/ 1968

DAVID ŠTRBAC – KOČIĆ’S MICROUNIVERSE IN A COMIC STRIP

The paper deals with the influence of Petar Kočić’s (1877–1916)literary opus based on a daily comic strip David Štrbac created by Miro Mlađenović (1949–2007) and published on the pages of Banja Luka newspaper Glas (Glas Srpske), from 1973 to 2007. This comic strip sublimates the humor and satire featured in the classical Serbian drama Badger on trial (Jazavac pred sudom), while skillfully connecting and actualizing Kočić’s literary world, situating it in the present age.

/ 1968

SATIRICAL IMAGE OF THE RUSSIAN IMMIGRATION IN THE YUGOSLAVIAN COMICS OF THE 1930s

This article describes the phenomenon of the appearance of comic strips about Russian immigrants in the Kingdom of Yugoslavia, which formed a kind of culturological type, interesting for comic strip researchers, sociologists, culturologists and narratologists. Since it seems interesting to us to consider comics as a text united by a system of cultural markers/codes that are specific to immigration in general, and to Belgrade immigration in particular, it would help us to understand the context of everyday life that has developed not only among Russian emigrants of the First wave, but also the context of the country which accepted them. Immigration has not only occurred, but has been subject of a high degree of mythologization, which created quite specific typological models.

/ 1968

OLD PICTURES OF PEOPLE FROM NIŠ AND BANAT IN THE COMIC STORE AND CINEMA OF STEVAN SREMAC

Writer Stevan Sremac (1885–1906) “had spent the best eleven years of his life in Niš” working as a grammar school teacher. Some of his best works were created in the city on the Nišava river. Among others, it was there that he wrote “The Elemir Ball: an Epic in Ten Poems”, for which he and Stevan Nikšić Lala (1853–1938), a professor and caricaturist,have also engraved “pictures in the text”. With a lot of talent and spirit, Sremac solved the problem of dramatic display of the sequence of events, using language of the comics (and even of the graphic novels)to visually decompose and illustrate the epic. Before he would begin to scribble verses, he would make a 21.8×13.8cm sketch using pencil on paper, breaking the story into eight separate scenes and two fields,thus actually using the embodied form of the contemporary medium of comics.

/ 1968

SLOVENIAN SOCIALLY CRITICAL AND ENGAGED STRIP IN YUGOSLAVIA

Zgo­do­vi­na slo­ven­ske­ga stri­pa se je za­če­la z dru­žbe­no­–kritič­ni­mi pro­to­stri­pi na za­čet­ku dvaj­se­te­ga sto­le­tja. V šti­ri­de­se­tih le­tih so se po­ja­vi­li pr­vi otroš­ki stri­pi, v pet­de­se­tih le­tih po In­for­mbi­ro­ju pa je za­cve­tel ka­ri­ka­tu­ri­stič­ni strip z Zvi­to­rep­cem na če­lu. Šest­de­se­ta le­ta so bi­la v zna­me­nju re­a­li­stič­ne­ga pu­sto­lov­ske­ga stri­pa, v ča­su sek­su­al­ne re­vo­lu­ci­je in štu­dent­skih ne­mi­rov pa je na sce­no sto­pil do­ma­či un­dergro­und Ko­stja Gat­ni­ka. Pro­ti kon­cu osem­de­se­tih let se je for­mi­ral Novi slo­ven­ski strip, osvo­bo­jen vsa­ke­ga reš­pek­ta pro­ti Dr­ža­vi, Cer­kvi in Dru­žbi, ki je pra­vi bum do­ži­vel v de­vet­de­se­tih le­tih po raz­pa­du skup­ne dr­ža­ve.

/ 1968

COMICS IN RUSSIA

This work is the first part of an excursion into the history of comics in Russia. The preconditions for the emergence of graphic stories as a genre of newspaper and magazine publications in the Russian Empire and Soviet Russia are considered. Some publications and activities of historical figures who played a special role in the formation of this phenomenon in Russian culture are considered.

/ 1968

STRIP AND IDENTITY – INTRODUCTION

/ 1968

IN MEMORIAM PREDRAG PEDJA RISTIĆ (1931–2019)

/ 1968

SYNTHESES, MEETINGS

/ 1968

THE LIGHTS OF SHADE THESE HANDS ABOVE US

/ 1968

DIALECTICS OF DOMINATION AND RESISTANCE IN CULTURAL STUDIES