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Serijski morilci so v zadnjih nekaj desetletjih postali zelo priljubljena tema kriminalnega žanra. Njihove upodobitve v ameriških kriminalnih serijah in filmih so postale stalnica, kar kaže na to, da so postali pomemben del ameriške kulture. Prikazovanja serijskih morilcev v medijih sovpada s časom, ko se je zanje začela zanimati agencija FBI. V nalogi analiziram, kako upodobitve serijskih morilcev na televiziji producirajo vladajočo ideologijo in s tem pripomorejo h krepitvi avtoritete organov pregona. Kot predmet svoje analize sem uporabila serijo Zločinski um, ki se za razliko od večine standardnih kriminalnih serij osredotoča samo na miselne procese zločincev in na profiliranje kot orodje, s katerim tovrstne zločince ujamejo. Serial killers have become a very popular subject in the crime genre over the past few decades. Their portrayal in American crime series and films have become a regular feature, indicating that they have become an important part of American culture. The media portrayal of serial killers coincides with the time when the FBI became interested in them. In this thesis, I analyze how the portrayal of serial killers on television produces a ruling ideology and thus helps to reinforce the authority of law enforcement. I have used as the object of my analysis the series Criminal Minds, which, unlike most standard crime series, focuses only on the mind of criminals and profiling as a tool to catch them.

Uvod: Množični mediji so ena od redkih priložnosti, ko lahko ženska porod vidi, preden ga doživi sama. Porod je v množičnih medijih pogosto prikazan nerealistično, s tem pa vpliva na vedenje in dejanja posameznikov v porodnem procesu. Namen: Namen diplomskega dela je raziskati reprezentacijo poroda v množičnih medijih na podlagi pregleda znanstvene literature, cilj pa ugotoviti kakšen je način reprezentacije poroda v množičnih medijih, kateri dejavniki vplivajo nanjo in kakšne so posledice tovrstne reprezentacije poroda za ženske ter njihove porodne izkušnje. Metode dela: V diplomskem delu je bila uporabljena deskriptivna metoda dela s pregledom strokovne in znanstvene literature, ki obravnava reprezentacijo poroda v množičnih medijih. Znanstveno literaturo smo iskali s funkcijo naprednega iskanja v spletnih bibliografskih podatkovnih bazah DiKUL, EBSCO Information Services, Google Scholar, ProQuest, PubMed, ResearchGate, ScienceDirect in SpringerLink v obdobju od 2. decembra 2021 do 8. marca 2022. Kriteriji izbire so bili vsebinska ustreznost in relevantnost ter polna dostopnost do vsebine virov v slovenskem ali angleškem jeziku, s časom objave med letoma 2012 in 2022. Rezultati: V pregled literature je bilo vključenih 26 raziskav, ki so ustrezale vsem vključitvenim kriterijem. Večina raziskav je bila presečnih, najpogosteje sta bili uporabljeni deskriptivna metoda dela in analiza virov. Reprezentacije poroda v množičnih medijih postavljajo normativ medikaliziranega poroda, alternativne možnosti pa so prikazane redko in nejasno, na kar lahko pomembno vpliva sodelovanje babiške stroke z medijskimi producenti. Množični mediji s svojimi reprezentacijami poroda vplivajo na pričakovanja in odločitve, ki se jih ženske poslužujejo v nosečnosti in med porodom ter v njih pogosto vzbujajo strah. Razprava in zaključek: V prevladujočih reprezentacijah poroda, ki jih ponujajo množični mediji, so prisotne mnoge vrzeli in manjkajoče informacije. Pomembno je ozaveščanje žensk, babiške in porodniške stroke ter medijskih producentov za kritično in odgovorno delovanje na področju reprezentacije poroda v množičnih medijih, s širjenjem verodostojnih in strokovnih informacij, ki bodo ženskam omogočile pozitivne in na znanju temelječe porodne prakse, brez nepotrebnega strahu. Introduction: Mass media is one of the few opportunities a woman has to see childbirth before she experiences it by herself. Childbirth in the mass media is often portrayed in an unrealistic way which influences the behaviour and actions of individuals in the birthing process. Purpose: The aim of the thesis is to investigate the representation of childbirth in mass media, based on a review of the scientific literature. The objective is to find out how childbirth is represented in the mass media, what factors influence this representation and what the consequences of this representation of childbirth are for women and their experiences of childbirth. Methods: The descriptive method of work was used in the thesis, focusing on a review of professional and scientific literature of the childbirth representation in the mass media. The online bibliographic databases DiKUL, EBSCO Information Services, Google Scholar, ProQuest, PubMed, ResearchGate, ScienceDirect and SpringerLink were used from December 2nd 2021 to March 8th 2022. The advanced search function was used. The criteria for selecting the scientific literature were relevance and pertinence of the content and full accessibility to the content of the sources in Slovenian or English, with a publication time between 2012 and 2022. Results: The literature review included 26 studies that met all the criteria. Most of the studies were cross-sectional, with descriptive methods and source analysis being the most commonly used. Representations of childbirth in the mass media set the norm for medicalised childbirth, alternatives are rarely and ambiguously portrayed. This may be significantly influenced by midwifery's engagement with media producers. Mass media representations of childbirth influence women's expectations and choices during pregnancy and childbirth and often provoke fear. Discussion and conclusion: There are many gaps and missing information in representations of childbirth, offered by the mass media. It is important to raise awareness among women, midwifery and obstetric professionals and media producers to act critically and responsibly in the field of representation of childbirth in the prevailing mass media, by disseminating credible and expert information that will enable women to have positive and knowledge-based childbirth practices, without unnecessary fear.

