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Cilj magistrskega dela je bil definirati glavne dejavnike današnje hiperproduktivne družbe, ki vplivajo na način, kako umetnik ustvarja svoja umetniška dela. Teoretični del raziskuje izbor zunanjih dejavnikov, s katerimi se morajo umetniki spopasti, če želijo biti sprejeti v sedanjem, globalnem svetu umetnosti. Ti dejavniki so naslovi poglavij teoretičnega dela magistrskega dela in se glasijo takole: Hiperkapitalistične oblike produkcije, institucionalizem (Akademija in umetniški trg) ter Novi mediji in platforme za samo (Re) prezentacijo. Ugotovitev, ki izhaja iz raziskovanja teh dejavnikov, je, da čeprav je umetniški trg navidezno obseden z idejo pristnosti in inovativnosti, je nastavljen tako, da vzgaja ravno nasprotno: hiperprodukcijo idej in konceptov, ki umetnike omejijo na standardizirana, pa tudi močno homogenizirana in omejena izrazna sredstva. V zadnjem poglavju teoretičnega dela, z naslovom Avtentičnost?, je vprašanje umetniške inovacije v 21. stoletju podrobneje razčlenjeno. V praktičnem delu z naslovom Produkcija vrednosti in vrednost reprodukcije je nastala serija grafik z naslovom “Wetprints” (Mokri odtisi), ki je bila interpretirana tako iz komercialnega vidika, kot tudi iz bolj konceptualnega. Serija je ustvarjena s kapljanjem, potapljanjem in izpostavljanjem kapljičnih tiskov morju in dežju, kar ustvarja nekakšen akvarelni učinek. Vsaka slika, ki tako nastane je edinstvena, a kljub temu neizogibno klišejska zaradi svojih motivov – ovenilih šopkov. Zadnje poglavje podrobno obravnava tako komercialne kot konceptualne procese, ki so vodili do končne predstavitve projekta, razstave z naslovom “A to je to?”, ki je potekala oktobra 2020 v Projektnem prostoru Fotopub. The goal of this thesis was to decipher the main factors of today’s hyper-productive society, which effect the way in which an artist produces their art works. The theoretical part explores a selection of external factors, which artists must tackle if they wish to be accepted within the current, global world of art. Those factors are the titles of the chapters of the theoretical part of this thesis and go as follows: Hyper-capitalistic Forms of Production, Institutionalism (Academia and The Art Market), and New Media and Platforms for Self (Re)presentation. The conclusion which is drawn from the exploration of these factors is that although the art market is seemingly obsessed with the idea of authenticity and innovation, it is set up to breed exactly the opposite: the hyper-production of ideas and concepts, which confine artists to a standardised, as well as greatly homogenised and limited means of expression. In the final chapter titled Authenticity?, the subject of artistic innovation in the 21st century is explored more thoroughly. Within the practical part, titled The Production of Value and The Value of Production a series of prints named Wetprints is executed both via their commercial potential, as well as through a more conceptual interpretation. The series is created through the act of dripping, dipping, and exposing Inkjet prints to sea and rain, which creates a sort of water-colour effect, each image unique, and original, yet inescapably cliche because of its subjects- wilted bouquets. The last chapter discusses both commercial and conceptual processes in detail leading up to the final presentation of the project, So This Is It?, an exhibition which took place in October 2020 in the Fotopub Project Space.

