67 research outputs found
Investigating the Emission Mechanism of Blazars S5 0716+714 and Mrk 421 with MAGIC and LST1 in a Multi-wavelength Context
No full textThis work of thesis is devoted to the study of very high-energy (VHE) gamma-ray
emission from variable blazars. Blazars are objects which emit energy across the entire
electromagnetic spectrum, and they are a subclass of Active Galactic Nuclei (AGNs). One
of the blazars characteristics is variability, which scales from long to short periods of time.
To understand the real nature of blazars, we need multi-wavelength (MWL) simultaneous
data, and we need to be able to analyze these data and to do numerical predictions to
discriminate between theoretical models. Blazars come in two flavors: Flat Spectrum
Radio Quasars (FSRQs) and BL Lacertae objects (BL Lacs). The main difference is in
their optical spectra, with the former displaying broad emission lines and the latter being
instead characterized by either a featureless continuum, or by a spectrum that displays
only absorption features (usually from the host galaxy) or weak narrow emission lines.
The radio-to-gamma-ray Spectral Energy Distribution (SED) of blazars typically displays
two broad humps where the first hump is associated with synchrotron emission, while the
second hump can be described with and inverse Compton emission.
The focus of this thesis is on long-term VHE monitoring of the blazar S5 0716+714, a Bl
Lac object, over a period of six years between 2015 and 2021. Together with VHE gamma-
ray data taken by Major Atmospheric Cherenkov Telescopes (MAGIC), an extensive MWL
dataset has been obtained in order to study the broad-band behavior of the source. During
the VHE monitoring period, strong flaring activity coming from the source was detected
in December 2017 where the flux reached the historical maximum in VHE. During the
flaring state, intranight variability in the VHE band was discovered. In order to describe
this state of activity, a one-zone leptonic model was used which showed the best agreement
with data. In this case for modeling of the data, the open source framework JetSet was
used. The given model gives good agreement with the values in the literature which
confirms the nature of the blazar S5 0716+714 as intermediate Bl Lac object. Mrk421
is another very well-known blazar. We studied the VHE gamma-ray spectra and light
curves using the new generation of ground-based Cherenkov telescope, the Large-Sized
Telescope (LST). The data set used in the analysis consists of the data between 2022 and
2024
Alexander Dugin and the Theory of a Multipolar World
No full textAleksander Dugin je politični filozof, sociolog ter politični aktivist in ideolog novoevrazijstva in z njim tesno povezanega projekta snovanja »četrte politične teorije«. Ta naj bi predstavljala politično-filozofski temelj sveta po koncu dobe prevladujočega vpliva Zahoda. Ugotavljamo, da je izhodišče multipolarne teorije zavrnitev a priornega preferiranja značilno modernih političnih konceptov, kakršen naj bi bil tudi nacionalna država. Tej zavrnitvi sledi postuliranje civilizacije kot političnega subjekta, ki odgovarja tako post-moderni globalni stvarnosti kot normativnemu izhodišču kulturnega oziroma civilizacijskega pluralizma. V drugem delu pregledamo nekaj recepcij Duginovega dela in avtorja postavimo v dialog z uveljavljenimi teoretiki na polju sociologije globalizacije in na polju kritične teorije, pregledamo avtorjevo umeščenost in vpliv v ruski javnosti in politiki, v slovenski politični in intelektualni sferi, ob koncu pa podamo nekaj izvirnih kritik in predlogov za nadaljnje raziskovanje. Delo povzema ugotovitev, da opredeljevanje Dugina kot skrajnodesničarskega teoretika in obskurnega ruskega filozofa ni zadostno, kar nas napeljuje na pomen nadaljnjega raziskovanja misli in dela tega kontroverznega misleca.Aleksander Dugin is a political philosopher, sociologist, political activist and ideologue of New Eurasianism and of the closely related project of developing the "fourth political theory", which is supposed to represent the political-philosophical foundations of the world after the end of the era of dominant Western influence. We note that the starting point of the multipolar theory is the rejection of a priori preference for the typical modern political concepts, such as the nation-state. This rejection is followed by the postulation of civilization as a political subject, which corresponds to both the post-modern global reality and to the normative axiom of cultural and civilizational pluralism. In the second part, we examine some of the receptions of Dugin\u27s work and put the author in dialogue with established theorists in the field of sociology of globalization and in the field of critical theory, we examine the author\u27s place and influence in the Russian public and politics, and in the Slovenian political and intellectual sphere. At the end, we give some original criticism and suggestions for further research. We conclude that defining Dugin as a far-right theoretician and an obscure Russian philosopher is insufficient, which leads us to the importance of further research into the thoughts and work of this controversial thinker
Traženje korelacija između optičke polarizacije i emisije VHE gama zraka u blazaru S50716 + 714
No full textThis work of thesis is devoted to the study of the blazar S5 0716+714, with data taken in the very-high-energy (VHE, E>100GeV) γ-ray range and in the optical band from 05 Dec 2015 to 12 Mar 2021. The data have been acquired during a multiyear campaign led by MAGIC (Major Atmospheric Gamma-ray Cherenkov telescopes) and active for three consequent observational cycles.