It is clear that philosophy has a “woman problem”. Despite the recent acceptance of this fact, it is less clear what ought to be done about it. In this paper, we argue that philosophy as a discipline is uniquely well-positioned to think through the marginalisation suffered by women and other minorities. We therefore interrogate two values that already undergird conversations about inclusion— representation and intersectionality—in order to think about the path ahead. We argue that, once we have done so, it becomes clear that the slow pace of improvement over the last few decades is unacceptable and more radical steps need to be taken. First, we outline the current state of women in philosophy focusing on three areas: levels of employment, publishing, and sexual harassment. Then we turn to representation and intersectionality respectively. We conclude by arguing that many women and people of colour have been arguing for a more radically diverse philosophy for many years. What we are facing is a lack of ambition on the one hand and problem of attention on the other., Jasno je da filozofija ima “problem sa ženama”. Unatoč nedavnom prihvaćanju ove činjenice, manje je jasno što bi trebalo poduzeti oko toga. U ovom radu tvrdimo da je filozofija kao disciplina u jedinstveno dobroj poziciji da promisli o marginalizaciji koju trpe žene i druge manjine. Stoga, propitujemo dvije vrijednosti koje već podupiru razgovore o uključivanju – reprezentaciju i intersekcionalnost – kako bismo razmišljali o putu koji je pred nama. Tvrdimo da, kada to učinimo, postaje jasno da je spori tempo poboljšanja u posljednjih nekoliko desetljeća neprihvatljiv i da je potrebno poduzeti radikalnije korake. Prvo, ocrtavamo trenutno stanje žena u filozofiji fokusirajući se na tri područja: razine zaposlenosti, izdavaštvo i seksualno uznemiravanje. Zatim se osvrćemo na reprezentaciju odnosno intersekcionalnost. Zaključujemo tvrdnjom da se mnoge žene i ljudi druge boje kože godinama zalažu za radikalniju i raznolikiju filozofiju. Ono s čim se suočavamo je manjak ambicija s jedne te problem pažnje s druge strane.