Namen magistrskega dela je bilo raziskati pojavnost odtujenega odnosa med partnerjema, in povezanost samospoštovanja z agresivnim vedenjem partnerja in kakovostjo partnerskega odnosa. Zanimalo nas je, kolikšna je stopnja samospoštovanja glede na agresivno vedenje partnerja in kakšna je kakovost partnerskih odnosov glede na posameznikovo samospoštovanje. Vzorec je zajemal 266 udeležencev (od tega 84,2 % žensk in 15,8 % moških), ki so izpolnili Vprašalnik zakonske nezadovoljnosti – MDS, Vprašalnik agresije – AQ in Rosenbergovo lestvico samospoštovanja – RSES. Ugotovili smo, da posamezniki z nižjim samospoštovanjem pogosteje izražajo agresijo in so manj zadovoljni s svojim partnerskim odnosom, kar se posledično povezuje z nizko kakovostjo partnerskega odnosa. Prav tako smo ugotovili, da obstajajo statistično pomembne razlike v partnerski odtujenosti glede na čas trajanja partnerske zveze, kajti posamezniki, ki so v partnerski zvezi manj časa, so si v primerjavi s posamezniki, ki so v partnerski zvezi dlje časa, bolj odtujeni, bolj odtujeni so si tudi tisti partnerji, ki imajo otroke. Na podlagi raziskave smo ugotovili, da ne prihaja do statistično pomembnih razlik med agresijo in udeležbo v partnerski terapiji, v nobeni od pod dimenzij agresije. Raziskava ponuja spoznanja in nov pogled o povezanosti tovrstnih konstruktov, pušča odprt prostor za nadaljnje raziskave ter lažje razumevanje še tako zapletenega področja, kot so partnerski odnosi. The purpose of the master's thesis was to investigate the occurrence of an alienated relationship between partners, and the relationship between self-esteem and aggressive partner behavior and the quality of the partnership. We were interested in the level of self-esteem in relation to the aggressive behavior of the partner and the quality of the partner relationship in relation to the individual's self-esteem. The sample included 266 participants (of which 84.2% were women and 15.8% were men) who completed a marital dissatisfaction questionnaire - MDS, an aggression questionnaire - AQ and the Rosenberg self-esteem scale - RSES. We found that individuals with lower self-esteem are more likely to express aggression and are less satisfied with their partnership, which in turn is associated with a low quality partnership. We also found that there are statistically significant differences in partner alienation according to the duration of the partnership, because individuals who are in a partnership for less time are more alienated compared to those who are in a partnership for a longer period of time. Those partners who have children are also more alienated. Based on our research, we found that there are no statistically significant differences between aggression and participation in partner therapy in any of the sub-dimensions of aggression. The research offers insights into and a new perspective on the interconnectedness of such constructs, leaving open space for further research and easier understanding of even such a complex area as partnerships.

V svojem diplomskem delu Bivanjska tema v izbranih pripovedih Petra Božiča sem raziskovala odtujenost Božičevih likov do sveta in splošnih družbenih norm, poiskala sem vzporednice z avtorjevim življenjem. Ugotavljala sem kakšen pomen ima smrt in ali je le ta rešitev. V vseh delih sem iskala pozitivne stvari, saj sem skušala dokazati, da si osebe želijo živeti in nekam spadati. Analiza zajema naslednja dela Petra Božiča, ki sem se jih lotila po letnici nastanka: Beli šal (1954), Izven (1963), Na robu zemlje (1968), Jaz sem ubil Anito (1972), Zemlja (1976), Na njeni travi (1976) in Očeta Vincenca smrt (1979). Moje ugotovitve so, da vsi liki hrepenijo po ljubezni in občutku pripadnosti, a jih v večini primerov definira že preteklost, ki jih tako zaznamuje, da ji ne morejo uiti. Kruta usoda jih čaka za vsakim vogalom, sami pa niso dovolj močni, da bi z lastno močjo to vez pretrgali in živeli naprej. Bivanjski problem oseb se kaže zaradi preteklosti, nadaljuje se tudi v sedanjosti. Osebe se nenehno soočajo s težavo, da nikjer ne morejo živeti. Ker so tako zaznamovane, uničijo še tiste lepe stvari, ki se jim ponudijo, saj jih enostavno ne znajo sprejeti. Ženski liki so tisti, ki glavnim osebam pomagajo, a ker tudi same niso dovolj močne, jih ne rešijo, ampak potonejo tudi one. V vseh analiziranih delih se močno čuti Božičeva težnja, da so vse osebe obsojene na propad že od samega začetka in da so vseskozi izgubljene. My thesis entitled Existential theme in selected works of Peter Božič explores alienation of main characters. My research was about their alienation towards world and general social norms. I also explored parallels with authors life. I was interested in the role of death and if it brings solution to main characters. I tried to show that all of the characters need love and companionship and they want to belong somewhere. The analysis comprises the following works of Peter Božič: Beli šal (1954), Izven (1963), Na robu zemlje (1968), Jaz sem ubil Anito (1972), Zemlja (1976), Na njeni travi (1976) in Očeta Vincenca smrt (1979). I have come to the conclusion that all characters crave love and feeling of belonging somewhere. Their main problem is the past that defined them and they are not able to live a normal life. They are not strong enough to escape the past that prosecutes them. Existential problem is something they can not escape. Female characters can not help the alienated characters because they are not strong enough and they get drawned with them. In all of analysed works we can feel the author and his aspiration that all the characters are lost from the beginning and have no chance to succeed.

