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CHILDREN'S TANTRUMS IN PRESCHOOL
No full textOvaj završni rad istražuje uzroke i učestalost pojave ispada bijesa u djece rane i predškolske dobi. Ispadi bijesa otkrivaju emocionalno stanje djece i ukazuju na neke veće probleme od samoga delikventnog ponašanja poput nošenja s promjenama, svladavanja novih radnji ili učenja novih motoričkih ili socijalnih vještina. U svladavanju svih prepreka ranoga djetinjstva, veliku ulogu zauzimaju odrasle osobe, a u ovom radu se posebno obrađuju uloge odgajatelja i roditelja. Njihova je uloga, osim prepoznavanja i zadovoljavanja potreba djeteta, shvaćanje pozadine ispada i pronalaženje rješenja koja će dijete usmjeriti na pravi put. Deskriptivnom metodom će se opisati i neki od najčešćih oblika ispada kod djece. Emocionalno stanje, reakcije na emocije i situacije, temperament, agresivnost i poremećaju u ponašanju su neke od glavnih poveznica s ispadima bijesa. Cilj je rada istražiti međusobnu povezanost navedenih odrednica te na kraju ukazati na postojeće strategije nošenja s ispadima bijesa.This thesis explores the causes and frequency of tantrums in early and preschool-aged children. Tantrums reveal the emotional state of children and indicate larger issues beyond delinquent behavior, such as coping with changes, mastering new tasks, or learning new motor and social skills. In overcoming all the challenges of early childhood, adults play a significant role, with this paper particularly addressing the roles of preschool educators and parents. Their role, besides recognizing and meeting the child's needs, involves understanding the background of tantrums and finding solutions to guide the child in the right direction. The descriptive method will be used to describe some of the most common forms of tantrums in children. Emotional state, reactions to emotions and situations, temperament, aggressiveness, and behavioral disorders are some of the main connections to tantrums. The aim of this paper is to investigate the interrelationship of these determinants and ultimately highlight existing strategies for managing tantrums
MILENA LAH I NJEZINO UMJETNIČKO STVARALAŠTVO
No full textRad predstavlja pregled stvaralaštva hrvatske suvremene kiparice Milene Lah unutar konteksta suvremene umjetnosti. Nakon kontekstualizacije i kratkog uvida u razvoj i glavne značajke suvremene skulpture, rad kronološki prati razvitak i rad umjetnice povlačeći paralelu s aktualnim umjetnicima i stilovima toga doba. Predstavlja najpoznatije samostalne cikluse radova, kao i skulpture iz javnog prostora, te radove sa brojnih kiparskih simpozija diljem Europe na kojima je aktivno sudjelovala. Po nekim izvorima smatra se autoricom prve apstraktne skulpture u Hrvatskoj (Slobodna forma, 1957., željezo), no ne pronalazi se u čistoj apstrakciji te je napušta nedugo nakon. Njezine umjetničke prakse obilježene su eksperimentiranjem u različitim materijalima i stilovima, što joj je omogućilo da se istakne na regonalnoj umjetničkoj sceni, ali i da stvori svoj posve novi umjetnički jezik.The thesis provides an overview of the work of Croatian contemporary sculptor Milena Lah within the broader context of contemporary art. After contextualizing and offering a brief insight into the development and defining characteristics of contemporary sculpture, the thesis chronologically follows Lah's artistic journey, drawing parallels with contemporary artists and styles of her time. It highlights the most notable solo series of works, as well as public sculptures and pieces from numerous sculpture symposia across Europe in which she actively participated. Although some sources recognize her as the creator of Croatia's first abstract sculpture ("Free Form," 1957, iron), she quickly discerned that abstract art was not her true direction and consequently transitioned away from it. Her artistic practice is marked by experimentation with various materials and styles, which has enabled her to make a notable impact on the regional art scene and establish a unique artistic language