Women are underrepresented in philosophy. And pregnancy is under-researched in philosophy. Can a connection be made between the two? I will argue that whilst the counterfactual of ‘had women historically been better represented in philosophy then pregnancy would have been too’ may be true, it is not necessarily the case that we can now, in the present day, expect (or desire) a correlation. In order to understand the gap between these two areas of underrepresentation, one need only adopt a non- essentialist understanding of women so as to recognise that not all women experience pregnancy or are interested in pregnancy (philosophically or otherwise). Nevertheless, given the historical silence(ing) of women in philosophy on the topic of pregnancy, it is important now to redress that imbalance by tackling both issues of underrepresentation simultaneously. To demonstrate further I refer to the difference between representational diversity and substantive diversity (which is related to the more commonly known distinction between descriptive representation and substantive representation). This will be the topic of the first section of the paper. Then, in the second and third sections of the paper I will explore the underrepresentation and misrepresentation of women in philosophy, regarding not only the lack of women numerically speaking but also how women, as a general ‘kind’, are (misogynistically) described in philosophy historically. I will then apply the same treatment to pregnancy in the fourth and fifth sections of the paper, exploring both its underrepresentation as a topic of philosophical endeavour and misrepresentation within society at large. The analysis contains a review of the literature, and cites statistical quantitative data and qualitative grounded interviews, to provide evidence for my claims. I will end by hypothesising about the relationship between these under- and mis- representations, and will provide musings on the future for women and pregnancy in philosophy., Žene su nedovoljno zastupljene u filozofiji, a trudnoća je nedovoljno istražena u filozofiji. Može li se uspostaviti veza između ta dva fenomena? Tvrdit ću da, iako je kontrafaktična tvrdnja "da su žene bile povijesno bolje zastupljene u filozofiji, trudnoća bi bila također zastupljena" možda istinita, to ne znači nužno da sada, u sadašnjosti, možemo očekivati (ili poželjeti) da postoji korelacija. Kako bismo shvatili jaz između ovih dvaju područja nedovoljne zastupljenosti, dovoljno je usvojiti ne-esencijalističko shvaćanje žena kako bismo prepoznali da neke žene ne doživljavaju trudnoću ili nisu zainteresirane za trudnoću (filozofski ili na drugi način). Ipak, s obzirom na povijesno šutnju o trudnoći u filozofiji koju su proživljavale žene, važno je sada ispraviti tu neravnotežu istovremeno obrađujući obje teme nedovoljne zastupljenosti. Kako bih to dalje dokazala, upućujem na razliku između reprezentativne raznolikosti i suštinske raznolikosti (što je povezano s poznatijom razlikom između deskriptivne reprezentacije i suštinske reprezentacije). To će biti tema prvog dijela rada. Zatim, u drugom i trećem dijelu rada, istražit ću nedovoljnu zastupljenost i pogrešno predstavljanje žena u filozofiji, ne samo u smislu nedovoljnog broja žena, već i u smislu načina na koji su žene, kao opći "rod", (mizogino) opisivane u filozofiji kroz povijest. Isti postupak primijenit ću na trudnoću u četvrtom i petom dijelu rada, istražujući kako se tretira kao tema filozofskog istraživanja te kako je pogrešno predstavljena u društvu općenito. Kako bi se pružili dokazi za moje tvrdnje, analiza sadrži pregled literature i navodi statističke kvantitativne podatke i kvalitativno utemeljene intervjue. Završit ću hipotezom o odnosu između ovih nedovoljnih i pogrešnih predstavljanja, te ću ponuditi razmišljanja o budućnosti za žene i trudnoću u filozofiji.

Pojam „fotografija“ ima različita značenja, a ono koje se prirodno nameće jest fotografija kao medija za prenošenje određenih poruka koje ne moraju imati identično značenje za sve one koji su u sam njen kontekst uključeni. Fotografija predstavlja i svojevrsnu mrežu značenja, dok reprezentacija i naracija pridonose razumijevanju konteksta koji se krije unutar fotografije, a koji nije očit iz prizora koji je na njoj zabilježen. Fotografije same po sebi sadrže i integrativni moment ujedinjenja obitelji, odnosno pridonose povezivanju obitelji, ali i stvaranju određenog zajedničkoga sjećanja spajajući prošlost i sadašnjost. U ovom će se diplomskom radu analizom odabranih fotografija utvrditi postoje li razlike u događajima, stvarima i mjestima koja se fotografiraju te odrediti na koji se način njihovo značenje oblikuje, s posebnim naglaskom na najzastupljenije teme i njihovoj povezanosti s obiteljskim životom. The term “photograph” has different meanings, but one that naturally imposes is photograph as a medium for conveying certain messages that do not necessarily have identical meanings for everyone involved in its context. The network of meanings that a photograph, in a way, represents can be understood better if its context, which might not be obvious from the scene recorded on the photograph itself, is represented or narrated. In their own right, photographs also contain an integrative moment of family unification, that is, they contribute to family bonding as well as to the creation of a certain collective memory by connecting the past and the present. In this master thesis, through the analysis of selected photos, it will be determined whether there are differences in the events, things and places that are photographed and how their meaning is formed, with special emphasis on the most represented topics and their connection with family life.

