Archive for: Текстови објављени у часопису Култура на страним језицима накнадно преведени на српски

Children books about difficult topics represent only a fraction of the available books. In children’s literature, the first–person narrative implies an adult author behind the child as a character. The imbalance between the narrative voice of an adult and the child focalizing character indicates power structures and impose an adult’s sentimental (and educational) ideas to the child reader. The same happened when I started creating a graphic novel about my own experience of the bombing, as a child. To avoid this pattern, I decided to make an authentic perspective of the child going through a traumatic event. This posed the following questions: To what extent is a graphic novel suited for departing from power structures in children’s literature? What is the significance of radical themes in creating the space for empowering children? Which elements of graphic narratives make the perspective of a fictional child authentic? This paper outlines the academic and practical research I undertook to answer these questions. It describes and emphasises the importance of authentic voice and perspective of children characters in the literature for children. It focuses on the importance of literature with radical themes in establishing the space for a fictional child to explore the world and empower its independent quests beyond the boundaries usually set in the children’s literature.Moreover, it presents the ways it can be used by an author to present the story from an authentic perspective of the child. It describes and justifies my choice of using interpretative frameworks from other fields of cultural studies to question how comics can be used to establish traditional power structures or depart from them. Finally, it summarises the ways my academic research influenced the practical research and enriched the creation of my book.

The process of globalization has destabilized and changed the existing status of national identity, in consequence of which national art has lost the status of official art practice. Comic strip as a specific sort of artistic expression, offers numerous national codes in its visual and textual narratives, which have a common role – to communicate with the reader. This paper will analyze visual elements of the Serbian national identity in the comic strip Hieronymus Bosch aiming to present and interpret it as these elements are not integral part of the comic narrative. Hieronymus Bosch has been published in several European countries so far. It was created by the French publisher Delcourt, script writers Perez and Ricaume, in cooperation with the Serbian academic painter and illustrator Boban Savić (Geto).

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.

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.