RELIGIJSKA, SIMBOLIČKA I DRUŠTVENA DIMENZIJA PREHRANE: ŽIDOVSTVO, KRŠĆANSTVO I ISLAM
No full textReligija oduvijek predstavlja poseban interes u društvenim znanostima upravo zbog njenog
utjecaja na samo društvo. Religija predstavlja ono nematerijalno što se osjeća duhom i što je
neopipljivo, a unatoč tome predstavlja krucijalni pokretač različitih civilizacija kroz povijest alii
danas. Religijska povezanost sa hranom predstavlja najveći čin simboličke povezanosti sa
Bogom ali ujedno i način na koji oblikujemo društveni identitet. U kršćanstvu, hrana ima važnu
simboličku ulogu, osobito kroz obred Euharistije, gdje kruh i vino predstavljaju tijelo i krv Isusa
Krista. Blagdani poput Uskrsa i Božića često uključuju posebne obroke koji slave ključne
trenutke iz Kristova života. Post i odricanje od određene hrane također su značajan aspekt
duhovne pripreme i pokajanja u kršćanskoj tradiciji, osobito tijekom Korizme. U židovstvu,
hrana ima duboku religijsku simboliku i povezana je s poštivanjem zakona kašruta, koji
propisuju što je "košer" odnosno dopušteno za konzumaciju. Blagdani poput Pashe imaju stroga
pravila prehrane, gdje se jede beskvasni kruh (macot) u spomen na izlazak iz Egipta. Hrana se
često koristi kao način očuvanja židovskog identiteta i duhovne čistoće kroz svakodnevne
rituale i blagdanske obrede. U islamu, hrana je usko povezana s duhovnošću kroz propise o
halalu, odnosno dozvoljenoj hrani, i haramu, zabranjenoj hrani, s naglaskom na čistoću i
moralnost. Post tokom ramazana, kada se vjernici suzdržavaju od hrane i pića od zore do zalaska
sunca, predstavlja čin pobožnosti, samodiscipline i zahvalnosti Allahu. Razumijevanje ove
povezanosti postavlja pitanje kako se ona razlikuje u kontekstu različitih religija odnosno
kršćanstva, židovstva i islama?Religion has always been of particular interest in the social sciences due to its influence on society
itself. Religion represents the immaterial, something felt by the spirit and intangible, yet it serves as
a crucial driving force behind various civilizations throughout history and even today. The religious
connection with food represents the greatest act of symbolic connection with God, as well as a way
in which we shape social identity. In Christianity, food holds significant symbolic value, especially
through the sacrament of the Eucharist, where bread and wine represent the body and blood of Jesus
Christ. Holidays like Easter and Christmas often include special meals that celebrate key moments
in Christ’s life. Fasting and abstaining from certain foods are also important aspects of spiritual
preparation and repentance in Christian tradition, especially during Lent. In Judaism, food has
profound religious symbolism and is linked to the observance of the laws of kashrut, which dictate
what is "kosher" or permitted for consumption. Holidays like Passover have strict dietary rules, where
unleavened bread (matzah) is eaten in remembrance of the Exodus from Egypt. Food is often used as
a way of preserving Jewish identity and spiritual purity through daily rituals and holiday observances.
In Islam, food is closely tied to spirituality through the laws of halal, or permitted food, and haram,
or forbidden food, emphasizing purity and morality. Fasting during Ramadan, when believers abstain
from food and drink from dawn until sunset, is an act of devotion, self-discipline, and gratitude to
Allah. Understanding this connection raises the question of how it differs in the context of various
religions, namely Christianity, Judaism, and Islam
MORSKI MOTIVI U IGROKAZIMA ZA DJECU
No full textMore, kao i drugi morski motivi u dječjoj književnosti, često uključuje istraživanje,
avanture i moralne lekcije pa se u tome kontekstu djeca suočavaju s konceptima hrabrosti,
prijateljstva i prevladavanja prepreka. Također, i pisci igrokaza često koriste more kao scenski
prostor koje omogućava razvoj radnje i likova na način da sadržaj bude uzbudljiv i edukativan.