S5 0716+714 is a well known blazar, categorised as a BL Lac type object. It is particularly famous for its variability in many energy bands. During an impressive flaring activity in 2015, the source reached the historical maximum in the optical band. In that occasion, a very fast rotation of the EVPA (Electric Vector Polarization Angle) was reported. EVPA rotation were observed in several occasion happening during a flaring state with γ-ray emission: so a monitoring of S5 0716+714 was organized by MAGIC together with optical telescopes in the network WEBT (Whole Earth Blazar Telescope) and within the BU (Boston University) VLBA-BU Blazar Monitoring Program. The goal of my thesis is to prepare the VHE γ-ray dataset obtained with the S5 0716+714 monitoring so far and search for correlation between the optical and optical polarization data that were taken simultaneously to MAGIC. In this work of thesis, four observational periods of MAGIC data about S5 0716+714 have been analyzed. From my analysis, a low state of the source has been identified together with a very bright flaring state in 28-29 December 2017. Another interesting period was ST0312 where another flare activity (14 Feb 2020) was spotted in VHE γ-ray range
Evoluation of Galaxies
No full textU ovom završnom radu govorit ćemo o razvoju galaksija. Prvi dio rada odnosi se na
povijest svemira neposredno nakon velikog praska. Bit će opisani bitni fizikalni procesi koji su
vodili do formiranja prvih zvijezda i galaksija. Drugi dio rada obuhvaća razvoj i formiranje
pojedinih vrsta galaksije. U završnom dijelu rada bit će opisana morfološka klasifikacija galaksija
te pojedine vrste galaksija.This final thesis deals with galaxy evolution. First part of the thesis is about the universe
right after the big bang. Major physical processes, which lead to the formation of the first stars and
galaxies, will be described. Second part of the thesis includes evolution and formation of certain
galaxy species. In the final part, morphological classification of the galaxies and tevery galaxy
species will be described
HaN-Seg: The head and neck organ-at-risk CT & MR segmentation dataset
No full textThe HaN-Seg: Head and Neck Organ-at-Risk CT & MR Segmentation Dataset is a publicly available dataset of anonymized head and neck (HaN) images of 42 patients that underwent both CT and T1-weighted MR imaging for the purpose of image-guided radiotherapy planning. In addition, the dataset also contains reference segmentations of 30 organs-at-risk (OARs) for CT images in the form of binary segmentation masks, which were obtained by curating manual pixel-wise expert image annotations. A full description of the HaN-Seg dataset can be found in:
G. Podobnik, P. Strojan, P. Peterlin, B. Ibragimov, T. Vrtovec, "HaN-Seg: The head and neck organ-at-risk CT & MR segmentation dataset", Medical Physics, 2023. https://doi.org/10.1002/mp.16197,
and any research originating from its usage is required to cite this paper.
