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Raziskovalni problem diplomske naloge obsega temeljito obravnavanje umetniškega obdobja fauvizma in vodilnega umetnika te usmeritve, Henrija Matissa. Naloga z umetnostnozgodovinsko obravnavo zajema ključna vprašanja o izvoru fauvizma, vplivih izbranih postimpresionističnih umetnikov in vzporednosti z eskpresionizmom. Seveda so s pomočjo ključnih del tega obdobja raziskana tudi vprašanja o naravi in značilnostih fauvizma. Diplomska naloga vsebuje poleg teoretičnega raziskovanja likovno praktični del, v katerem raziskujem svoje slikarsko delo v dveh sklopih, ki ju povezujem in primerjam med seboj in z obravnavanima slikama Henrija Matissa. Čeprav sem pri analizi in likovno praktičnem delu diplomske naloge zajela tudi druge značilnosti fauvističnega slikarstva, sem se v svojem delu primarno osredotočala na uporabljanje barv na svobodnješi, bolj intuitiven in nereprezentativen način, na obdelavo barve kot samostojnega elementa ter na barvno utelešanje in sporočanje razpoloženja v odnosu s svojim individualnim izrazom. Temo sem izbrala, ker sem med svojim likovnim ustvarjanjem velikokrat čutila povezavo z obdobjem fauvizma in sem želela globlje spoznati in razumeti fauvistično umetnost, da bi lahko s tem znanjem naprej razvijala tudi svojo slikarsko pot. The research questions of my diploma thesis include a thorough understanding of the artistic period of fauvism and the leading artist of this artistic period, Henri Matisse. From the perspective of art history, the thesis covers key questions about the origins of fauvism, the influence of selected post-impressionistic artists and parallels between expressionism and fauvism. The thesis also discusses the nature and characteristics of fauvism, explored through the key works of this period. In addition to theoretical research, the diploma thesis also includes a practical artistic component, in which I explore my own painting in two parts, connecting and comparing them with each other and with discussed paintings of Henri Matisse. Though I have incorporated other characteristics of fauvist painting in the analysis and practical part of my thesis, my primary focus was on using color in a freer, more intuitive and non-representational manner, treating color as an independent element, and on embodying and conveying emotion through color in relation to my individual artistic expression. I chose this topic because I often felt a connection with the period of fauvism during my artistic journey and I wanted to deepen my knowledge and understanding of fauvist art. By exploring and studying fauvism, I aimed to develop my own painting further.

Ekspresionizem kot beseda za obdobje se najpogosteje nanaša na moderno umetnost nemško-govorečih dežel v začetku 20. stoletja, imenovano tudi nemški ekspresionizem. Izraz ekspresionistično lahko uporabimo kot izrazno značilnost za mnoge umetnine, vključno za dela dunajskega slikarja Egona Schieleja. Njegove umetnine so bile izjemno napredne in sporne za tisti čas, kljub temu pa je dosegal izjemne dosežke na področju umetnosti. Na to je vplivalo veliko različnih dejavnikov, od razvoja psihologije, prve svetovne vojne, njegovih povezav z drugimi umetniki in hkrati tudi dogodki v njegovem zasebnem življenju. Njegov opus sestavljajo avtoportreti, portreti, akti in krajine. Schiele je pustil za seboj velik vpliv na umetnost, ki je viden tudi v mojem likovnem razvoju in v delih. Prvi del diplomskega dela je teoretičen in namenjen analizi in raziskavi. Drugi del diplomskega dela je praktičen in vsebuje raziskavo mojih likovnih del, ki temeljijo na predhodno raziskani teoriji. Expressionism is a term, applied to modern art of German-speaking countries at the beginning of the 20th century. The term expressionist can also be used as a characteristic description for many works of art, including the works of the Viennese painter Egon Schiele, which is the main subject of my diploma studies and analysis. Despite the fact that his works of art were extremely advanced and controversial at the time, he left great achievements in modern art. His work was influenced by many different factors, such as the development of psychology, the First World War, connections with other artists and events in his private life. His oeuvre consists of self-portraits, portraits, nudes and landscapes. Schiele left a great influence on art and beacuse of that, his influence is also visible in my works and in my own artistic development. The first part of the thesis is theoretical and intended for analysis and research. The second part of the diploma thesis is practical and contains research through creating works of art based on previously researched theory.

V magistrskem delu se ukvarjam s preučevanjem prevajalskih izzivov, s katerimi sem se soočal pri prevajanju ekspresionistične drame Dogodek v mestu Gogi slovenskega dramatika Slavka Gruma, in iskanjem prevajalskih rešitev, ki delno temeljijo na teorijah in strategijah teoretikov prevajanja. Analiza je izvedena na štirih prevodih odlomkov drame v nemščino, ki so nastali v sklopu tega magistrskega dela. Zaradi specifične narave obravnavane drame, Grum je namreč dogajanje postavil v fiktivno mesto, ki naj ne bi temeljilo na resničnem okolju, so v prevodu v čim večji meri nevtralizirani elementi, ki bi bralca oz. gledalca prevoda spominjali na resnično geografsko okolje ali kulturo, kar med drugim vključuje osebna in zemljepisna lastna imena. Prevodi odlomkov temeljijo na teoriji delovanja, zaradi česar sem se pri prevodnem postopku za doseganje čim večje mere ekvivalence sproti odločal med zvesto in svobodno metodo, zaradi česar ponekod zaradi kulturnih in jezikovnih razlik med izvirnim in ciljnim jezikom prihaja do rahlega formalnega odstopanja, medtem ko naj bi bil ohranjen učinek izvirnega besedila in večine tam prisotnih slogovnih sredstev. Verjetno največji prevajalski problem pri prevajanju drame je Grumov specifičen osebni slog pisanja, ki poleg občasne uporabe visokega registra v dialogih vsebuje izraze, ki so veljali za zastarele že v času nastanka drame, hkrati vsebuje tudi malomeščanske jezikovne elemente, ki vključujejo nemške idiomatske oblike in srbohrvatizme. Takšen jezik med drugim otežuje razumevanje izvirnega besedila, zlasti za nekoga, ki ni odraščal v času Jugoslavije, hkrati pa predstavlja velik prevajalski izziv, ker register in tujejezični jezikovni elementi vplivajo na karakterizacijo dramskih oseb in ker zaradi izrazito literariziranih didaskalij in Grumove močne želje, da je drama uprizorjena na odru, lahko delo razumemo kot hkrati polnovredno literarno besedilo za branje in odrsko delo, katerega namen je uprizoritev. Zaradi te dvojnosti in želje po čim boljši sprejemljivosti pri prejemniku besedila ob uprizoritvi na odru ter ker bi sicer lahko prišlo do negativnega vpliva na karakterizacijo likov, so replike oseb prevedene v časovno nezaznamovan pogovorni jezik brez za like neustreznih formalnih registrov in poustvarjanja učinka srbohrvatizmov, medtem ko didaskalije vsebujejo literariziran slog, za katerega je med drugim značilen visok register, in, kjer možno, zastarelo besedišče. In this master's thesis, I examine the translation challenges faced in translating the expressionist play Dogodek v mestu Gogi by the Slovenian playwright Slavko Grum and search for translation solutions based in part on the theories and strategies of translation theorists. The analysis is carried out on the four translations of excerpts of the play into German that were produced as part of this master's thesis.. Due to the specific nature of the play in question – Grum has set the action in a fictional town that is not supposed to be based on a real environment – elements that would remind the recipient of the translation of a real geographical environment or culture are neutralized as much as possible in the translation, including, among other things, personal and geographical proper nouns. The translations of the passages are made according to the principle of translation by effect, which has led me to decide between faithful and free translation from case to case throughout the entire translation process, in order to achieve the greatest possible degree of equivalence, which in some cases results in a slight formal deviation due to cultural and linguistic differences between the source and target languages, while preserving the effect of the original text and most of the stylistic devices present therein. Probably the biggest challenge in the translation of the play is Grum's specific personal style of writing, which, apart from the occasional use of high register in the dialogue, contains expressions that were already considered obsolete at the time of the play's creation, but also contains bourgeois linguistic elements, including German idiomatic forms and Serbo-Croatianisms. This makes it difficult to understand the original text, especially for someone who did not grow up in the time of Yugoslavia, and also poses a major translation challenge, because the register and the foreign language elements affect the characterisation of the dramatis personae and because, due to the highly literarized didascalia and Grum's strong desire for the play to be performed on stage, the work can be understood as both a full-fledged literary text for reading and a work for the stage, the purpose of which is to be performed. Because of this duality and the aim of maximizing the text's acceptability by the recipient when it is performed on stage, and because it might otherwise have a negative impact on the characterization of the characters, the replicas of the characters have been translated into a temporally unmarked colloquial language without formal registers inappropriate for the characters and without recreating the effect of Serbo-Croatianisms, while the didascalia contain a literarized style characterized, among other things, by a formal register, and, where possible, old-fashioned vocabulary.