U igrokazima „Ribar Palunko i njegova žena” Luke Paljetka i „Kapetan Ivo i sirene”, more
simbolizira fizičko okruženje i emocionalne i moralne izazove. Kroz susrete s različitim mitskim
bićima vezanih za more, kao što su na primjer sirene, djeca uče o vrijednostima poput
skromnosti, odgovornosti i važnosti donošenja pravih odluka.
U igrokazima gdje je more, središnji motiv, omogućava se djeci ulazak u neistražene
svjetove i potiče mašta. Rad metodom analize i interpretacije prikazuje motiv mora kao jedan od
češćih motiva u dječjoj književnosti. U nedostatku igrokaza s motivom mora mogu se koristiti
različiti literarni predlošci za dramsku izvedbu.
Cilj je ovog diplomskoga rada detaljno istražiti, analizirati i interpretirati motiv mora te
istaknuti, u određenim igrokazima, njegovu plodonost u hrvatskoj književnosti.The sea, as well as other marine motifs in children's literature, often includes
exploration, adventure and moral lessons, in this context children face the concepts of courage,
friendship and overcoming obstacles. Also, the writers of plays often use the sea as a scenic
space that enables the development of the plot and characters in such a way that the content is
exciting and educational. In plays Luko Paljetak's "The Fisherman Palunko and His Wife" and
"Captain Ivo and the Mermaids", the sea symbolizes not only a physical environment but also
emotional and moral challenges. Through encounters with various mythical creatures related to
the sea, such as mermaids, children learn values such as modesty, responsibility, and the
importance of making the right decisions.
In plays where the sea is the central motif, children are allowed to enter unexplored
worlds and stimulate their imagination. By method of analysis and interpretation this work shows
the motif of the sea as one the occasional motifs in children’s literature. In the absence of plays
with a sea motif, different literary templates can be used for dramatic performance.
The aim of the final paper is to search thoroughly, analyze and interpret a motif of the
sea and, in some parts of plays point out its fruitfulness to the croatian literature
RUSIJA 1917.
No full textRusija je stoljećima bila država autokratskog režima. Tek 1861. godine, Aleksandar II.
provodi neke manje reforme kako bi pokušao usmjeriti državu na pravi put. Ipak, kad ga njegov
sin, Aleksandar III., naslijedio, taj pokušaj modernizacije je obustavljen izrazito
konzervativnom politikom. Sastavio je Okhranu, tajnu policiju kojom je suzbijao bilo kakve
protucarske ideje. Oba ova Cara su bila čvrsti vladari, no njihov nasljednik, Nikola II., nije.
Njegova vladavina je bila ispunjena raznim problemima i ustancima, a prva revolucija se
podigla 1905. kad su njegove trupe gotovo neobjašnjivo pucale na mirne prosvjednike vođene
svećenikom Gaponom. Taj događaj zajedno sa sramotnim porazom u rusko-japanskom ratu je
narušio njegovu reputaciju. Slaba organizacija je glavni krivac za propast ove revolucije te je
jedina promjena bila oformljenje Dume, novog zakonodavnog tijela, objavom Oktobarskog
manifesta. Narodu je nedostajao vođa koji bi ga hrabro poveo u pravu revoluciju. Taj vođa i
jest postojao u osobi Vladimira Lenjina, samo je morao čekati pravi trenutak da dođe do vrha.