Diplomski rad Freska u suvremenoj umjetnosti se bavi nekim pitanjima koje vežemo za primjenu tehnike slikanja freske, ali i njeno šire shvaćanje. Povijesno se freskom slikalo ono što bi trebalo vječno trajati, odnosno ono što ima vječnu vrijednost – takve se slike nalaze u mnogim drevnim hramovima. U drevno doba freske su najčešće bile vezane za ritualne svrhe. Rano kršćanstvo proširuje shvaćanje slike te jedna od stvari koju dodaje je zlatna podloga ili neka druga podloga koja bi otvarala beskonačni prostor u slici. Time se kršćansko slikarstvo potpuno otvara duhovnim prostorima i slika postaje transcendentni prizor. On prestaje biti samo površina. Rad se bavi i pitanjem odnosa reprezentacije i prisutnosti te kakvu ulogu u tome nosi tehnologija. Također se dotiče i nekih pitanja povijesti i povijesnog kontinuuma. Ovaj diplomski rad sagledava neke od ovih aspekata slike te pokušava odrediti kakav je njen odnos spram današnjice. Postavlja pitanja koja su naizgled zanemarena, no svakako vrlo aktualna. The master’s thesis Fresco in contemporary art deals with some questions related to the application of the technique of fresco painting, but also its broader understanding. Historically, that which should last forever, i.e. that has eternal value, was painted as a fresco - such paintings are found in many ancient temples. In ancient times, frescoes were most often related to ritual purposes. Early Christianity expands the understanding of a painting, and one of the things it adds is a gold background or some other background that would open an infinite space in the painting. Thus, Christian painting completely opens up to spiritual spaces and the painting becomes a transcendental scene. It ceases to be just a surface. The paper also deals with the question of the relationship between representation and presence and what role technology plays in this. It also touches on some issues of history and the historical continuum. This master’s thesis examines some of these aspects of a painting and tries to determine its relationship with the present day. It raises the questions that are seemingly neglected, but certainly very relevant.

V diplomskem delu obravnavam film »Eyes Wide Shut« (»Široko zaprte oči«). Cilj dela je analiza širšega pomena neobičajne in zelo posebne uprizoritve, predstavitve oz. reprezentacije Kubrickovega para v njegovem zadnjem filmu »Eyes Wide Shut«. Glede na številne stereotipizirane predstave glavnega močnega uspešnega moškega lika v filmih »Eyes Wide Shut« predstavlja prav nasprotno, popolno čustveno razrvanost in krizo ranjene moške identitete. V vsakodnevnem življenju smo vsaj nekdaj vsi bili priče nenehne patriarhalnosti, domestifikacije žensk ter pretirane čustvenosti in šibkosti kot izključno ženskih karakteristik. Pogosto velja, da ob ženski vedno stoji zaposlen, izobražen, finančno močan in uspešen (beli) moški, brez katerega ženske ne zmorejo. V patriarhalni družbi ženska ni sama svoj akter problematično je, če si to želi biti. Veliko teoretikov pravi, da prihaja do krize identitete tega istega močnega in uspešnega (belega) moškega. Glavni namen diplomskega dela je preučiti pripovedno strukturo filma in reprezentacijo moškega lika dr. Billa Harforda. Ekscentrični režiser Stanley Kubrick je na zelo zanimiv način predstavil reprezentacijo moškosti, ki jo je mogoče kakovostno raziskati ob omembi nasprotnega ženskega spola, zato menim, da je v času izstopa iz stereotipov in dojemanja družbene umestitve žensk njegov zadnji film iz komunikološkega tako kot sociološkega vidika vreden ogleda in analize. In my thesis, I discuss the film "Eyes Wide Shut". The aim of the work is to analyze the wider meaning of an unusual and very special performance, presentation or representations of Kubrick's couple in his last film, "Eyes Wide Shut." According to many stereotypical representations of the main strong successful male character in films, "Eyes Wide Shut" represents the exact opposite, a complete emotional breakdown and a crisis of wounded male identity. In our daily lives, at least once, we have all witnessed constant patriarchy, the domestication of women, and excessive emotionality and weakness as exclusively female characteristics. It is often believed that there is always a busy, educated, financially strong and successful (white) man standing next to a woman, without whom women cannot live. In a patriarchal society, a woman is not her own actor it's problematic if it wants to be. Many theorists say that this same powerful and successful (white) man is having an identity crisis. The main purpose of the thesis is to examine the narrative structure of the film and the representation of the male character dr. Bill Harford. The eccentric director Stanley Kubrick presented the representation of masculinity in a very interesting way, which can be qualitatively explored while mentioning the opposite female sex, so I think that at the time of breaking out of stereotypes and the perception of the social placement of women, his latest film is worthwhile from a communicative as well as a sociological point of view viewing and analysis.