Diplomsko delo opisuje čas nemškega ekspresionizma v času pred in med prvo svetovno vojno. Osredotoča se predvsem na poezijo in njene apokaliptične težnje. Diplomsko delo je sestavljeno iz dveh delov. V prvem delu je nadrobneje razložen nemški ekspresionizem, v drugem pa so analizirane pesmi, ki imajo skupni motiv konca sveta, prikazane so glavne razlike med njimi in pomen zgoraj omenjenega motiva v njih. As the title suggests, the thesis describes the German expressionistic era, which took place before and during the First World War. The paper is divided into two parts and focuses primarily on the poetry and its apocalyptic tendencies. The first part contains an in-depth explanation of what German expressionism is. The second part makes use of some examples of expressionistic poems that all have the “The End of the World”-motif in common and analyses some of the main differences between them and the meaning of the abovementioned motif in the poem.

Dramo Ladja brez imena je Vitomil Zupan napisal leta 1953 med svojim bivanjem v zaporu. Drama je izšla šele leta 1972 in ni bila nikoli uprizorjena. Gre za inovativen dramski tekst s kompleksno vsebino, ki prelamlja s tradicijo in se močno razlikuje od takrat prevladujočega literarnega toka socialnega realizma. Socialni realizem zahteva realistične like v življenjsko verjetnih situacijah, liki so predstavniki socialnega razreda in niso individuumi. Ladja brez imena pa se tem zakonom ne podreja. Dogajanje ni več realistično, temveč je metaforično in celo sanjsko. Dramske osebe so postavljene v mejne situacije, v katerih se same odločajo med dobrim in zlim, med željo in močjo. Liki, ki so individuumi, imajo moč svobodne volje, v čemer lahko zaznamo maniro eksistencializma. V drami so pogosti pesniški vložki in recitativi, zaradi česar bi jo lahko razumeli kot predhodnico poetične drame. Vendar se sanje in realnost menjavajo povsem poljubno, zaradi česar še ne gre za pravo poetično dramo. V ospredju drame je človek in njegova plovba med dobrim in zlim, v čemer bi lahko uzrli vpliv ekspresionizma. Play Ladja brez imena was written by Vitomil Zupan in 1953 during his prison years. It was released much later, in 1972, and was never staged. The play itself is an innovative dramatic text with complex content, that breaks with the tradition and differs heavily from the then-prevalent literary current of social realism. Social realism depicts realistic characters in presumably life-like situations and characters are not individuals but representations of a particular social class. Play Ladja brez imena does not follow these rules: happening is not realistic, but moreover metaphorical, even dreamlike. Characters are positioned in borderline situations, in which they themselves have to decide between good and evil, between wish and power. Individualized characters have the power of free will, which could be reminiscent of existentialism. Frequent poetic inputs and recitatives render the play as a precursor of poetic dramas. But because dreams and reality interchange completely at random, it is not yet a true poetic drama. In the foreground of the play is an individual as he sails between the good and the evil, which might be attributed to the effect of expressionism.

V diplomskem delu sem analizirala pet dramskih besedil Antona Leskovca: Jurij Plevnar, Sovodenj, Dva bregova, Kraljična Haris in Vera in nevera. Pri obravnavi vsake izmed dram sem navedla podatke o nastanku, morebitni objavi ter uprizoritvi in nekaj literarnih kritik. Poleg tega sem se posvetila tudi dramskemu dogajanju in značaju dramskih oseb. Ugotovila sem, da se Leskovčeva dela ne razlikujejo samo tematsko in motivno, ampak tudi slogovno. Kljub temu da avtor velja za predstavnika dramatike ekspresionizma, lahko v njegovih delih poleg ekspresionističnih prvin med drugim zasledimo tudi prvine novega oziroma socialnega realizma, h kateremu je stremel v zadnjem obdobju svojega ustvarjanja. Da bi ugotovila, v kolikšni meri sta omenjeni literarni smeri prisotni v določenem delu, sem pri vsaki drami izpostavila elemente, ki so zanju značilni. Najbolj ekspresionistična je drama Kraljična Haris, najbolj socialnorealistična pa Vera in nevera. In my thesis, I have analysed five plays written by Slovene author Anton Leskovec: Jurij Plevnar, Sovodenj, Dva bregova, Kraljična Haris and Vera in nevera. First, I provided information on their origin, possible publication and staging, and literary reviews that followed each of the plays. After that, I have focused on the plots, and how the characters are portrayed. I concluded that Leskovec’s works differ not only in themes and motifs, but also in style. Although the author is considered a representative of the Expressionism, his works, besides Expressionist elements, exhibit elements of the New or Social Realism. Leskovec strived towards the latter in senior period of his life. To determine the influence of either literary movement, I have observed how and to which extent elements, typical of each of the movements, appear in each of Leskovec’s dramas. While the most expressionist play is Kraljična Haris, the most socially realistic one is Vera in nevera.

