557 research outputs found
Analysis of selected literaty works of the author Lila Prap
No full textNamen magistrskega dela je predstavili avtorico Lilijano Praprotnik Zupančič, ki je znana pod umetniškim imenom Lila Prap, opisati osnovne pojme, ki so temeljni slog avtoričinega ustvarjanja in analizirati tri izbrana knjižna dela.
Lila Prap je sodobna slovenska mladinska pisateljica, ki piše in ustvarja dela, namenjana odraslim in otrokom. Ustvarja za vsa področja književnosti, največ del ima na področju proze, nekaj pa tudi na področju poezije in dramatike. Njena dela temeljijo na besedni igri. V zapisih lahko opazimo, da namerno krši glasoslovne, oblikoslovno in skladenjske jezikovne prvine. Avtorica ima poseben slog, ki temelji na nonsensu, paradoksih, vsebinskih obratih, presenečanjih in nenavadnih idejah. Bralce, tako mlajše kot starejše, nagovarja s humorjem, posredno humanistično obarvano vsebino in nenavadnimi risbami.
Besedno igro, nonsens in vse značilne elemente avtoričinega ustvarjanja lahko opazimo v izbranih zbirkah Jezične zgodbe, Resnične pravljice in pripovedke ter v zbirki Zgodbe in nezgodbe. Zbirke sestavljajo številne zgodbe, ki sodijo v kratko prozo, zasledimo pa lahko tudi nekaj poezije. Zgodbe popestrijo ilustracije. Zbirki Jezične zgodbe in Zgodbe in nezgodbe je ilustriral Bori Zupančič, zbirko Resnične pravljice in pripovedke pa je ilustrirala Lila Prap kar sama.The purpose of the master\u27s thesis is to present the author Lilijana Praprotnik Zupančič known by her pen name Lila Prap, describe basic concepts that are characteristic of the style of author\u27s work, and analyse three selected literary works.
Lila Prap is a contemporary Slovenian youth writer who writes and creates works for adults and children. She creates in all areas of literature, most of her works are in prose and some also in poetry and dramatics. Her works are based on word play. She intentionally violates phonological, morphological and syntactical elements of language. She has a special style based on nonsense, paradoxes, content twist and turn, surprises and unusual ideas. She speaks to readers, both young and old, through humour, whereas indirectly through humanistic coloured content and unusual drawings.
The word play, nonsense and all the characteristic elements of the author\u27s creation can be seen in selected collections, i.e. Jezične zgodbe (Tattling Stories), Resnične pravljice in pripovedke (True Fairy Tales and Narratives), and Zgodbe in nezgodbe (Stories and Not-stories). These collections consist of many stories that fall into short prose, whereas also some poetry can be observed. The stories are enriched by illustrations. The collections Jezične zgodbe (Tattling Stories), and Zgodbe in nezgodbe (Stories and Not-stories) were illustrated by Bori Zupančič, whereas Resnične pravljice in pripovedke (True Fairy Tales and Narratives) was illustrated by Lila Prap herself
Voskopoja conservation camp 2012 - Construction technology approach
No full textThis article tries to explain the "construction technology" approach used in the restoration project "Dormition of Saint Mary Church". The aim of the entire project and the various interventions is to evidence the measures undertaken by traditional skills through direct restoration work done by professional experts of the Institute of Cultural Monuments in Tirana, and by the valuable help of the students of Polis University from both Architecture and Art-Design Studies. The author aims at describing the potential of the great cultural and historical resource of the Voskopoja Church and the use of traditional crafts, materials, and techniques in order to better understand the various typologies of the construction technology approach. The author aims at describing the potential of the great cultural and historical resource of the Voskopoja Church and the use of traditional crafts, materials, and techniques in order to better understand the various typologies of the construction technology approach
Érase una vez una hormiga... Lila Prap como un fenómeno de recepción mundial
No full textThere are few translations of Slovenian titles of children's and youth literature into Spanish. At this moment we can only refer to translations of seventeen titles of nine different authors. All those translations were published after the year 2000. In this article we have chosen to analyze Lila Prap, Slovenian writer of picture books for children and youth. Lila Prap ¡is also the author of illustrations.There are two titles of this author translated into Spanish, namely Why?and 1001 Stories. Both books were published in Spain in 2007. They offer diverse possibilities of reading, dealing with the same topic as in another Prap's book, which has still not been translated into Spanish. This article also talks about a book by Lila Prap, which was translated into Basque language, and about the reception of the same