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Magistrsko delo se osredotoča na prevajanje formalnih in neformalnih oblik naslavljanja v treh slovenskih prevodih Wildove drame Saloma. Namen magistrskega dela je analizirati oblike naslavljanja v drami in ugotoviti, ali so bili prevajalci tako pri prevajanju formalnih kot neformalnih oblik naslavljanja zvesti izvirniku ali so se prilagajali ciljnemu bralcu oziroma gledalcu ter ciljni kulturi. Teoretični del obravnava dramsko prevajanje in naslavljanje, oblike naslavljanja ter dejavnike, ki vplivajo na njihovo rabo, obenem pa vključuje tudi nekaj splošnih podatkov o avtorju, izvirniku in prevodih drame Saloma. Analitični del zajema obravnavo oblik naslavljanja v Wildovi drami in vsebuje splošne podatke o ozadju nastanka prevodov drame in njenem prevajanju. Analiza slovenskih prevodov je pokazala, da dva prevajalca navadno nista ohranila Wildove rabe tikanja in vikanja ter sta se pri prevajanju teh oblik naslavljanja večinoma prilagajala ciljnemu bralcu, en prevajalec pa je bil pri prevajanju teh ogovornih oblik na splošno bolj zvest izvirniku, saj je v večini primerov ohranil tikanje in vikanje, kot se pojavita v drami. Vsi trije prevajalci pa so se pri prevajanju osebnih imen likov prilagajali ciljnemu bralcu in ciljni kulturi ter so pri prevajanju oblik naslavljanja upoštevali odnose med dramskimi liki. The master’s thesis focuses on the translation of formal and informal forms of address in three Slovene translations of Oscar Wilde’s Salomé. The aim of the thesis is to analyse the forms of address in the play and to determine whether the translators were faithful to the original or whether they adapted their translations to the target reader or audience and the target culture when translating formal and informal forms of address. The theoretical part deals with drama translation and looks at address, forms of address and factors affecting their use, and includes some general information about the author, the original, and the translations of Salomé. The analytical part includes a discussion of the forms of address in Wilde’s play and contains general background information on the creation of the play’s translations and the translation process. The analysis of the Slovene translations showed that two translators generally did not preserve Wild’s use of T-forms and V-forms and mostly adapted to the target reader when translating these forms of address. One translator, however, was generally more faithful to the original when translating these forms of address, mostly preserving T-forms and V-forms that appear in the play. All three translators, however, adapted to the target reader and the target culture when translating the personal names of the characters and took into account their personal relationships when translating the forms of address.

V diplomskem delu sem obravnavala tri femmes fatales, ki izvorno izhajajo iz Svetega pisma. Pisala sem o Evi, Juditi in Salomi, najprej kar zadeva zgodovinska dejstva o vsaki in interpretacije iz Svetega pisma, ter nazadnje sledila njihovemu zgodovinskemu razvoju skozi besedno in likovno umetnost. In this thesis I will write about Eve, Judith, and Salome, firstly through the historic facts, written about every one of them, secondly through their Bible interpretations and lastly, I will follow their development in history of literature and art. Throughout the whole thesis I will also talk and question the term femme fatale and if it really is appropriate for any one of the three.

Rad se bavi prikazima žena nastalim u hrvatskoj umjetnosti krajem 19. i početkom 20. stoljeća. Rad uključuje istraživanje konteksta vremena, posebno se oslanjajući na društvene i političke promjene koje su uslijedile u spomenutom razdoblju. S obzirom na povezanost književnosti i likovne umjetnosti krajem 19. stoljeća, dio pozornosti se posvetio i utjecaju književnosti na društvo. Također zbog promjene položaja žena u društvu, rad istražuje odnos društva prema novoj ženi i osjećaje koji su se mogli razviti te utjecati na odnos između žena i muškaraca. Središnji dio rada obuhvaća djela nekolicine hrvatskih umjetnika s kraja 19. i početka 20. stoljeća i njihove prikaze žena. Za početak su predstavljeni neki od inozemnih umjetnika i njihova djela koja su utjecala na rad naših umjetnika, a potom slijedi analiza djela hrvatskih umjetnika. Na izabranim djelima analizira se umjetnikov pristup oslikavanju ženske figure na temelju teme djela, njezine odjeće i okruženja. Djela su podijeljena u različite skupine s obzirom na temu, odnosno naslov prikaza. Važno je sagledati kako su hrvatski umjetnici prikazivali ženu krajem 19. i početkom 20. stoljeća dok su se paralelno odvijale velike promjene vezane za status žena u društvu. The thesis discusses depictions of women in Croatian art at the end of the 19th and beginning of the 20th century. The thesis includes research into the context of time, relying in particular on the social and political changes that followed in the said period. Given the connection of literature and fine arts, particularly in the late 19th century, part of the focus is devoted to the influence of literature on society. The shift in the status of women that occurred at that time is further explored in form of the attitude of society towards the new woman and the feelings that may have developed and influenced the relationship between women and men. The groundwork of the thesis encompasses artworks by several Croatian artists from the late 19th and early 20th centuries and their depiction of women. Initially, an introduction of the works of other European artists and their influence on the local artists will be made. This will be followed by an analysis of the works of Croatian artists. In the selected works artist’s approach in painting female figures will be observed. The analysis is based on the topic of work, women’s gestures and clothing as well as the environment they are depicted in. The works are divided into different categories with regards to the title or topic of what is being presented. The key idea is to analyze the way in which Croatian artists depict women in the late 19th and early 20th centuries, a period in which major societal changes were occurring and the status of women was shifting significantly.