Nikola II. je za to vrijeme nakratko poveo Rusiju na put ekonomskog i industrijskog rasta, no
zbog I. svjetskog rata i skandala s Rasputinom, ljudi ponovno postaju nezadovoljni te 1917.
dolazi do Februarske revolucije. Nakon što je bio prisiljen abdicirati, carski režim je napokon
doživio svoj kraj. Velika praznina se stvorila na vrhu ruske hijerarhije, a ubrzo su ju popunila
dva protivnička vladajuća tijela: Petrogardski Sovjet i Ruska privremena vlada. Stvorila se vrlo
nestabilna situacija dualne moći između njih. U srpnju su boljševici pokušali oružanim
ustankom doći do potpune kontrole, no nakon neuspjeha, Ruska privremena vlada je, s
Kerenskyim i njegovom desnom rukom Kornilovom na vrhu, uspjela zaustaviti nerede te uhititi
boljševičke vođe. Lenjin je, pak, uspio pobjeći u Finsku. Kornilov je tada smatrao da ima
savršenu priliku da podigne desničarski ustanak te on povede državu u novom smjeru. Taj
ustanak je Kerensky uspio spriječiti uz pomoć boljševika koje je pustio iz zatvora te im dao
oružje za borbu. S velikom podrškom naroda, Lenjin i njegovi boljševici su tada iskoristili ovaj
slijed događaja i započeli slavnu Oktobarsku revoluciju. Lenjin je bio novi vođa države koja je
tada, uz neke poteškoće, napokon sklopila mirovni sporazum s Njemačkom, ali je zato stupila
u građanski rat koji će potrajati nekoliko godina.For centuries, Russia had been a country run by autocrats. It was not until 1861 when
Alexander II carried out some minor reforms in order to get the country on the right path.
However, when his son, Alexander III, took over the throne, the modernization attempt was
halted by his explicitly conservative policies. He started the Okhrana, a secret police which he
used to suppress any anti-Tsarist ideas. Both of these Tsars were strong rulers, but their
successor, Nicholas II was not. His reign was filled with all sorts of problems and riots. The
first revolution took place in 1905 when his troops had, almost inexplicably, fired upon the
peaceful protesters led by Father Gapon. Both this and a humiliating defeat in the Russo-
Japanese War tarnished his image. The main reason this revolution had failed was because of
the weak organisation and the only change was the formation of Duma, a new legislative body,
by passing the October Manifesto. The people needed a leader who would bravely lead them to
a real revolution. That leader did, in fact, exist in the persona of Vladimir Lenin, but he would
have to wait for the right moment to step up. In the meanwhile, Nicholas II managed to get
Russia to grow both economy and indutrywise. However, WWI and the Rasputin scandal had
made the people unhappy once again which would result in a February Revolution in 1917.
After he was forced to abdicate, the Tsarist regime had finally come to an end. A big hole
opened up at the very top of the Russian hierarchy. Two opposing governing bodies, the
Petrograd Soviet and the Russian Provisional Government took over. Between them, there was
a very delicate situation known as the dual power. In July, the Bolsheviks tried to take full
control through an armed uprising, but after they failed, the Russian Provisional Government,
with Kerensky and his right-hand-man Kornilov at the top, managed to stop the riots and arrest
the Bolshevik leaders. Lenin, though, managed to escape. Kornilov then thought that he had the
perfect oportunity to set up a right-wing uprising and to lead the country in a new direction.
That revolt was stopped by Kerensky with the help of Bolsheviks which were relesead from
prison and armed by him. With the great support from the people, Lenin and his Bolsheviks
used this turn of events to their advantage and started the famous October Revolution. Lenin
was now the leader of the country, a country which, with some difficulties, finally signed a
peace treaty with Germany, but had also gotten itself in a state of civil war which would last
for several years
THEN AND NOW: PERCEPTIONS OF YOUNG WOMEN'S CLOTHING IN SINJ
No full textOdijevanje obilježava život svake žene, dajući priliku za kreativno izražavanje svoje osobnosti. Kombinacijom estetike i simbolike, pridaje se poseban značaj pukom materijalnom obliku odjeće. Rad se bavi istraživanjem percepcija odijevanja žena u Sinju, s naglaskom na generacijsku razliku. Istražuju se simbolički i estetski aspekti odijevanja poput načina odabira odjeće te kreativnog izričaja i ukrašavanja u odijevanju. Ispituju se stavovi žena o odjeći i odijevanju te njihove percepcije mode i stila.