Šiame straipsnyje apžvelgiami po 1569 m. buvusių Lenkijos ir Lietuvos Didžiosios Kunigaikštystės santykių atspindžiai įvairiuose XVI a. pabaigos–XVII a. Britanijos rašytiniuose šaltiniuose. Čia analizuojami kūriniai parašyti tiek valdovų rūmų aplinkoje, tiek ir jiems dedikuotuose profesionalaus elito sukurtuose veikaluose, taip pat ir kitose tuo metu pasklidusiose publikacijose (knygose ir laikraščiuose), kurios buvo prieinamos plačiajai publikai. Išnagrinėta medžiaga atskleidžia, kad tie tekstai, kurie cirkuliavo tarp elito ar buvo sukurti žmonių, labiau įsigilinusių į Lenkijos-Lietuvos valstybės specifiką, linko pateikti stipresnę, labiau į Lenkiją orientuotą perspektyvą. Vis dėlto labai nedaug jų atskleidė praktinę unijos reikšmę. Pavyzdžiui, nuostabu, kad net gausiame Britanijos diplomatų susirašinėjime randama informacija apie uniją yra labai skurdi, nors Johno Peytono (jaunesniojo) parengtas tekstas, dedikuotas karaliui Jamesui VI/I bei jo valstybės sekretoriui, atskleidė nuostabų ryšio tarp dviejų Respublikos dalių paveikslą. Panaši situacija matyti ir plačiai paplitusiose naujienų spaudiniuose bei knygose, nors ji šiek tiek pagerėjo XVII a. pabaigoje pasirodžius tokiems leidiniams kaip Moseso Pitto "The English Atlas" ir Bernardo Connoro "History of Poland", kuriuose skaitytojams buvo pateikta daugiau kontekstinių duomenų apie Respublikos politinę sistemą. Anksčiausiuose laikraščiuose unijos tema ignoruota ir tik XVII a. antroje pusėje pradėta ją šiek tiek dažniau minėti. Yra pakankamai įrodymų, kad Britanijos skaitytojai žinojo apie Lenkijos-Lietuvos valstybę, tačiau pati šalis retai kada buvo pristatoma kiek tiksliau ar išsamiau. Dėl to jie turėjo gana miglotą suvokimą apie praktinį valstybės funkcionavimą. Pavyzdžiui, britų autoriai menkinimo ar net neigė faktą, kad po Liublino unijos Lietuva tapo lygiaverte Lenkijai Respublikos dalimi. Maža to, nedaug rašytojų ar redaktorių apskritai manė, kad jų skaitytojams verta paaiškinti elementariausius unijos veikimo principus ar suteikti įžvalgų apie jos organizacijos funkcionavimą. The article discusses how post-1569 relations between Poland and the Grand Duchy of Lithuania were presented in various written materials produced in Britain in the late-16th and 17th centuries. It analyses both the materials produced by and for the court or professional elites, and widely circulating publications (books and newspapers) which were readily available to the general reading public. It argues that there is strong evidence that British readers were aware of the existence of the Polish-Lithuanian Union, although the union itself was rarely presented either accurately or in any detail. They therefore had a very blurred conception of how it functioned in practice, as can be illustrated, for example, by British authors downplaying or simply denying the fact that after the Union of Lublin Lithuania became a constituent part of the Commonwealth with a status equal to that of Poland. Moreover, few writers and editors considered it necessary to provide readers with a proper explanation of the union’s basic ‘rules of engagement’, or any reflections on how it functioned on an organisational level.

Race and its representation in the media have been the center of attention among many scholars and academics. One aspect of race has often been stereotyped in media such as books, movies and TV shows and that is wrongful condemnation of black men and women to prison. Harper Lee’s novel To Kill A Mockingbird is one of many that focuses on such issues, but also conveys a message about empathy and its power to demine stereotypical beliefs. Through the analysis of some of the characters and scenes from the novel, there can be found some attempts of breaking these stereotypes. To Kill A Mockingbird has become a classic and is a foundation for breaking the mold of wrongful representation and stereotyping the Black community. Rasa i njezina reprezentacija u medijima bili su u središtu pažnje mnogih znanstvenika i akademika. Jedan aspekt rase često je stereotipiziran u medijima kao što su knjige, filmovi i serije, a to je pogrešno osuđivanje crnih muškaraca i žena na zatvor. Roman Harper Lee Ubiti pticu rugalicu jedan je od mnogih koji se usredotočuje na takav problem, ali također prenosi poruku o empatiji i njezinoj moći da uništi stereotipna uvjerenja. Analizom pojedinih likova i scena iz romana mogu se pronaći neki pokušaji razbijanja ovih stereotipa. Ubiti pticu rugalicu postao je klasik i temelj za razbijanje kalupa pogrešnog predstavljanja i stereotipa o afroamerikancima.