author in Hispanic America, in particular in an Argentinian and Venezuelan publishing house.Las traducciones de literatura infantil y juvenil de títulos eslovenos al español son pocas ya que hasta el momento tenemos que referirnos a traducciones de apenas diecisiete títulos de nueve autores diferentes. Se tratan todas las traducciones publicadas a partir del año 2000. De entre todos estos títulos y autores conocidos, en este artículo vamos a centrarnos especialmente en la figura de Lila Prap, escritora eslovena de libros álbumes para niños y jóvenes ilustrados por ella misma. Dos son las obras traducidas al español de esta autora, ¿Por qué?y 1007 historias, títulos aparecidos los dos en editoriales españolas en el año 2007 y que ofrecen diversas posibilidades de lectura siguiendo la tónica de otros títulos de Prap que todavía no han sido traducidos al español. También nos referiremos en este artículo a un título de Lila Prap aparecido en lengua vasca y a la recepción de esta misma autora en Hispanoamérica, en concreto en una editorial argentina y en otra venezolana
[re] Appropriation Of The Property Limit
No full textThis article talks about an exhibition created by the same author on the occasion of Tirana Architecture Week in Tirana explaining the main idea. The idea of this exhibition was to [re] appropriate the property limit in Tirana which is one of the problems that we encounter in almost every road or private property in our city and especially in the suburbs. This was an exhibition of photos taken by students or staff during activities like walking the city. The exhibition was inspired by the Agueda Case in Portugal or even Kotorr (Montenegro) where sometimes simple elements of everyday life can be transformed into show-stoppers, art installations which create surrealistic atmospheres and attract people’s attention. Prior to the day of the exhibition, the students worked hard on the construction of the umbrella’s supporting grid and the carton boxes exhibition wall. The exhibition is a guide through the typology of walls used in our city as traditional enclosure walls during the first half of the 20th century, the 1945-1990 period, and finally the typology of walls from the 90’s until the present day in our country. The exhibition discusses the re-appropriation of the walls that limit the property throughout our city. The achievement of the exhibition was to incite the participants to create a critical opinion in the public masses and to contribute with a qualitative dialogue regarding the recognition and renewal of the qualities of public spaces. The main goal was to stimulate the participants’ imagination on how to definitely change the medieval mentality of using fortresses instead of more functional, aesthetic , and appropriate solutions
Mur Méditerranée de Louis-Philippe Dalembert : une réécriture transculturelle du topos de la traversée maritime, au prisme de la crise migratoire / Mur Méditerranée by Louis-Philippe Dalembert : A Transcultural Rewriting of the topos of the Sea Crossing, through the Prism of the Migratory Crisis
No full textRésumé : Mur Méditerranée de Louis-Philippe Dalembert est bâti sur le topos de la traversée maritime, interdite et périlleuse, effectuée par trois personnages féminins. Le topos place ce roman au cœur d’un ensemble de textes et requiert une lecture comparatiste. Il révèle alors une structure extrêmement dynamique, narrative et argumentative, qui accueille les échos des autres traversées collectives (exode du peuple juif, traite négrière, exil haïtien) offrant une variante au vagabondage de l’auteur haïtien. La réécriture transculturelle de ce motif permet de questionner la crise migratoire contemporaine tout en redéfinissant le sens de l’exil dans la mondialisation.Mots clés : exil et traversée Mtime ; topos littéraire ; réécriture transculturelle ; migration féminine ; frontières.Abstract : Mur Méditerranée by Louis-Philippe Dalembert is built on the topos of the forbidden and perilous maritime crossing, carried out by three female characters. The topos places this novel at the heart of a set of texts and requires comparative reading. It then reveals an extremely dynamic, narrative and argumentative structure, which receives the echoes of other collective crossings (exodus of the Jewish people, slave trade, Haitian exile) offering a variant to the “vagabondage” of the Haitian author. The transcultural rewriting of this motif allows us to question the contemporary migration crisis while redefining the meaning of exile.Keywords: exile and sea crossing; literary topos; transcultural rewriting; female migration; borders
Picture books written and illustrated by Lila Prap