Istraživanje je provedeno metodom ankete, upitnikom kao mjernim instrumentom. U istraživanju je sudjelovalo ukupno 237 žena u dobi od 18 do 65 godina. Rezultati ukazuju da starije generacije žena preferiraju udobnost i kvalitetu, dok mlađe žene prilikom odabira odjeće biraju trend i brend. Nadalje, nošenje nakita učestalije je kod mlađih generacija žena nego kod starijih, a starije žene učestalije nose šalove i marame nego mlađe žene. Postoje različite percepcije mode i stila među ženama. Moda se povezuje s kreativnošću i izražavanjem te ljepotom i udobnosti, dok se stil povezuje s osobnošću, identitetom te bezvremenošću.Dressing marks the life of every woman, giving an opportunity for creative expression of her personality. By combining aesthetics and symbolism, a special significance is given to the mere material form of clothing. The paper deals with the research of the perceptions of women's clothing in Sinj, with an emphasis on the generational difference. Symbolic and aesthetic aspects of clothing are explored, such as the way of choosing clothes and creative expression and decoration in clothing. Women's attitudes about clothes and dressing and their perceptions of fashion and style are examined.
The research was conducted using the survey method, with a questionnaire as a measuring instrument. A total of 237 women between the ages of 18 and 65 participated in the research. The results indicate that older generations of women prefer comfort and quality, while younger women choose trends and brands when choosing clothes. Furthermore, younger generations of women wear jewelry more often than older women, and older women wear scarves and headscarves more often than younger women. There are different perceptions of fashion and style among women. Fashion is associated with creativity and expression as well as beauty and comfort, while style is associated with personality, identity and timelessness
LITERARY ACTIVITY IN THE CROATIAN LANGUAGE IN AUSTRALIAN NEW SOUTH WALES (1990-2020)
No full textU razdoblju od 1945. do 1990. godine, odnosno od stvaranja FNR Jugoslavije do raspada SFR Jugoslavije, postojala su dva književna korpusa hrvatske književnosti – domovinski i izvandomovinski (Bošnjak 2021: 11). Drugi je korpus ostao slabije zabilježen i vrednovan, a činili su ga autorice i autori evidentirani u hrvatskoj književno-povijesnoj historiografiji kao emigrantski pisci. Do danas su manje-više ostali nepoznati u domovini iz koje su iselili. Nestankom se Jugoslavije početkom devedesetih prošloga stoljeća stvaraju preduvjeti za spajanjem tih dvaju književno-jezičnih korpusa, domovinskoga i izvandomovinskoga, s ciljem integracije u jednu zajedničku hrvatsku književnost. Međutim, do današnjih dana, s odmakom od tridesetak godina, do spajanja nije došlo pa izvandomovinsko književno stvaralaštvo traži danas modele svojoj vidljivosti, vrednovanju, procjeni i pozicioniranju. U radu se naslovljenome Književni prinosi na hrvatskome jeziku u australskoj državi New South Wales (1990. – 2020.) donose rezultati istraživanja pjesničkoga korpusa nastaloga na hrvatskome jeziku na prostoru australske države New South Wales od samostalnosti Republike Hrvatske do današnjih dana. Vremenski je okvir (1990. – 2020.), unutar kojega se promatra književna, uglavnom pjesnička, ostavština, iznjedrio brojne autore koji su ostali dosljedni najvidljivijemu markeru identiteta i pripadnosti pišući na hrvatskome jeziku. U istraživački su korpus uključena pjesnička ostvarenja autorica (Mirjana Emina Majić, Ana Kumarić, Ivana Bačić Serdarević, Duška Crmarić Tomašić, Marija Kosović Makić), nešto manje autora (Ante Glavor, Bartul Salečić, Drago Šaravanja, Vlado Pucak) i nekoliko pjesničkih zbirki nastalih u zajedničkoj produkciji. Cilj je rada prikazati književnu ostavštinu nastalu na hrvatskome jeziku na zaokruženome prostoru Australije kako bi se, uz predstavljanje izvandomovinskih pjesnika, upozorilo istodobno i na evidentno gubljenje hrvatskoga jezika u iseljeništvu u najnovijemu vremenu. Izabrani autori i