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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.