Diplomsko delo Uprizarjanje figuralike v ekspresionizmu in art brut-u je sestavljeno iz teoretičnega in praktičnega dela, namenjeno je predstavitvi obravnavanja telesa v ekspresionističnem slikarstvu ter gibanju art brut v Evropi in mojem lastnem ustvarjanju. V prvem delu sem razčlenila slikarsko smer ekspresionizem in gibanje art brut, naštela njune skupne značilnosti, razvoj in najizrazitejše predstavnike v Evropi. Skozi slikovne primere sem analizirala, kako so slikarji upodabljali telo v obeh slikarskih smereh. V drugem delu sem analizirala in primerjala lastno slikarsko prakso upodabljanja figuralike v povezavi z navedenima smerema. Glavni namen diplomske naloge je analizirati značilnosti ekspresionizma in art brut-a, predstaviti, kako se kažejo znotraj slikarske umetnosti, in raziskati, kako se te prvine odražajo v mojem lastnem likovnem snovanju. The diploma thesis, Preforming figuralism in Expressionism and in Brutus Art, consists of theoretical and practical part with the intention of representing the study of the body in expressionist painting and Brutus Art movement in Europe and in my own creations. The first part is a study of the art directions of Expressionism and the Art Brutus movement, with their common characteristics, development and most prominent representatives in Europe. Through examples of paintings analysis was made of how painters depicted the body in both painting directions. The second part shows analysis and comparison of my own painting practice of portraying figurines in correlation with the above Art directions. The main goal of the diploma thesis is to analyse the characteristics of Expressionism and Brutus Art, to present their manifestations within the art of painting and to explore how these elements are influencing my own artistic path.

Ekspresionizem je duhovno in umetniško gibanje, ki se je pojavilo v Evropi ob koncu 19. in začetku 20. stoletja in je zajelo vse Evropske dežele. Ekspresionizem je svoj vrhunec dosegel v Nemčiji s skupinama Most in Modri jezdec, v Franciji pa je svojo različico imel v fovizmu. Slogovno je ekspresionizem zavračal naturalizem, umetniki pa so svojo subjektivno vizijo sveta izražali v nenaravnih oblikah in barvah. V Združenih državah Amerike je po 2. svetovni vojni ekspresionizem dobil svojo nadgradnjo v abstraktnem ekspresionizmu. Znotraj tega slikarstva poznamo slikarstvo barvnih polj in gestualno slikarstvo. Le to je svojo različico dobilo v osemdesetih letih 20. stoletja v umetnosti Jeana Michela Basquiata. V svojem diplomskem delu sem ekspresionizem in abstraktni ekspresionizem predstavila na primerih izbranih umetnikov in njihovih značilnih slikarskih del. Ekspresionizem sem skozi kombinirano slikarsko tehniko približala učencem 7. razreda osnovne šole. Expressionism was a spiritual and art movement which happened in Europe at the transition between the 19th and the 20th century and covered all the European countries. It reached its climax in painting in Germany with its art groups called “The Bridge”and “The Blue rider”. France had its own version of expressionism – fauvism. This style rejcted naturalism and artists expressed their subjective vision of the world through the unnatural shapes and colours. In the USA, after the World War II, expressionism was reborn as an abstract expressionism. Inside this style there was a coulour field painting and gestural panting. Gestural painting got its version in the 80s in the art of American painter Jean Michel Basquiat. In my diploma I focused in detail on expressionism and abstract expressionism covering noticeable artists and their characteristic art works. I approached the expressionism through the combined painting art technique to the pupils of the 7 th grate.

Kratka pripovedna proza se je na Slovenskem razvila v prvi polovici 19. stoletja ter do druge polovice 20. stoletja doživela velik porast, saj so objavo omogočali številni časopisi, med drugim osrednji kulturno-literarni reviji od zadnje tretjine 19. stoletja - Ljubljanski zvon in Dom in svet. Tovrstno prozo določajo nekatere skupne značilnosti, kot npr. enopramenska ali fragmentarna pripoved z zaprtim ali odprtim koncem ter enotnostjo časa in prostora. Kratka pripovedna proza se giba v obsegu od 1.000 do 8.000 besed, na kar vpliva tudi slog, ki se je razvil v določenem zgodovinskem času, in sicer realistični, simbolistično-ekspresionistični in socialnorealistični slog. (Kocijan 2012: 13) Za kratko prozo je tudi značilno vrstno označevanje, ki se ga je ob redkih priložnostih, da bi zakril svojo družbeno kritičnost, posluževal tudi France Bevk. Ta je eden izmed prepoznavnih avtorjev kratke proze v 20. stoletju, ki je med letoma 1914 in 1938 objavljal tudi v reviji Dom in svet. Sprva je za njegovo pisanje značilen ekspresionistični slog (Kocijan 1996: 196), preko katerega skuša z živalskimi in grotesknimi podobami ter prikazom človekove notranjosti upodobiti vojno temo. Ta se pogosto povezuje z bivanjsko temo. Po letu 1924 je viden Bevkov prehod k socialnorealističnemu slogu (Koblar 1951: 57), preko katerega raziskuje (povojno) revščino. Prehod se kaže tudi na zgradbeni ravni besedil, saj se obseg besedil s spodnje meje po letu 1927 približuje zgornji meji ali jo celo prečka. Zgodbe postajajo vedno manj zgoščene in torej prehajajo v daljšo pripovedno prozo. Ne glede na slogovne poteze pripovedi je Bevk vseskozi kritično naravnan proti družbenemu sistemu ter izkazuje simpatijo do t. i. malega človeka. Short narrative prose in Slovenia developed in the first half of 19th century and increased until the second half of 20th century because many magazines enabled the publications, especially the two central magazines in the last third of 19th century - Ljubljanski zvon and Dom in svet. This type of prose is defined by many common features, like linear or fragmented narration, with a closed or open ending, and following the unities of time and place. Its length varies from 1.000 to 8.000 words, however, the length is influenced by the style that developed in a particular historic time, namely realistic, symbolic-expressionist and social realistic style. (Kocijan 2012: 13) One of the characteristics of short narrative prose is also the use of genre labels, which was also sometimes used by France Bevk, who wanted to cover up his society criticism. Bevk is one of the recognisable authors of short prose in 20th century, who also published his works in the magazine Dom in svet between the years 1914 and 1938. At first his style was initially considered expressionist (Kocijan 1996: 196) through which he tried to depict war by using animal and grotesque images and focusing on man's inwardness. The war theme is mostly connected to existentialism and individualism. Bevk's transition towards social realistic style (Koblar 1951: 57), through which he investigates the (post-war) poverty can be seen after the year 1924. Transition is evident from the theme of narration and the text structure because the length of the texts has risen from the lower limit to the upper limit, and has even crossed it after the year 1927. The stories have become less concise and are changing into long narrative prose. Regardless of the style of narration, Bevk managed to stay critically oriented towards society and show sympathy for the so-called men in the street.