njihova književna produkcija, izuzimajući u ovome radu vrijednosne prosudbe i kriterije promatrane književne građe, ostaju danas najčvršća veza iseljeništva s jezikom zemlje iseljavanja. U radu se ne donosi umjetnička i znanstvena ocjena izabranih književnih ostvarenja jer je središte istraživanja usmjereno na prikaz vitalnosti hrvatskoga jezika sačuvanoga (konzerviranoga) u pjesništvu na australskome prostoru kroz zadnja tri desetljeća. Naglasak u radu je na jeziku izražavanja, a ne na vrijednosti pjesničkoga izraza u promatranome korpusu s prostora australske države New South Wales.In the period from 1945 to 1990, i.e. from the creation of the Federal People's Republic of Yugoslavia until the disintegration of the Socialist Federal Republic of Yugoslavia, there were two literary corpora of Croatian literature – homeland and foreign (Bošnjak 2021: 11). The second corpus remained less well recorded and valued, and consisted of emigrant writers. To this day they remain more or less unknown in the homeland from which they have emigrated. With the disappearance of Yugoslavia, preconditions were created for the merging of two literary-linguistic corpora, the homeland and the foreign homeland, with the aim of integration into one common Croatian literature. However, to this day, with a gap of about thirty years, there has been no merging, so non-native literary creation today is looking for models of its visibility, evaluation, assessment and positioning. The paper entitled Literary Contributions in the Croatian Language in the Australian State of New South Wales (1990. – 2020.) presents the results of research on the Croatian-language poetic corpus created in the Australian state of New South Wales from the independence of the Republic of Croatia to the present day. The time frame (1990 – 2020), within which the literary, mostly poetic, legacy is observed, has spawned numerous authors who have remained consistent with the most visible marker of identity and affiliation by writing in the Croatian language. The research corpus includes poetic works by authors (Mirjana Emina Majić, Ana Kumarić, Ivana Bačić Serdarević, Duška Crmarić Tomašić, Marija Kosović Makić), somewhat fewer authors (Ante Glavor, Bartul Salečić, Drago Šaravanja, Vlado Pucak) and several poetry collections created in joint production. The aim of this paper is to present the literary legacy created in the Croatian language in a rounded area of Australia in order to, in addition to presenting non-native poets, warn of the evident loss of the Croatian language in exile in recent times. The selected authors and their literary production, with the exception of the value judgments and criteria of literary material in this paper, remain today the strongest link between the emigrants and the language of the country of emigration. The paper does not provide an artistic and scientific assessment of selected literary works because the focus of the research is on showing the vitality of the Croatian language preserved in poetry in Australia over the past three decades
GLAZBA KAO POTICAJ U RAZVOJU MATEMATIČKIH SPOSOBNOSTI DJECE RANOG I PREDŠKOLSKOG UZRASTA
No full textGlazbeni odgoj dio je estetskoga odgoja čiji je cilj kod djeteta pobuditi i razviti osjećaj i smisao za lijepo u glazbi, u umjetnosti općenito, ali i izvan nje. Glazbene aktivnosti bi trebalo provoditi zbog aktivnoga slušanja, izvođenja i stvaranja te sudjelovanja i uvažavanja glazbe, a uloga predškolskih ustanova bi trebala biti priprema djece za život u kojem je glazba integralni dio svakodnevnoga života. Glazbene aktivnosti su najbolji medij za djetetovo kreativno izražavanje i razvoj kreativnih potencijala u ranoj i predškolskoj dobi. S druge strane, matematika se ne bavi samo brojevima već životom jer opisuje svijet u kojem živimo i pršti kreativnošću. Glazba i matematika su neraskidivo povezane, a taj je odnos primijetio još Pitagora. Mnogi matematiku povezuju s glazbom jer te dvije discipline dijele mnogo toga zajedničkoga uključujući upotrebu apstraktnoga