No full textLilijana Praprotnik Zupančič, bolj znana pod umetniškim imenom Lila Prap, je pomembna ustvarjalka avtorskih slikanic, ki je za svoja dela prejela številne domače in tuje nagrade s področja mladinske književnosti. Članek se navezuje na predstavitev vseh njenih avtorskih slikanic. Delo Lile Prap je ovrednoteno s stališča besedilnega in likovnega dela, ki sta enakovredni sestavini slikanice. S stališča književnosti sodijo njena dela v tri književne vrste, in sicer v poezijo (štiri slikanice so pesniške zbirke Male živali, Živalske uspavanke, Zakaj in Moj očka), prozo (slikanica 1001 pravljica sodi med pravljice) in informativno literaturo (Živalska abeceda, Mednarodni živalski slovar). Osnovna poetika Lile Prap temelji na besednih igrah, pri čemer avtorica namerno krši glasoslovne, oblikoslovne in/ali skladenjske jezikovne prvine. Poenostavljanje, a ne banalno, igrivost izrazja in nonsens, le-ta ustvarja razpoloženje komičnega, so tisti elementi avtoričine ustvarjalnosti, ki kažejo na duhovitost in kakovost njenih knjig. Odličnost njenih slikanic se kaže na jezikovni in likovni ravni, s čimer ustvarja kakovosten tip avtorske slikanice, namenjene otrokom v predbralnem in zgodnjem bralnem obdobju. Z likovnega stališča je delo Lile Prap lep primer inovativne uporabe likovne tehnike, izkoriščanja in zavestnega prilagajanja njenih možnosti. Likovna govorica je izkoriščana smotrno, odlikuje jo stilsko prepoznana znakovna govorica.Lilijana Praprotnik - Zupančič, better known under her artistic name Lila Prap, is an important picture book author whose works have received numerous awards for children\u27s literature at home and abroad. This article concentrates on presenting all of Lila Prap\u27s picture books and evaluates her works in their textual as well as visual aspects, which are equivalent components. From a literary point of view her works can be divided into three categories: poetry (four of the picture books are poetry collections entitled Tiny creatures, Animal Lullabies, Why and Daddies), prose (the picture book entitled 1001 Fairy Tales is a fairy tale) and informative literature (Animal Alphabet, International Animal Dictionary). The simplistic poetical approach of Lila Prap is based on word plays and puns which the writer uses to intentionally transgress phonetic, formal and/or syntactic linguistic elements. A simplification which does not slip into banality, an expressive playfulness and nonsense which creates a comical atmosphere, these are the elements of the writer\u27s creativity which testify to the wittiness and quality of her books. The excellence of her picture books can be perceived on a linguistic level as well as a visual artistic level, thus creating a quality artistic picture book intended for children at the prereading and early reading development stage. In its visual aspects the work of Lila Prap is a good example of using innovative painting techniques that exploit and intentionally adapt to their potentials. Lila Prap\u27s visual language is used purposefully and is distinguished by its stylistically recognizable language of signs
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[Letter from Leilani Lattin Duke to Regional Institute Directors and Lila Crespin, June 7, 1996]
No full textA letter from Leilani Lattin Duke to Regional Institute Directors and Lila Crespin about enclosing a prepared list of commercial curricula that are close to being art education discipline-based. Attached are a list of programs that are art education based
SLOVENIAN AUTHOR\u27S PICTURE BOOK WITH FOCUS ON WORKS OF LILA PRAP
No full textDiplomsko delo Slovenska avtorska slikanica s poudarkom na delih Lile Prap ima namen predstaviti slovensko avtorsko slikanico. Sestavljeno je iz dveh poglavitnih delov, teoretičnega in praktičnega. V prvem delu, ki je namenjen predvsem nastajanju in sestavi avtorskih slikanic, bom najprej predstavila razvoj slovenske slikanice skozi ilustracijo, iz katere se je avtorska slikanica tudi razvila. Tako bom povzela vse glavne značilnosti slikanice, kot so slikanice glede na zahtevno stopnjo, na ustvarjalni postopek, na razmerje med besedilom in ilustracijo ter pedagoški pomen slikanic za otrokov celostni razvoj.
Teoretični del bom sklenila s predstavitvijo Lilijane Praprotnik Zupančič, bolj znane pod umetniškim imenom Lila Prap. Z analizo njenih del bom prešla k praktičnemu delu svojega diplomskega dela ter hkrati tudi podrobno opisala tehniko, ki sem jo uporabila pri izdelovanju slikanice.The purpose of the bachelor thesis entitled Slovenian original picture books with the emphasis on the work of Lila Prap is to present Slovenian original picture book. It consists of two main parts: theoretical and practical. The first part is focused primarily on formation and composition of the original picture books. Development of Slovenian picture books will be presented through the illustration, which the picture book was based on. Major features of the picture book (such as stage, creative process, the relationship between the text and illustration and the pedagogical importance of the child’s holistic development) will be summarised.