V središče raziskovanja sem postavila pojavljanje likovnih umetnin v literarnih besedilih iz obdobja 1. polovice 20. stoletja, pa tudi s konca 19. stoletja. Ob tem sem izhajala iz medmedialnosti, pri čemer sem najprej predstavila njena teoretska izhodišča, nato pa le-ta prenesla še v praktični del. Medmedialnost je razmeroma mlad pojem, ki ga lahko opredelimo kot interakcijo med različnimi mediji, kar se odraža v medsebojnem prepletanju, vzajemnem prevzemanju in sklicevanju enega medija na drugega. Ker sem se sama osredotočila na odnose med literaturo in likovno umetnostjo, me bo zanimala literarno-likovna medmedialnost. Ukvarjala sem se z besedili avtorjev, ki se uvrščajo bodisi v simbolizem bodisi v ekspresionizem oziroma se njihovo literarno snovanje umešča med obe književni smeri. Poleg Ivana Cankarja (1876–1918) vključujem še Izidorja Cankarja (1886–1958), Vojeslava Moleta (1886–1973), Ivana Preglja (1883–1960), Srečka Kosovela (1904–1926) in Ivana Dornika (1892–1968). Našteti literati so v svojih delih izpostavili različna umetniška dela. Posvetila sem se predstavitvi opisov del likovnih umetnin. Posebej me je zanimala medmedialna vloga likovnih umetnin v literarnem delu in recepcija likovne umetnosti z vidika literarnih oseb oziroma z vidika lirskega subjekta. Ugotavljala sem, katere umetnine so pisatelji izpostavili v svojih besedilih, kako so reprezentirane, kaj so pomenile v tistem času, kakšna je njihova vloga v določenem literarnem delu, kakšno mesto zavzemajo v besedilu idr. V sklepu sem strnila temeljna spoznanja iz analitičnega dela. The emergence of artworks in literary texts from the first half of the 20th century, as well as from the end of the 19th century, was set in the centre of this research. We have proceeded from intermediality, the theoretical groundwork of which is presented first and then applied to the practical part. Intermediality is a relatively new concept, which can be defined as an interaction between different media, reflected in their intertwining, reciprocal taking and referencing of one media onto another. Because the thesis focuses on the relationship between literature and art, the topic of the thesis will be literary-art intermediality. It deals with texts of authors who belong either to the period of symbolism or expressionism or their literary works correspond to both literary genres. Beside Ivan Cankar (1876–1918) the thesis also includes Izidor Cankar (1886–1958), Vojeslav Molè (1886–1973), Ivan Pregelj (1883–1960), Srečko Kosovel (1904–1926) and Ivan Dornik (1892–1968). The listed authors have emphasised various artworks in their writings. The thesis focuses on presenting the description of artworks. Special attention was devoted to the intermedial role of artworks in the literary work and the reception of fine art from the standpoint of the characters or the lyric subject. The task was to find which artworks were highlighted in their texts, how they were represented, what they meant in that time, what is their role in a specific literary work, what place they occupy in the text, etc. The conclusion sums up the basic findings from the analytical part.

Ekspresionizem je bil najmočnejša smer srednjeevropskih avantgardnih literarnih gibanj. V madžarski, hrvaški in slovenski književnosti se je razvijal skoraj istočasno pod neposrednim nemškim vplivom, na osnovi koncepta »hibridne poetike«. Že to dejstvo bi upravičevalo primerjalno analizo književnosti tega prostora, kar pa se vse do zdaj ni zgodilo. Expressionism was the most influential artistic movement among the Central-European Avantgarde. It developed at almost the same time as it did in Hungarian, Croatian, and Slovenian literature and was based on “hybrid-poetical construction” with German inspiration. This fact in itself might have formed a reason for analysis of the region’s literatures however, this has not yet been completed.

V zaključnem delu je uvodoma osvetljena politična slika in kulturno življenje na slovenskih tleh pred prvo svetovno vojno in med obema vojnama. Sledi oris glasbenega sloga moderne v evropskem in slovenskem glasbenem prostoru. Kasneje se obravnava glasbeni ekspresionizem v evropskem merilu in kot njegovi vzporednici še v slovenskem. Obravnava se začetnika ekspresionizma na Slovenskem, Marija Kogoja, in Slavka Osterca kot drugo osrednjo osebnost glasbenega ekspresionizma na naših tleh. Preide se na Aloisa Hábo in mlade slovenske skladatelje, ki so Ostercu sledili na praški konservatorij, na katerem je Hába poučeval. Spregovori se o Steinerjevem antropozofskem nazoru, kateremu so idejno pripadali Hába in med drugimi tudi mlada slovenska trojica skladateljev – Franc Šturm, Demetrij Žebre in Ivan Pučnik, ki so se želeli povezati v »grupo treh« in se tako ločiti od Osterca, ki je veljal za steber slovenske avantgarde tridesetih let. Naposled se preide na Ivana Pučnika in predstavi njegov življenjepis iz osebnega arhiva skladateljeve hčerke, gospe Ajše Pučnik. Podrobneje je obravnavano njegovo kratko, a plodovito glasbeno obdobje med letoma 1934 in 1937. Gre za praško obdobje študija kompozicije, najprej privatno in nato na praškem konservatoriju pri Hábi. Predstavi se glasbena analiza zaenkrat edine najdene in ohranjene skladbe Ivana Pučnika z naslovom Živim z zemljo. Gre za fantazijo za komorni ansambel iz leta 1936. Z analizo Pučnikove kompozicije se poskuša opredeliti njegov glasbeni slog. The introduction of the final work presents a political situation and cultural life in the Slovenian region before the first world war and between the wars. The next chapter discusses musical genre of Modernism in European and Slovenian territory. Later on musical Expressionism in European, as well as in Slovenian ground, is presented. The thesis introduces the pioneer of Slovenian Expressionism, Marij Kogoj. The second main figure of musical Expressionism in our territory is Slavko Osterc. The next chapter presents Alois Hába and young Slovenian composers that followed Osterc to Conservatory in Prague, where Hába lectured. Steiner's anthroposophic view is described and was supported by Hába and three young Slovenian composers – Franc Šturm, Demetrij Žebre in Ivan Pučnik, the three of them wanted to connect in a group and separate from Osterc, who represented a pillar of Slovenian avant-garde in the 1930s. Finally, the next chapters are dedicated to Ivan Pučnik and his biography from personal archive of his daughter Ajša Pučnik. The thesis presents his short but rich musical period between the years of 1934 and 1937. It was the time of his composition studies in Prague. Pučnik took private lessons at Hába´s at first and later he studied at Prague Conservatory. Music analysis of his so far the only found and preserved composition Living with earth, is presented. It is a fantasy for chamber ensemble with the date of 1936. By analysing Pučnik's composition his musical genre is attempting to be defined.