Diplomsko delo s področja antropologije spola se ukvarja z nebinarnim spolom in njegovo reprezentacijo v popularni kulturi, natančneje v filmih in nadaljevankah. Spolno nebinarne osebe lahko opišemo kot posameznike_ce, ki samih sebe ne doživljajo znotraj tradicionalnih binarnih okvirjev spola, torej izključno kot moške ali ženske. Čeprav je v zadnjih letih vedno več govora o nebinarni spolni identiteti in s tem tudi njenega večjega sprejemanja, spolna nebinarnost ni nov pojav prisotna je namreč bila v vseh časovnih obdobjih ter na vseh celinah – skupine spolno nebinarnih posameznikov lahko najdemo v Evropi, Ameriki, Aziji ter v Oceaniji. V zadnjem času je naraslo prikazovanje spolne nebinarnosti v množičnih medijih, tako v časopisih, pri televizijskih poročilih kot tudi v popularni kulturi. Vse več je znanih oseb, ki se opredeljujejo kot spolno nebinarne osebe in javnost ozaveščajo o tem pojavu, prav tako je vedno več spolno nebinarnih likov v filmih in nadaljevankah, kjer so prikazani na različne načine, kar vpliva na njihovo sprejemanje v širši javnosti ter njen odnos do njih. Undergraduate thesis in the field of anthropology of gender discusses non-binary gender and its representation in popular culture, specifically in films and series. Gender non-binary people can be described as individuals who do not experience themselves within the traditional binary constructs of gender, that is, exclusively as males or females. Although in recent years there has been an increase in discussion about non-binary gender identity and, with it, greater acceptance of the latter, non-binary gender is not a new phenomenon it was present in all historical periods and on all continents - gender non-binary individuals can be found in Europe, America, Asia, as well as in Oceania. Recently, there has been an increase in the representation of gender non-binary individuals in the mass media, both in newspapers, television news, as well as in popular culture. There is an increase in the number of celebrities who identify as non-binary, which gives visibility to the phenomenon, furthermore, there are non-binary characters in films and series, whose representations vary, which affects the attitude towards them by the general public.

Sodobni demografski, družbeni in ekonomski trendi spodbujajo zanimanje družbene in kulturne gerontologije za raziskovanje medijskih reprezentacij starosti, ki so za družboslovce zanimive zaradi njihove narave pa tudi njihovih vplivov na družbene odnose in strukture ter vrednote. V Sloveniji do zdaj ni bilo raziskave, ki bi preučila, kako se skozi daljše obdobje medijske reprezentacije starosti spreminjajo in vplivajo na odnos družbe do starih. Da bi dobil vpogled v družbeno konstrukcijo starosti v enaindvajsetem stoletju in z njo povezanih trendov, sem opravil longitudinalno analizo časopisnega poročanja v volilnih letih od 2004 do 2018. Najprej sem na vzorcu 3.800 prispevkov, zbranih iz treh tiskanih dnevnih časopisov – Delo, Slovenske novice in Večer – s kvantitativno analizo vsebin raziskal spremembe medijskih reprezentacij starosti. Nato sem na namenskem vzorcu 80 prispevkov dnevnega časopisa Delo iz istega obdobja raziskavo poglobil s kvalitativno analizo poročanja o 309 problemih starih in 144 rešitvah zanje. Ugotovil sem, da so bili v volilnih letih od 2004 do 2018 v dnevnih časopisih najbolj poudarjeni politični in ekonomski vidiki staranja ter da se v analiziranem obdobju povečuje družbena občutljivost za s starostjo povezane tematike. Ugotovitve nadalje kažejo, da pri poročanju o problemih, s katerimi se spoprijemajo stari, prevladujejo trije s starizmom povezani principi reprezentacije: normalizacija, drugačenje in homogenizacija. Največ problemov, s katerimi se srečujejo stari ljudje, in rešitev zanje opredelijo predstavniki države in interesnih skupin. V nasprotju z drugimi raziskavami medijskih reprezentacij ta raziskava ni potrdila trenda individualizacije odgovornosti za probleme, s katerimi se spoprijemajo stari. Contemporary demographic, social, and economic trends stimulate the interest of social and cultural gerontology in exploring the nature and potential influences of media representations of old age. Media representations of old age are of special importance for social scientists because they are related to social relations and reflect the structure of society and its values. So far, there has been no research that would examine how media representations of old age change over time and effect society's attitude towards the older people in Slovenia. In order to gain understanding of the social construction of old age and related trends in the early twenty-first century we implemented longitudinal study, which encompassed the 2004‒2018 election years. First, we analysed coverage of topics related to old age on a sample size of 3,800 articles collected from the three printed daily newspapers Delo, Slovenske novice and Večer using quantitative content analysis. Further we selected a sample of 80 articles of the daily newspaper Delo and analysed the newspaper coverage of 309 problems that people face in old age and 144 related solutions using qualitative content analysis. Our results showed that in the election years from 2004 to 2018, the political and economic aspects of aging were most prominent in daily newspapers, and that social sensitivity to age-related topics increased in the analysed period. Our findings further revealed that three principles related to ageism prevail in representation of older people: normalization, differentiation, and homogenization. Moreover, findings of our study indicate, that most problems and solutions in the newspaper are reported by representatives of the state and interest groups. In contrast to other studies of media representations, our inquiry did not confirm the trend of individualizing responsibility for the problems of older people.