zaključivanja. U uvodnom dijelu rada opisano je kako glazba utječe na dijete, navedene su glazbene sposobnosti djece te uloga odgojitelja u poticanju istih. U drugom dijelu rada opisano je kako matematika utječe na dijete, navedene su predmatematičke sposobnosti djece te uloga odgojitelja u poticanju istih. U zadnjem dijelu rada je opisano kako glazbene aktivnosti utječu na razvoj matematičkih sposobnosti kod djece te su navedene aktivnosti iz prakse provedene s djecom predškolske dobi kako bi se prikazao konkretan način povezivanja glazbe i matematike kroz igru.Musical education is a part of aesthetic education, the goal of which is to arouse and develop a child's feeling and sense of beauty in music, art in general, and beyond. Music should be performed for active listening, performance, and creation, as well as participation and appreciation of music, and the role of preschool institutions should be to prepare children for a life in which music is an integral part of everyday life. Musical activities are the best medium for a child's creative expression and development of creative potential in early and preschool age. On the other hand, mathematics is not only about numbers but about life because it describes the world we live in and bursts with creativity. Music and mathematics are inextricably linked, and this relationship was noticed by Pythagoras. Many associate mathematics with music because the two disciplines share much in common, including the use of abstract reasoning. In the introductory part of the study, it is described how music affects the child, the children's musical abilities and the role of educators in encouraging them. In the second part of the study, it is described how mathematics affects the child, the children's pre-mathematical abilities and the role of educators in encouraging them. In the last part of the paper, it is described how musical activities influence the development of children's mathematical abilities, and practical activities with preschool children are presented to show a concrete way of connecting music and mathematics through play
THE HISTORICAL SURREALISM OF THE COMIC "THE COMPANY OF THE GALLONS" BY MAGNUS E ROMANINI
No full textLo scopo di questa tesi è esaminare il rapporto tra la serie a fumetti La Compagnia
della Forca (1977–1979) e l’allora emergente movimento postmodernista. La parte
introduttiva della tesi tratta della filosofia e produzione artistica postmoderna e presenta le
biografie degli autori Magnus e Romanini. La parte principale descrive in breve il fumetto e ci
individua gli elementi principali dell’influenza postmoderna attraverso l’analisi. Tra questi si
trovano il rapporto dell’opera con la storia e la tradizione letteraria, specialmente quella del
genere fantasy, l’uso che fa dei cliché e del linguaggio sia verbale che visuale, e il modo in
cui affronta i problemi sociali. Viene dimostrato in che modo il fumetto esprime la sua
filosofia sull’esistenza umana attraverso le figure retoriche come l’ironia, la parodia e il
pastiche. Infine, la tesi sostiene che il filo conduttore del fumetto e del postmodernismo come
tale è la morte.The aim of this thesis paper is to examine the relationship between the comic series The
Company of the Gallows (1977–1979) and the then-emerging postmodernist movement. The
introductory part of the paper deals with postmodern philosophy and artistic production and
presents the biographies of the authors Magnus and Romanini. The main part briefly describes
the comic and identifies the main elements of postmodern influence. These include the series’
relationship to history and literary tradition, principally that of the fantasy genre, its use of
clichés and language both verbal and visual, and the way it addresses social issues. It is
demonstrated how the comic expresses its philosophy concerning human existence through
rhetorical figures such as irony, parody and pastiche. Lastly, the paper maintains that death is
the throughline of the comic as well as postmodernism in general