Lik matere v slovenski literaturi je predmet številnih raziskav. Vendar pa doslej še ni nastala raziskava, ki bi načrtno primerjala razvoj lika matere v različnih obdobjih. Namen magistrskega dela je raziskati lik matere v slovenski dramatiki v času moderne in ekspresionizma. Analiziranih je bilo 33 dramskih del, ki so bila izbrana na podlagi Koblarjeve Slovenske dramatike I in Slovenske dramatike II. Pripravila sem kriterije, po katerih so bila dramska dela analizirana, pri tem me je zanimalo predvsem, ali se lik matere pojavlja v stranski ali glavni vlogi, je materinstvo glavna ali obrobna tematika in kakšen je socialni položaj ženske. V analizi sem like mater razvrstila po tipologijah Katje Mihurko Poniž in Alojzije Zupan Sosič. Ugotovila sem, da se lik matere v obeh obdobjih pogosto pojavlja in da so vprašanja, povezana z materinstvom, največkrat obrobni motiv, ki pa pomembno vpliva na dogajanje v drami. Matere imajo največkrat stranske vloge, nikoli niso opredeljene s poklicem. V obeh obdobjih se najpogosteje pojavita hudobna mati in žrtvujoča se mati, kljub temu med obdobjema prihaja do razlik. V ekspresionizmu se v vlogi hudobne mame pojavljajo prave mame, v moderni pa večkrat skrbnice, ki prevzamejo materinsko vlogo. Razlika med obdobjema je tudi v pojavljanju materinske vloge skupaj z očetovsko - v moderni se največkrat vlogi pojavljata v paru, v ekspresionizmu pa smo večkrat priča samostojni pojavitvi materinskega lika. The character of mother in Slovene literature has been the subject of numerous studies however a survey that would systematically compare the development of the mother character in different eras has not been created yet. The purpose of this master's thesis is to research the mother character in Slovene modernist and expressionist drama. I have analysed 33 plays, which were selected from Slovenska dramatika I and Slovenska dramatika II by F. Koblar. I most notably based my analysis of the plays on whether the mother character was portrayed as a supporting or main character, whether the role of motherhood was a major or a minor theme and what was the social status of those women. In my analysis I arranged the mother characters based on typologies by Katja Mihurko Poniž and Alojzija Zupan Sosič. I have ascertained that the mother character is frequently present in both modernist as well as expressionist drama and that the issues related to motherhood are a predominantly minor motif but one that has a significant impact on the events in the play. Mothers usually appear as supporting characters and their occupation is never specified. In both modernist and expressionist drama the roles of the evil mother and the self-sacrificing mother are most common however there are differences between the two dramas. In expressionist drama the role of the evil mother is filled by the biological mother, while in modernist drama that role is filled by a guardian who takes on the maternal role. The difference between the two dramas is also in the occurrence of the maternal role in relation to the paternal role - in modernist drama the two roles principally appear together, while in expressionist drama the maternal role most commonly appears by itself.

Aleksander Dev (1903—1967) je moderno usmerjen arhitekt, ki je deloval v Mariboru in bližnji okolici od tridesetih do šestdesetih let dvajsetega stoletja. Bil je eden od pionirjev mariborske moderne arhitekture v medvojnem času. Po končanem šolanju pri Jožetu Plečniku (1872—1957) v Ljubljani se je usmeril predvsem v funkcionalizem, opazijo pa se tudi odmevi ekspresionizma, stanovanjske gradnje devetnajstega stoletja in vplivi mentorja Plečnika. Njegov opus je širok in zajema predvsem stanovanjske in poslovne stavbe, počitniške koče, oblikovanje pohištva in notranje opreme, preureditev prostorov, v manjši meri tudi regulacije ulic, ukvarjanje s tipografijo. Pričujoče diplomsko delo obravnava arhitekturna dela Aleksandra, poznanega tudi pod imenom Saša, Deva na Ptuju, ki so nastala v tridesetih letih dvajsetega stoletja. Za boljše razumevanje se naloga na začetku osredotoči na Devove mariborske gradnje, to so stavba Osrednjega zavoda za zavarovanje delavcev (1930—1931), Hranilnica dravske banovine (1931—1932), Gospodarska zavarovalna zadruga Drava (1937—1940) ter Hutterjev blok (1940—1941). V primerjavi z omenjenimi se drugi del naloge posveti ptujskim gradnjam, to so Brenčičeva hiša, na kateri so opazni vplivi Plečnika, funkcionalistična Jedličkova hiša, enodružinska hiša Lešnik ter adaptacija obrambnega stolpa ob Dravi v Vinarski muzej, ki stoji na Dravski ulici, za katero je Dev leta 1937 pripravil regulacijski načrt. Gre za poskus umestitve teh projektov v Devov opus, ki še do danes ni bil sistematsko obdelan in kritično analiziran. Aleksander Dev (1903—1967) is a modern architect who worked in Maribor and its vicinity from the 1930s to the 1960s. He was one of the pioneers of modern architecture in Maribor. After graduating from Jože Plečnik (1872—1957) in Ljubljana, he focused primarily on functionalism, and in his work, echoes of expressionism, residential construction of the nineteenth century and the influence of mentor Plečnik can be noticed. His opus is wide and covers mainly residential and commercial buildings, holiday homes, furniture and interior design, room renovation, and to a lesser extent street regulation and typography. This thesis deals with the architectural works of Aleksander, also known as Saša Dev in Ptuj, which were created in the 1930s. For a better understanding, the thesis initially focuses on Dev's constructions in Maribor, that is the building of the Central Insurance Institute of Workers (1930—1931), the Dravska Banovina Savings Bank (1931—1932), Drava Economic Insurance Cooperative (1937—1940) and the Hutter apartment building (1940—1941). In comparison with the above, the second part of the thesis is dedicated to buildings in Ptuj, namely the Brenčič house, which was inspired by Plečnik, the functional Jedliček house, the Lešnik single-family house, and the adaptation of the defence tower along the Drava river to the Winery Museum on Dravska street, for which Dev prepared a regulation plan in 1937. This is an attempt to place these projects into Dev's opus, which has not been systematically processed and critically analyzed to this day.

