| Abstract | Zbog nedostataka opće prihvaćene definicije stripa od strane autora i esejista,
početna poglavlja teorijskog dijela ovog rada bavit će se pregledom nastanka i formacije
stripa kako bi se razjasnila sama njegova forma. U ovim poglavljima otkrit ćemo koliko
daleko povijest stripa seže, te na koje načine se strip formirao u danas tri najznačajnija
tržišta stripa: Europi, Americi i Dalekom Istoku, specifično Japanu i Kini te kako su ta
geografski udaljena područja počela utjecati na međusoban razvoj uslijed pojačane
globalne povezanosti. Kasnije ćemo dalje definirati formu stripa kroz pregled načina na
koji taj medij koristi umjetničke elemente poput linije, boje, oblika, vremena, te
pojedinačne sličice stripa kao scenskog kadra – elementa unikatnog za strip.
Pri završetku teorijskog dijela o stripu, postepeno ćemo zaroniti sve dublje u svijet
antropomorfizma. Zbog širokog raspona tog pojma i potrebe ovog rada, fokusirat ćemo se
na antropomorfizam životinja. Počevši s njegovom definicijom, nastavljajući kroz
psihologiju iza njegovog korištenja i praktičnu uporabu, završit ćemo s njegovim
duhovnim aspektom koji danas postaje sve bitniji faktor u formaciji i uspjehu
antropomorfiziranih priča. Jednom kada budemo razumijeli „zašto“ iza tog pojma, istražit
ćemo i „kako“, tako što ćemo kategorizirati različite stilove iliti stupnjeve
antropomorfizma i napraviti kratku analizu definirajućih djela unutar svakog stupnja, kako
bismo saznali postoji li korelacija između stupnja, ciljane publike i tematike. Jednom kad
razjasnimo „kako“ i „zašto“ stripova i antropomorfizma, spojit ćemo ta dva pojma u
analizi stripova koji koriste antropomorfizirane životinjske likove kako bi u posljednjem
praktičnom dijelu ovog diplomskog rada mogli lakše i s većim razumijevanjem stvoriti
vlastiti kratki strip s elementima antropomorfizma. |
| Abstract (english) | Due to a lack of general consensus by authors and essayists of comic books
regarding a definition of what a comic book actually ism, the first chapters of this thesis
will revolve around the history and formation of comic books, so they may help us
understand the form better. In these chapters we will discover how far back the history of
comic books goes and how they formed in three of the biggest markets for this medium
today: Europe, America and Far East, specifically Japan and China. We’ll see how comic
book development in this regions impacted one another through the rise of global
accessibility. Later on, we will further define the form of comic books by analysing how
they use some of the basic building blocks of art, such as line, shape, time and panels as
scenes – an element unique to the form of comics.
Following the end of comic book section, we will gradually investigate depths of
anthropomorphism. Because this is such a vast concept all on its own, for the purposes of
this thesis we will focus on animal anthropomorphism. Starting from its definition and
moving through the psychology around the term and its application in real world, ending
with its spiritual aspect, which is growing more and more critical to the formation and
success of anthropomorphic stories. Once we understand “why” behind the term we are
going to explore “how”, by attempting to categorize various styles, or rather degrees, of
anthropomorphism and briefly analyse couple of the defining works within each degree,
with the intent of discovering correlation between the various degrees, their target
audiences and themes. Once we understand the “how” and “why” of both comic books
and anthropomorphism, we are going to join these two terms by analysing several comic
books that feature anthropomorphic animal characters, so that in the last practical part of
this thesis, we can create a short comic with elements of anthropomorphism with more
ease and understanding. |