V diplomskem delu obravnavam oblikovanje likovne pripovedi. Še posebej sem se osredotočila na vrste kadriranja in učinek kadriranja na ritem zgodborisa, s posebno pozornostjo na razlike v kadriranju med zahodnimi in japonskimi stripi. Poleg tega sem za oblikovanje prostora in junakov raziskala pomembne zgodovinske podatke, zlasti razliko med biblijsko Salomo in Salomo Oscarja Wilda. Na podlagi raziskave sem ustvarila praktični del diplomske naloge v obliki stripa. V svoji interpretaciji sem uporabila besedilo drame Oscarja Wilda in na podlagi zgodovinskih dogodkov ustvarila novi futuristično distopični svet, v katerem se odvija tragična zgodba. In this BA thesis I discuss the principles of visual narratives in comic form, with a particular emphasis on the types of frameworks and differences in frameworks and storyboarding in different Western and Japanese comics. In order to create an appropriate space and characters I researched relevant historical details, especially the difference between the biblical and Oscar Wilde’s Salomé. On the basis of these findings I created the practical part of my thesis, the story of Salomé in comic form. In my interpretation I used Oscar Wilde’s play and created a dystopian futuristic world where this tragedy takes place.

The case of Dimitrije Popović, after his great fifty-year retrospective in Zagreb’s Klovićevi Dvori, indicates the final trivialization of an opus that promised great manner and relevant content in its beginnings, when there was still no need for grotesque surrealization in a society of spectacle. In Dorfles’ words, Popović’s painting has eventually brought to the same level Salome and Severina, the body of Christ “shown in the symbol of sliced bread or a Madonna whose physical grace turns into a refined appearance of a photo model.” Dimitrije chooses the drama of existence and great subjects hoping that they will do the work themselves, that is, become great art by the mere fact that they have been borrowed from Dante or Leonardo. This is the kind of laziness of the spirit, the gemütlichkeit that produces, as A. Moles would say, the “comfort of the heart” by copying the language of the past, as if art were contagious and one must merely be near it or reach for it to partake in its greatness. But instead, the case is more probably that, as L. Giesz would say when describing a kitschmensch like Dimitrije, “in his hands, even great art turns into kitsch.”, Slučaj Dimitrija Popovića nakon velike petdesetljetne retrospektive u zagrebačkim Klovićevim dvorima uputio je i na finale trivijalizacije jednog opusa koji je obećavao veliku maniru i relevantan sadržaj na početcima kada još nije bilo potrebe za grotesknom nadrealizacijom u društvu estradizacije. Dorflesovski rečeno, Popovićevo je slikarstvo s vremenom u istu ravan dovelo Salomu i Severinu, Kristovo tijelo, „prikazano u simbolu kruha koji je narezan na kriške ili Madonu koje se fizička ljupkost pretvara u rafinman izgleda nekog foto-modela.” Dimitrije bira dramu egzistencije i velike teme u nadi da će one odraditi posao za sebe, to jest pukim izborom, primjerice, sadržaja iz Dantea ili Leonarda, postati velikom umjetnošću. To je ona vrsta lijenosti duha, onaj gemütlichkeit koji proizvodi, kako bi rekao A. Moles „komfor srca” kopiranjem jezika prošlosti, kao da je umjetnost prijelazna i da je samo dovoljno biti u njezinoj blizini i za njom posegnuti pa da i sami postanemo dijelom njezine veličine. No ipak će biti, kako kaže L. Giesz opisujući kiččovjeka nalik na Dimitrija, da se „u njegovim rukama i velika umjetnost pretvara u kič.”

Pomalo trpak esej o tome da Krleža nikako nije mizogin autor, a povodom praizvedbe predstave Tri kavaljera frajle Melanije u režiji Georgija Para u varaždinskom Hrvatskom narodnom kazalištu (24. travnja 2013.), a u zaista odličnoj interpretaciji naslovne melodramatične i melankolične protagonistice u izvedbi Hane Hegedušić. Naravno i povodom skore 120. obljetnice Krležina rođenja…