Novejše raziskave potrjujejo, da je začetek slovenske ekspresionistične kratke proze sovpadel z začetkom prve svetovne vojne, ko je v reviji Dom in svet ob Cankarjevih »podobah iz sanj« začel objavljati distorzične psihološke črtice z etično obsodbo vojne tudi mladi rod pisateljev (France Bevk, Stanko Majcen, Ivan Dornik, Narte Velikonja idr.). Ob raznovrstnosti stilnih postopkov se razprava osredinja na model temnih sanj v Cankarjevih simbolno-alegoričnih in metaforičnih »podobah« ter na Bevkovo vojno črtico, za katero so značilni parabolični postopki, pisateljev vstop v ekspresionistično stilno paradigmo pa je potekel ob disharmoniji zvoka, grotesknih podobah, barvni abstrakciji in retoričnem govoru. Recent studies have shown that the beginnings of Slovene expressionist short prose overlap with the beginning of the First World War, when alongside Cankar’s “podobe iz sanj (images from dreams)”, a younger generation of writers (France Bevk, Stanko Majcen, Ivan Dornik, Narte Velikonja, etc.) began publishing distorted psychological short stories in the Journal Dom in svet (Home and World) containing ethical judgments of war. The present contribution focuses on various stylistic procedures and especially on the model of ominous dreams associated with Cankar’s symbolic-allegorical and metaphoric “images”, and on Bevk’s war short story involving characteristic parabolic procedures, while its entry into the expressionist stylistic paradigm is evident in dissonance, grotesque images, abstract use of colours, and rhetorical speech.

Čeprav z izrazom »ilustracija« poimenujemo umetniško delo, ki spremlja pisano besedo, se ta lahko pojavlja tudi neodvisno od besedila in ima povsem svoj pomen. Z njo je možno pripovedovati zgodbo, vanjo vpeljati globlji pomen in jo pripeljati na nivo umetniškega dela. Za ekspresionizem značilne močne barve in poenostavljene oblike nudijo odlično izhodišče za izražanje notranjih stanj in počutij. Izbor barv in oblik veliko pove o osebnosti človeka in njegovem trenutnem psihičnem stanju. Ta se kažejo predvsem v motivih, ki jih umetnik upodablja. Angeli so kot motiv pogosti in priljubljeni med ljudmi vseh starosti. Povezujemo jih z dobrim počutjem, zaščito in nežnostjo. V nas vedno prebudijo pozitivne občutke in srečo. Njihove podobe so bile prenesene praktično že vsepovsod. Ilustracije so vsestranske in jih je mogoče uporabiti v različne namene. Služijo kot povsem samostojna umetniška dela, lahko pa jih prenesemo na povsem uporabne izdelke in jih z njimi polepšamo ter jim podelimo osebni pečat. Dober primer so etuiji – ovitki za telefone. Nanje je možno prenesti ilustracije in jim vdahniti osebnost, ter večjo vrednost. Izdelki vsakdanje uporabe na ta način postanejo osebni razstavni prostor, kjer je umetniško delo vedno na dosegu roke. Na ta način se umetnost približa širši publiki, ki umetnosti sicer ne posveča velike pozornosti. Despite the common use of the illustration as an artwork which accompanies the written word, it can also be used independently and have its own meaning. With it, you can tell a story, weave in a deeper meaning and lead it to a level of a real artwork. The typical strong colours and simplified forms of expressionism build a perfect basis to express the inner state and feelings. The choice of colours and forms tells us much about a person's current mental state. This is primarily shown in the artist's choice of motifs. The motif of angels is popular among people of all ages. It represents good feelings, protection and softness. Angels tend to awaken positive feelings and happiness in a person. Illustrations are versatile and can be used for different purposes. They serve as independent works of art. On the other hand, we can transfer them to usable objects to embellish them and give them a personal seal. A good example of that is for phone cases. You can transfer an illustration onto the case and thereby give it a personality and a higher value. Everyday useable object are transformed into a personal exhibition place, where the art is always within reach. In this way, the artist can reach members of the general public who don't pay a lot of attention to art.

Diplomsko delo Ekspresionizem v slovenski umetnosti in v mojem lastnem ustvarjanju je sestavljeno iz teoretičnega in praktičnega dela. Namen dela je predstaviti ekspresionistično gibanje v Evropi in njegov vpliv na slovensko slikarstvo. V prvem delu naloge so obravnavani začetki evropskega ekspresionističnega gibanja, temeljne značilnosti ter predstavitev najizrazitejših skupin Die Brücke in Der Blaue Reiter. Drugo poglavje je posvečeno začetkom slovenskega ekspresionizma, bistvenim značilnostim in razvoju sloga pri glavnih predstavnikih. Ekspresionizem je najbolj izrazit v delih bratov Franceta in Toneta Kralja, v delih Vena Pilona in Božidarja Jakca. V praktičnem delu so predstavljena moja lastna dela in kako se ekspresionistične prvine evropskih in slovenskih slikarjev kažejo v mojem lastnem likovnem snovanju. The diploma work The expressionism in Slovene art and within my own creation consists of theoretical and practical part. The aim of this work is to introduce the expressionist movement in Europe and its influence on Slovene painting. In the first part of the work the beginnings of the European expressionist movements, the basic characteristics and introduction of the most significant groups Die Brücke in Der Blaue Reiterare discussed. The second chapter is dedicated to the beginnings of Slovene expressionism and to the essential characteristics, development style regarding to its main representatives. The expressionism is the most vivid in the works of brothers France and Tone Kralj, in works of Veno Pilon and Božidar Jakac. In the practical part my own works are presented and the way how the expressionist elements of European and Slovene painters are pointed out in my own art projection.

Diplomsko delo z naslovom Slikarski izraz, fenomen ekspresije v lastnem slikarskem izrazu je sestavljeno iz praktičnega in teoretičnega dela. Praktični del vsebuje predstavitev in analizo avtorske slikarske prakse, ki je rezultat teoretičnega in praktičnega raziskovanja fenomena ekspresivnega. Naloga zajema tudi umetnostnozgodovinski aspekt in podrobnejšo analizo treh ključnih avtorjev, pri katerih smo zaznali sorodnost v manifestativnosti lastne ekspresije. Namen naloge je proučiti ekspresijo in njene smeri, tako v izvirnem slogovnem obdobju le-tega kot tudi v vseh poznejših razvojnih stopnjah, ki jih ekspresivno označuje. Opisali bomo istovetenje z izbranimi avtorji in opredelitev njihovih ekspresivnih načinov ter iskanje poti do lastne osmislitve ekspresivnega. The diploma titled Artistic style, the phenomenon of expression in personal artistic style is composed of the practical an theoretical part. The practical part includes the presentation and analysis of the personal painting practice, which is the result of the theoretical and practical research of the phenomenon of expression.The thesis also includes the history of art aspect as well as the detailed analyisis of the works of three prominent painters, in whom we have noticed the congeniality in the manifestation of the personal expression.The purpose of this thesis is to analyse the expression and its directions in its original period and also in the further developing stages, which are defined by expressivness. We are going to define the identification with the selected painters and the classification of their expressive styles as well as finding the direction to personal objective in the expressive.