Diplomsko delo obsega predstavitev in analizo dela Gospodar in njegov gospodar. Ideja slikarskega projekta izvira iz odnosa, ki se vzpostavlja med avtorico diplomskega dela in lutko iz cunj. Ta vizualno in praktično sledi logiki otroške igrače, ki funkcionira kot pasiven podaljšek svojega lastnika - gospodarja. Njegov videz, ki ga lutka očitno oponaša, a grobo abstrahira človeško podobo v naravni velikosti, poskrbi tako za gledalčev občutek nelagodja kot za povečano zavest o pripadnosti med lutko in avtorico. Lutka je istih dimenzij kot avtorica, oblečena je kot avtorica, zato se z njo lahko poistoveti, njena pasivna vloga pa odpira možnosti vsakovrstnih projekcij. Projekt se osredotoča na dinamike moči, ki vzniknejo med osebo in njenim podaljškom, ki se razvijajo skozi serijo slik. Teza je, da tu pride do nenavadnega obrata premoči, kjer pasivno nebitje prevzame moč iz rok svojega stvaritelja. My thesis contains a presentation and analysis of a project titled The Master and his Master. The core idea of my project comes from the relationship between the author and a ragdoll. It visually and practically follows the logic of a child's toy, which functions as a passive extension of its owner - the master. Its look, which obviously mimics, yet roughly abstracts the human form in life size, provides a feeling of discomfort for the viewer's as well as a heightened feeling of belonging between the two of us. The doll's body is the same dimensions as the author's, it is wearing their clothes, so they can identify with it, while its passivity opens up the way for projections of any kind. The focus of the project are the power dynamics that arise between the person and their extension, which are explored and developed further through a series of paintings. The thesis is that a strange shift of predominance takes place there, where a passive non-being takes the power out of the hands of its own maker.

Magistrsko delo obravnava fenomen fenovske literature in reprezentacije žensk in LGBTQ skupnosti znotraj fenovske skupnosti Harryja Potterja. Delo se sprva osredotoča na trende fenovske literature na splošno, opravi pregled zgodovine fenovske literature od antike do danes in opredeli fenomen Harryja Potterja ter razloge za priljubljenost fenovskih zgodb znotraj te fenovske skupnosti. Po pregledu trendov v zgodbah zgodb oboževalcev, delo skuša ugotoviti, ali so ženske in skupnost LGBTQ med najbolj reprezentiranimi v fenovski literaturi. Delo skuša odgovoriti na vprašanje, če se trendi v fenovski literaturi odražajo tudi v zgodbah, ki so naknadno izdane v knjižnih izdajah. The present thesis deals with the fanfiction phenomenon, focusing on the scope of women and LGBTQ representation within the Harry Potter fandom. The research first presents significant aspects and practices of fanfiction in general and presents the history of fanfiction practices from antiquity onwards. Second, it focuses on the phenomenon that is the Harry Potter series and its presence in the fanfiction community. The thesis attempts to answer the question of why Harry Potter fanfiction is so popular while focusing on different thematic trends within the fanfiction community. Next, the thesis deals with the question of women and LGBTQ representation within the Harry Potter fanfiction community while attempting to determine if fanfiction stories that are pulled to publish later reflect the trends of fanfiction stories.

Prvi del magistrskega dela raziskuje zgodovino reprezentacij LGBTQ skupnosti v filmu in medijih, s ciljem postavitve avtoričinega praktičnega projekta v kontekst, da bi ugotovili, na katere načine se le-ta vključuje v stereotipe in v katerih primerih se nahaja zunaj njih. Osredotočeno večinoma na ameriški in delno tudi na evropski film, pričujoče magistrsko delo ne predstavlja izčrpne študije teme, temveč gre za subjektivno izbiro določenih vrhuncev, ki so označili LGBTQ reprezentacijo v zgodovini filma ter pomembnih tem v odnosu do praktičnega projekta. Magistrsko delo izpostavi filme skozi desetletja in dogodke gejevskega gibanja z namenom kontekstualiziranja reprezentacije skupnosti v njenem družbeno-političnem presečišču. V svojem drugem delu avtorica razloži ustvarjalni proces filma (s)election, ki predstavlja praktični del magistrske naloge. Na koncu se oba dela povežeta. The first part of the thesis explores the history of the LGBTQ community’s representation in Film and Media in order to situate the author’s practical project in a context, in the hopes to find out in which ways it plays into stereotypes and in which it does not. Focusing mostly on American cinema, and much more briefly on European cinema, this thesis is not a comprehensive study of the topic, but merely a somewhat subjective choice of the highlights that marked LGBTQ’s representation in the history of film and relevant issues to the practical project. It highlights films throughout the decades and moments of the Gay Movement to contextualize the portrayals of the community in their social-political conjuncture. In its second part, the author explains the creative process behind (s)election, the practical part of the thesis. The two are connected at the end.