In parallel with the release of the dataset, the HaN-Seg: The Head and Neck Organ-at-Risk CT & MR Segmentation Challenge is launched to promote the development of new and application of existing state-of-the-art fully automated techniques for OAR segmentation in the HaN region from CT images that exploit the information of multiple imaging modalities, in this case from CT and MR images. The task of the HaN-Seg challenge is to automatically segment up to 30 OARs in the HaN region from CT images in the devised test set, consisting of 14 CT and MR images of the same patients, given the availability of the training set (i.e. the herein publicly available HaN-Seg dataset), consisting of 42 CT and MR images of the same patients with reference 3D OAR binary segmentation masks for CT images.If you are using the HaN-Seg public training dataset, you are required to cite the following article:
G. Podobnik, P. Strojan, P. Peterlin, B. Ibragimov, T. Vrtovec, "HaN-Seg: The head and neck organ-at-risk CT & MR segmentation dataset", Medical Physics, 2023. https://doi.org/10.1002/mp.16197
@ARTICLE{HaNSeg_dataset,
author = {Ga\v{s}per Podobnik, Primo\v{z} Strojan, Primo\v{z} Peterlin, Bulat Ibragimov, Toma\{z} Vrtovec},
title = {{HaN-Seg}: {T}he head and neck organ-at-risk {CT} \& {MR} segmentation dataset},
journal = {Medical Physics},
year = {2023},
doi = {10.1002/mp.16197}
Copyright as a Means of Encouraging or Discouraging Creativity in Music
No full textAvtor v magistrski nalogi problematizira vpliv avtorskega prava na kreativnost avtorjev, predvsem pri ustvarjanju glasbenih del. Avtorsko pravo, kot izhaja že iz imena, služi zaščiti avtorjem, a kakšen vpliv ima dejansko pri kreaciji novih glasbenih del, če upoštevamo psihološke zakonitosti kreativnosti in glasbe kot takšne?
V prvem delu se skozi zgodovinski razvoj avtorskega prava prikaže izvorne interese in akterje, ki so pripomogli k uveljavitvi pravic avtorjev. Nato je predstavljena filozofska podstat avtorskopravne ureditve, kjer sta poglavitni filozofski teoriji naravnopravna misel na eni in ekonomsko-utilitaristična teorija na drugi strani, ki je služila za osnovo copyright sistemom. Prav tako se je treba vprašati, kaj kreativnost sploh pomeni, kjer so v veliko pomoč dognanja psihologije. Ta razkrivajo kreativni proces ustvarjanja, predvsem v glasbi, kjer je razvidno, da gre praktično zmeraj za prevzemanje elementov že obstoječih glasbenih del, ki so ustrezno spremenjeni in postavljeni v nek nov kontekst. Neustrezna je tudi romantična koncepcija avtorja kot nenadno božansko navdihnjenega, saj gre za avtorjev postopen mentalni proces.
Zatem je predstavljena slovenska pozitivnopravna ureditev, pri čemer je temelj Zakon o avtorski in sorodnih pravicah (ZASP). V naslednjem delu se avtor posveča institutoma fair use in de minimis, ki sta sicer del copyright sistema ZDA, vendar lahko služita kot orodje za manifestiranje psiholoških zakonitosti glede ustvarjanja glasbe in kreativnega procesa tudi drugod. Na koncu so za demonstracijo prikazani še sodni primeri, predvsem iz ZDA, pri katerih gre za implicitno ali eksplicitno prevzemanje obstoječih glasbenih elementov, kjer se pokaže potencialna uporabnost analiziranih institutov in lahko vidi vpliv avtorskega prava na kreativnost v glasbi.Author of this master\u27s thesis problematizes the effect of author\u27s law on the creativity of authors, especially regarding the creation of new musical works. As the name implies, author\u27s rights serve the author, but what effect does the legal system have on the creation of music, if we take into consideration the psychological findings regarding creativity and music?
Firstly, the historical part gives an insight into the primary interests that fostered the establishment of author’s rights. