic book form: Hlapci – ko angeli omagajo, Hlapec Jernej in pasja pravica and Moj lajf. In the theoretical section of the thesis, intermediality is defined as a literary discipline, split into three parts: intramediality, intermediality and transmediality. The artistic elements and their connection with intermediality are discussed. In the analytical part of the thesis, three works of Ivan Cankar (Hlapec Jernej in njegova pravica, Hlapci and Moje življenje) are encompassed, along with their comic book adaptations by Igor Šinkovec and Žiga X Gombač (Hlapec Jernej in pasja pravica), Damijan Stepančič and Andrej Rozman - Roza (Hlapci – ko angeli omagajo), and Tanja Komadina and Boštjan Gorenc - Pižama (Moj lajf). Based on the model the analysis is made of intermedial relation and the combination of media in comic book adaptations. Intermedial relations are analyzed on the basis of the contents of the literary subject and narrator, literary setting and time, along with the motifs, themes and ideas. The combinations of media are analyzed based on form from the standpoint of comic book vocabulary, visual elements and combinations of the text and the picture. While analyzing the comic book adaptations, we can discern that the intermedial relations and the combinations of media have marked the contents as well as the form of the comic book. Intermedial relations are observed on the level of literary characters, which are, in the comic book adaptations, mostly transferred and added (the narrator Neža, the angel and archangel of love, Tanja Komadina and Boštjan Gorenc - Pižama, etc.), the narrator, the literary setting and time, as well as motifs, themes and ideas, which are often marked with different symbols. In the form of media combination, the comic book vocabulary is observed, which most often encompasses the visually depictions of sound effects, along with speech and thought bubbles. The visual elements complement the text; the authors use different techniques for depicting visual elements (Šinkovec uses thin lines of markers, absence of colour; Stepančič uses a combined technique of ink, water colours and soft pencil; Komadina uses digital colours in warm tones). The combination of the text and the pictures is observed with the help of the theory of Scott McCloud, who differentiates between seven combinations with which the picture and the text are connected. In the comic books, the alternating combination of the text and the pictures is prevalent, but the text-specific and picture-specific combinations also appear. The analysis of the comic books has showed us that the comic book adaptation of Hlapci comes closest to the original, while the comic books Hlapec Jernej in pasja pravica and Moj lajf only follow the motifs of the originals. The main function of the combination of the text and the visual elements is coming close to the literary characters, who make the stories more vivid. The role of intermediality in the comic books Hlapec Jernej in pasja pravica and Moj lajf lies mainly in the actualization of the events. Comic books emphasize the didactic function. The content is, in some parts, the victim of mainstream culture. Thus, in Hlapec Jernej, young Sitar becomes a hungry capitalist, and in Moj lajf Ivan Cankar turns into the Hulk.
Keywords:Ivan Cankar, Igor Šinkovec, Žiga X Gombač, Damijan Stepančič, Andrej Rozman - Roza, Tanja Komadina, Boštjan Gorenc - Pižama, comic book, intermedial relations, intermedial combinations, the role of intermediality


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