U radu se daju pregled i analiza reprezentacije samskog naroda na skandinavskom filmu u kontekstu teške baštine. Na početku se rada daju objašnjenja osnovnih pojmova kulturne baštine i teške baštine te kratki pregled problematične povijesti samskog naroda i odnosa s dominantnim etničkim skupinama. Rad također sadrži kratku analizu reprezentacije Sama u tri filma i jednoj TV-seriji. Jedan od filmova je švedski film Laponska krv redateljice Amande Kernell iz 2016. godine. Dva su primjera norveška – film Pathfinder ili Ofelaš iz 1987. godine redatelja Nilsa Gaupa te serija Dobrodošli u Utmark islandskog redatelja Dagura Kárija iz 2021. godine. Naposlijetku se spominje i animirani film Klaus iz 2019. godine koji , iako nije djelo skandinavskih filmaša, valja spomenuti zbog reprezentacije samskog jezika, koji ostaje nepromijenjen i u sinkronizacijama na druge jezike. This paper gives an overview and analysis of the representation of the Sami people in Scandinavian film in the context of difficult heritage. At the beginning of the paper, basic definitions of terms “cultural” and “difficult heritage” are given, together with a brief overview of the difficult history of the Sami people and their relationship with the dominant ethnic groups. The paper also contains a short analysis of representation in three films and one TV series. One of the films is the Swedish Sami Blood by the Sami director Amanda Kernell from 2016. Two examples are Norwegian – the movie Pathfinder by director Nils Gaup from 1987 and a TV series Welcome to Utmark by an Icelandic director Dagur Kári from 2021. In the end, the animated movie Klaus from 2019 is mentioned because, despite it not being a work of Scandinavian filmmakers, it seemed important to list it because of its representation of the Sami language, which remains unchanged even in synchronizations to other languages.

Žanr telenovel je prepoznaven in priljubljen ter ostaja ustaljena praksa komercialnih televizijskih kanalov. Z značilnimi konvencijami, ki oblikujejo naracijo, je prepoznavna širšemu občinstvu. Značilne ljubezenske zgodbe, liki in stil pripovedi oblikujejo vrednote in moralne sodbe o svetu. V diplomski nalogi predstavljam, kako se preko žanra mehiških telenovel odraža binarna struktura ženskega lika. Reprezentacija ženske v telenovelah izhaja iz ideologije marianismo, ki se nanaša na družbene vloge žensk v latinskoameriški kulturi. Binarno delitev reprezentira dihotomija ženske device na eni strani in prešuštnice na drugi. Ženski lik je tako deljen na skrajno dober ali slab, dihotomija pa je povezana s krščanskimi vrednotami in načeli, kar se znotraj telenovel odraža z elementi vere, prisotnostjo cerkve v vsakdanjem življenju, kipcem Marije Guadalupe in pomenom usode v kontekstu božjih zapovedi in naukov. Ženski lik je predstavljen kot skrajno dober ali zloben, kar vpliva na usodo in končni razplet telenovele. The genre of telenovelas is recognizable and popular, and remains a well-established practice of commercial television channels. With its characteristic conventions that shape the narrative, it is recognizable to a wider audience. Characteristic love stories, characters, and storytelling styles shape values and moral judgments about the world. In my dissertation I present how the binary structure of a female character is reflected through the genre of Mexican telenovelas. The representation of women in telenovelas stems from the ideology of marianismo, which refers to the social roles of women in Latin American culture. The binary division is represented by the dichotomy of the female virgin on the one hand and the adulteress on the other. The female character is thus divided into extremely good or bad, and the dichotomy is linked to Christian values and principles, reflected in telenovelas with elements of faith, the presence of the church in everyday life, the statue of Mary Guadalupe and the meaning of destiny in the context of divine commandments and teachings. The female character is presented as extremely good or evil, which affects the fate and final unfolding of the telenovela.