Autorica razmatra konstrukcije identiteta glavnih likova u dva američka književna serijala i jednome hrvatskome, koji njeguju povezanost i isprepletenost ilustracije sa tekstom, a namijenjeni su ...suvremenome čitatelju. Polazeći od definiranja pojma identiteta kao višeslojnog, polifoničnog fenomena na osnovi razmatranja teoretičarke A. Kos Lajtman, a isto tako i polifoničnih književnih struktura odabranih knjiga iz serijala Timi Promašaj, Gregovi dnevnici i serijalu o Mirku, autorica obrazlaže polazišta i karakteristike tri autorska modusa izgradnje identiteta glavnih likova. Pri tome je posebno zanimaju načini kako Jeff Kinney, Stephan Pastis, te dvojac Melita Rundek i Martin Zalar poniru u psihologiju djeteta i uključuju ilustraciju u pripovijedanje. Promišljanja B. Majhuta, Š. Batinić i S. Narančić Kovač o odnosu teksta i ilustracije u knjigama za djecu, S. McClouda o stripu i H. Bergsona o smiješnome bila su početna točka za taj dio rada. Polifoničnost književnoga teksta razmatra se kao supostojanje različitih diskurzivnih modela i strategija oblikovanja identiteta likova kao što su stilsko/značenjski sraz diskursa, prikaz necjelovite perspektive tinejdžera, pružanje više mogućnosti i razina za recepciju teksta u čitatelja različitih dobi i dr. Sva tri serijala pružaju vizualnost obilno i na mnoštvo načina. Polifoničnost, pak, likovnoga izraza u oblikovanju identiteta likova razmatra se na razinama „šifriranog“ koda pripovijedanja (ironija, mašta, formalna raznolikost ilustracije, rahlost teksta), anegdotalnih izleta iz priče (vizualizacije fraza, doslikavanje, hiperbola i kontrastiranje, intertekstualnost), fenomena vizualne samosvijesti karakterističnog za karikaturalnu ilustraciju (lančana naizmjeničnost teksta i slike). Humor objedinjuje poetike svih autora, a obilnost teksta i dalje drži serijale čvrsto u području žanra romana. Ipak, odnos između riječi i crteža vrlo je dinamičan i živ, pa se roman bliži stripu, čak i slikovnici, iskazujući time svoje hibridne mogućnosti.
he author discusses the constructions of the identities of the main characters in two American and one Croatian literary series, which nurture the connection and intertwining of illustration with text, and are intended for the modern reader. Starting from the definition of the concept of identity as a multi-layered, polyphonic phenomenon based on the consideration of literary theorist A. Kos Lajtman, as well as polyphonic literary structures of the three selected books from the series Timmy
Failure, Diary of a Wimpy Kid and a series about Mirko, the author explains the starting points and characteristics of the three authorial modes of building the identity of the main characters. In doing so, she is particularly interested in the ways in which Jeff Kinney, Stephan Pastis, and the duo Melita Rundek and Martin Zalar delve into child psychology and incorporate illustration into storytelling. Reflections of B. Majhut, Š. Batinić and S. Narančić Kovač on the relationship between text and illustration in children’s books, S. McCloud on comics and H. Bergson on the humor in literature were the starting point for this part. The polyphony of a literary text is considered as the coexistence of different discursive models and strategies of shaping the identity of characters such as stylistic / semantic clash of discourse, presentation of incomplete perspective of teenagers, providing more possibilities and levels for text reception in readers of different ages, etc. All three series provide the visual side of novels in a multitude of ways. The polyphony of illustrations in shaping the identity of characters is considered at the levels of “encrypted” narrative code (irony, imagination, formal diversity of illustration, fragility of text), anecdotal excursions from the story (visualization of phrases, hyperbole and contrast, intertextuality), a phenomenon of visual self-awarenesscharacteristic of caricature illustration (chain alternation of text and image). Humor unites the poetics of all authors, and the abundance of text still holds the series firmly in the field of the novel genre. Still, the relationship between words and drawings is very dynamic and lively, so the novel gets closer to comics, even picture books, thus expressing its hybrid possibilities.
This paper focuses on the collaboration of two artists, Ivana Brlić-Mažuranić and Vladimir Kirin, who worked together on the collection Tales of Long Ago. The research traces the history of the book ...as a material object and interprets its cultural and symbolic status from the first edition illustrated by Kirin, published in 1924, to the 2010 edition. Drawing on archival material, the paper reconstructs the beginnings of this collaboration, the appearance of editions that appealed to both Brlić-Mažuranić and the public, and the creation of the cultural representation of the Tales in which Kirinʼs illustrations are an essential part. Previously luxurious and richly illustrated books, the symbolic value of the editions with Kirinʼs illustrations drastically changed after World War II. The changing socio-political (later also literary) circumstances altered the visual representation of the book: Kirinʼs illustrations were gradually forgotten, and their rare appearance perceived as a nostalgic and political act.
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