Erica Johnson Debeljak in Brina Svit sta dve precej nenavadni slovenski pisateljici. Nenavadni zato, ker gre za dva fenomena. Prvi, Erica Johnson Debeljak, je Američanka, več kot dvajset let živeča v Sloveniji in sedaj uveljavljena kot slovenska pisateljica. In drugi, Brina Svit, Slovenka, že več kot dvajset let živeča v Franciji, in sedaj uveljavljena tudi kot francoska pisateljica, od romana Moreno naprej, namreč ustvarja tudi v francoščini. V diplomskem delu je predstavljeno njuno življenje in ustvarjanje, v ospredju pa so motivi tujstva in njihova analiza. Diplomska naloga podrobneje predstavlja motive tujstva v prozi Erice Johnson Debeljak in Brine Svit. V njunih proznih opusih jih poišče in razloži. Pri obeh avtoricah je bila emigrantska izkušnja pomemben mejnik v njunem ustvarjanju, saj je na primer Erica Johnson Debeljak posledično zaradi nje sploh začela pisati, pri obeh pa se le-ta zelo veliko pojavlja v njunih besedilih, tako lahko zdomstvo, tujino, svetovljanstvo, poliglotstvo, tujstvo, neznani izvor, drugačnost, nedomačnost, eksotičnost idr. spremljamo povsod skozi motive tujstva. Motivi tujstva pa se navezujejo tudi na oddaljenost, odtujenost, nepovezanost v medosebnih odnosih, saj kot pravi Erica Johnson Debeljak, smo tujci vsi, tudi tisti, ki nikoli nismo zapustili doma in domačih. Predvsem pa pri obeh izstopajo motivi tujstva med moškim in žensko, pri Brini Svit še med ožjim sorodstvom, med mamo in hčerjo ali pa med očetom in hčerjo. Erica Johnson Debeljak and Brina Svit are quite extraordinary Slovene writers. They are extraordinary because they are phenomena. First, Erica Johnson Debeljak is American, who has been living in Slovenia for more than twenty years and has been well known Slovene writer. Second is Brina Svit, Slovene, who has been living in France for more than twenty years. She has been known as a French writer, she has been writing in French since she has published novel named Moreno. In the final thesis their life and work are represented. The motives of foreignness and their analysis have been in the focus. In the final thesis are represented motives of foreignness in the prose of Erica Johnson Debeljak and Brina Svit. The motives have been researched and explained. At both writers the émigré experience has been important turning point for their work for example Erica Johnson Debeljak consequently started to write because of it. In their texts émigré experience has been present very often thus we can see migration, foreign country, cosmopolitanism, foreignness, unknown origin, difference, exotica through motives of foreignness. Motives of foreignness have been closely connected with distance, alienation and interpersonal relations as Erica Johnson Debeljak says we are all foreigners, also the ones who have never left their home and family. Above all things motives of foreignness between man and woman have been in front, at Brina Svit also among close relatives, between mother and daughter or between father and daughter.