V diplomskem delu Motivika in simbolika živali v poeziji Mirana Jarca sem raziskal živalske motive in simbole v Jarčevi poeziji. Živalske motive sem pregledal in s pomočjo interpretacije ugotovil, kateri motivi preraščajo v simbole. Tu sem se naslonil na semiotično teorijo. Ugotovil sem, da približno polovico vseh motivov prerašča v simbole. Na koncu sem živalske motive in simbole opazoval še skozi časovno prizmo – analiziral sem njihovo uporabo skozi vse tri pesniške zbirke in Pasijonke. Uporaba živalskih motivov in simbolov se močno ujema z Jarčevim pogledom na svet. Prva, ekspresionistična pesniška zbirka Človek in noč vsebuje največ ekspresionističnih poimenovanj druga, Novembrske pesmi, se z uporabo živalskih motivov in simbolov približa pojmu „skupnega“ tretja, Lirika, pa vsebuje živalska imena, ki označujejo resignacijo in obup. Visoka stopnja zrelosti avtorja in močan vpliv vojne pa v ciklusu Pasijonke ubesedita živalske motive na način, da etično obsodita človeški pohlep in povzdigneta pristno moralno čistost živali. The thesis Animal Motifs and Symbols in the Poetry of Miran Jarc studies the motif and symbol of an animal in Jarc’s poetry. Animal motifs were examined and put to interpretation to find out which of them turns into symbols where I based my work on semiotic theory. I found out that about a half of motifs turn into symbols. In the end motifs and symbols were observed through the time – I analyzed their usage in three poetry collections and Pasijonke. The usage of motifs and symbols highly matches Jarc's world view. His first poetry collection Človek in noč contains more expressionistic names than others the second one Novembrske pesmi had with the usage of animal motifs and symbols approached the concept of „collectivism“ the third one Lirika includes animal names denoting resignation and despair. In the poetry cycle Pasijonke, both the high level of author’s maturity and the influence of the war articulate animal motifs in a way that they morally condemn human greed, and elevate authentic moral purity of animals.

Diplomsko delo z naslovom »Fenomen avtoportreta in izraznost risbe« je sestavljeno iz teoretičnega in praktičnega dela, pri čemer je praktični del vsebinsko vezan na teoretični del diplomskega dela. Avtoportretna zvrst skozi bogato zbirko več tisoč primerov razkriva svojo šeststoletno zgodovino. V sodobni umetnosti še vedno predstavlja eno izmed glavnih ikonografskih področij. Namen diplomskega dela je bil raziskati sodobne oblike avtoportreta v fotografiji in skozi performans, v katerem sem se tudi sama izrazila. Ker je večinski del lastnih avtoportretov izveden v risbi, drugo poglavje obravnava risbo, njen pomen, lastnosti, zvrsti in oblike ter zgodovino utrjevanja njenega statusa kot dokončnega umetniškega izdelka. V poglavju o risbi sem izpostavila pomen realističnega risanja kot osnove pri usvajanju risarske veščine in s tem problematiko figuralne umetnosti, ki kljub slabim napovedim še iz obdobja moderne ostaja živo in vseprisotno. Zadnje poglavje poleg predstavitve lastnih del orisuje tudi postopek nastajanja risanih lastnih podob. Ker ustvarjanje likovnih del po opazovanju fotografske predloge še dandanes nosi breme kvaziumetniškega postopka, sem se tej problematiki temeljiteje posvetila. Zato poslednja hipoteza temelji na priznavanju enakovrednosti uporabe fotografske predloge z zrcalno podobo pri ustvarjanju avtoportreta. The thesis, titled The Self-portrait Phenomenon and the Expressiveness of a Drawing, consists of theoretical and empirical part, the latter being based on the former part of the thesis. Through a rich collection of many thousands of examples the self-portrait genre reveals its six hundred years of history. It still remains one of the mainstream iconographic fields in contemporary arts. The aim of my thesis was to explore modern forms of self-portrait in the photography and through performance, in which I have also expressed myself. Since the majority of self-portraits is a drawing, the second chapter deals with the drawing, its meaning, characteristics, types and forms as well as the history of reinforcing its status as a complete product of art. The chapter on drawing highlights the meaning of realistic drawing as a basis for adopting the drawing skills and also the problem of figurative art, which despite the bad forecasts dating from the period of modernism remains alive and omnipresent. The last chapter alongside with the presentation of my own art works describes the procedure of creation of self image drawings. Since the creation of art works by observing the photo template is nowadays still considered quasi-artistic procedure, I have decided to look into it more thoroughly. Therefore, the last hypothesis is based on the recognition of equivalence of the use of photographic template with a mirror image in creating a self-portrait.

V diplomski nalogi želim predstaviti Toneta Kralj in njegove cerkvene poslikave na slovenskem Primorskem. Tone Kralj je od začetka dvajsetih do poznih šestdesetih let na Primorskem ustvaril gigantski likovni opus, s katerim je skušal utrjevati slovensko nacionalno zavest na območju, ki je po letih 1918 pripadalo Italiji. Poslikal je več kot štirideset cerkva. Doslej še ni bil narejen sistematičen popis vseh Kraljevih poslikav na Primorskem, česar se loteva pričujoča diplomska naloga. Za okvir topografskega popisa si jemlje slovenske državne meje, v interpretaciji pa skuša naloga odpreti vprašanje stilnega razmerja obravnavanih del. Na začetku naloge na kratko predstavim Kraljevo umetniško pot, začetek cerkvenega slikarstva in takratno zgodovinsko dogajanje. V nadaljevanju obravnavana dela razdelim na tri poglavja glede na slikarjev stilni razvoj. Namen naloge je narediti sistematičen popis poslikav na slovenskem Primorskem in jih interpretirati glede na ikonografska izhodišča. Tone Kralj and his church paintings in the Slovenian Littoral are presented in the diploma. From the early 20s to the late 60s Tone Kralj created a gigantic atristic opus in the Littoral region with which he tried to strengthen the Slovenian national consciousness in the area which has belonged to Italy from 1918. He has painted more than fourty churches. Till now no systematic list of his paintings in the Littoral region has been made and is thus undertaken in this diploma. Slovenian national borders represent a topographical frame and the question of stylistic proportion of the discussed works is dealt with in the interpretation. At the beginning of this paper Karlj's atrictic path, the beginning of church painting and the hystorical action at that time are presented. Further, I devide the discussed works in three chapters according to the painter's stylistic development. The aim of the paper is to create a systematic list of paintings in Slovenian Littoral and to interpret them accodring to their iconographic origin.