The theoretical part will be summarised with the presentation of Lilijana Praprotnik Zupančič, better known under the name of Lila Prap. Practical part of the thesis will be based on the analysis of her work. The technique used in the creation of the picture book will be described in detail
The analysis of picture books by Lila Prap and their reception in Japan
No full textThe aim of my work is to present the theoretical platform for picture books, but mainly to present and analyze the work of Lilijana Praprotnik Zupančič, better known by her pseudonym Lila Prap. The theoretical part is based on the theory by Maria Nikalajeva (How Picturebooks Work?, 2001). I analysed the verbal and visual parts of picture books, with emphasis on the verbal.
In picture books by Lila Prap there are mostly themes from the animal world but she is best known for her informative educational picturebooks.The technique used by Lila Prap in her picture books is dry pastel on dark background. All her picture books are full of humor, nonsense and word play; her poetry is melodic and rich with rhyme.
With her work, especially with the picture book Why?, Lila Prap has experienced great success in Japan, where a series of cartoons was filmed based on her picture book.They published two more picture books, based on the cartoons, and toys inspired by the characters and the author.
Her work is not part of the Slovene curriculum or the school reading books in the first three years of elementary school
Lila and the Crow by G. Grimard
No full textGrimard, Gabrielle. Lila and the Crow. English translation by Paula Ayer, Annick Press, 2016.Gabrielle Grimard is a very successful Quebec illustrator with at least thirty picture books to her credit. Her artistic style is exquisite; forms and figures are outlined with pencil; watercolors and gouache effect a palette both delicate and rich. In Lila and the Crow the illustrations are well focused and well situated on the page. They are also large and clear enough to be effective for group storytelling. There is no overt identification of the setting of this book although Grimard’s depictions of streets lined with birch and oak trees, and peak-roofed, two-storey homes are evocative of Quebec. As well, the caps and sweaters worn by the school children, the yellowing landscape, and the drifting leaves all seem appropriate to autumn in that province. These evocations being noted, the story could occur in any of our provinces.This is the first book of which Grimard is both author and illustrator. Originally written in French, her work has been simply and charmingly translated by Paula Ayer. The storyline is very realistic, a part of the school playground scene that exists today—and always has—for children who are “the other.” Lila, a little girl who comes to a new school hoping to make new friends, is outcast. Her dark hair, eyes, and skin excite comment. Nathan, a pink-faced, red-headed boy, “leads the pack” of children shouting, “A crow! A crow! The new girl’s hair is dark like a crow!” Lila’s eyes and skin are similarly mocked. The teasing escalates. She tries to hide her hair beneath a cap, her eyes behind dark glasses—but the assault continues. She is shunned. She plays alone at recess, sits alone at lunch.The mystery of Lila’s appearance unfolds symbolically. Each day, as she walks home from school, a crow keeps watch from an oak tree, wants to approach her, seems “…as if it wants to tell her something…” Finally, at the moment of her greatest despair, Lila “for the first time really looks at the bird.” She experiences “…the strange feeling they have known each other for a long time.” Boldly and creatively, the little girl embraces and celebrates her native heritage, stunning nasty Nathan into silence, and earning the respect and friendship of the other children. “Lila is still called Crow. But she doesn’t mind.”Grimard’s use of the crow symbol is particularly apt. Corvidae are birds renowned for their intelligence and self-awareness. (They recognize themselves in mirrors.) As well, the birds are widespread across North America and they, along with their larger cousins, the ravens, have symbolic significance for many of our Indigenous peoples. (We should note that Grimard’s dedication of the book references “…the crows of Yellowknife”; Lila’s ancestry may be other than that of the official Crow Nation currently located in Montana, and, at one time, existent in southern Alberta.)In sum, Lila and the Crow belongs in every elementary school library. In the best case scenario, it would be used in anticipation of the arrival of a child who is markedly different from the “norm” of the school population. At the very least, it might help change attitudes if and when name calling has begun. There is no forseeable end to the cultural and physical diversity of humankind, and acceptance of this diversity is the hallmark of Canadian democracy. Grimard’s book is a wonderful introduction to this concept.Reviewer: Leslie AitkenHighly recommended: 4 out of 4 stars Leslie Aitken’s long career in librarianship included selection of children’s literature for school, public, special and academic libraries. She is a former Curriculum Librarian of the University of Alberta.</jats:p
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