Cilj mojega diplomskega dela je bil pokazati kako lahko ekspresionizem, slog in obdjobje v umetnosti, uporabimo kot nadvih za oblikovanje tekstilnih vzorcev in izdelkov. Najprej sem naredila poglobljen študij ekspresionizma kot umetniškega sloga in spoznavanje ekspresionističnega načina likovnega ustvarjanja. Temu je sledila preučitev prednosti in slabosti različnih tehnik tekstilnega oblikovanja, ki sem jih imela namen uporabljati v oblikovalskem procesu. Pri svojem ustvarjanju, ki je bilo praktični del diplomskega dela, sem najprej naredila izbor motiva na podlagi ekspresionističnih risb potem razvoj teh motivov in na koncu realizacijo teh motivov v treh različnih tekstilnih tehnikah. Končni rezultat diplomskega dela so izdelki, ki so nastali v tem oblikovalskem procesu. Main purpose of my master’s thesis was to show how expressionism, period in history of art, can be used as an inspiration in designing textile samples and products made out of textile materials. First I wrote a description of an expressionistic art, specifics of that style and paintings from that period. After that I did a description of the textile techniques which shall be used through my designing process. Within my creating, which was practical part of the master's, after choose of the motifs among the expressionistic paintings, their transformation and realization I applied these motifs through certain textile tchniques while designing. Final results of my master's thesis are the samples and textile products which I have created within this process.

Namen diplomske naloge z naslovom Živali kot izhodišče za motive, simbole in metaforiko v izbrani kratki prozi prve polovice 20. stoletja je bil ugotoviti, katere živali so bile izhodišče za motiviko, simboliko in metaforiko ekspresionistične stilne paradigme v določeni kratki prozi pri Ivanu Cankarju, Francetu Bevku, Ivanu Dorniku in Miranu Jarcu. Zanimala nas je tudi funkcija teh živali, saj smo poskušali dokazati, da se v tej stilni paradigmi pojavlja predvsem simbolika grdega in grotesknega, kar pomeni, da se srečujemo večinoma z golaznijo, nočnimi živalmi in mrčesom. Opazili smo, da v tej simboliki sodelujejo tudi druge živali, skozi katere ekspresionistična proza ubeseduje določene idejne poudarke. Vedno je veljala predpostavka, da je Ivan Cankar temelj v naši književnosti, po katerem se zgledujejo drugi avtorji. V diplomski nalogi smo poskušali dokazati, da Cankar s svojo simboliko ni vplival na živalsko simboliko, motiviko in metaforiko drugih obravnavanih avtorjev. The aim of the thesis titled Animals As The Starting Point For The Motifs, Symbols And Metaphorics In Selected Short Prose Of The First Half Of The Twentieth Century was to discover which animals were the starting point for motifs, symbols and metaphoric expressionist type paradigm in appointed short proses by Ivan Cankar, France Bevk, Ivan Dornik and Miran Jarc. We were interested in the function of these animals, as we tried to prove that in this type of paradigm there appears to be mostly the symbolism of the ugly and the grotesque, which means that we are confronted mostly with vermin, nocturnal animals and insects. We noticed that in this symbolism there is a cooperation of other animals as well, with which the expressionist prose clearly illustrates certain ideals. There has always been an assumption that Ivan Cankar is the foundation of our literature, by whom many authors have been inspired. In this thesis we aimed to prove that Cankar did not affect the animalistic symbols, motifs and metaphorics of other authors with his symbolism.

Diplomsko delo z naslovom »Erotična risba« je sestavljeno iz teoretičnega in praktičnega dela, pri čemer je praktični del vsebinsko vezan na teoretični del diplomske naloge. Neposredna erotična upodobitev je del likovne produkcije večine umetnikov. V raziskovanju erotičnih upodobitev sem izpostavila dva umetnika, Egona Schieleja, ki je ustvaril pomemben opus erotične figuralike in Marlene Dumas, še živečo umetnico, ki skozi erotične podobe izraža aktualne teme sodobnosti. Namen tega diplomskega dela je, raziskati vlogo erotičnih upodobitev v preteklosti in danes ter poiskati vzroke za nastanek določenih erotičnih upodobitev pri obeh umetnikih, ki sem jih iskala predvsem s psihološkega vidika. Vse to bom povezala s svojimi likovnimi rešitvami. The diploma work with the title »Erotic drawing« contains a theoretical and practical part, where the practical part's content is bound to the theoretical part of the diploma paper. The direct erotic drawing is part of the artisitc production of most artists. Researching erotic drawing I exposed two artists, Egon Schiele, who produced a significant opus of erotic figures and Marlene Dumas, a still living artist, who expresses through the erotic figure actual present themes. The purpose of this diploma paper is to research the meaning of erotic drawing in the past and today and to find the reasons for the creation of defined erotic drawings of both artists, who I researched, specially from the psychological view. I am going to connect everything with my artistic solutions.

In the present article the author attempts to outline the phenomenon of the Slovene expressionist short prose between 1914 and 1935 with respect to the basic structural dimensions of the significant prose genres, such the novella, short sotory, vignette, and the poem in prose. The fundamental relationships and poetic controversies of the German expressionist movement vis-a-vis broader phenomena of the modernism and the avant-garde also confirm the medial position of this movement in the context of the Slovene avant-agarde. These statements, naturally, require scholarly explanation and verification on the most broadly conceived textual basis of the Slovene expressionist prose and its fairly representatives of various poetic-stylistic orientation. V pričujočem prispevku sem poskušala predstaviti pojav slovenske kratke ekspresionistične proze med letoma 1914 in 1935 skozi osnovne strukturne razsežnosti pomembnih kratkih proznih vrst, kot so novela, kratka zgodba, črtica in pesem v prozi. Temeljna razmerja in poetične kontroverze nemškega ekspresionističnega gibanja do širših pojmov modernizma ter avantgarde potrjujejo medialni položaj tega gibanja tudi v kontekstu slovenske avantgarde. Te ugotovitve seveda terjajo znanstveno razlago in verifikacijo na najširše zasnovani tekstualni bazi slovenske ekspresionistične proze in njenih precej številnih predstavnikov različnih poetično-slogovnih orientacij.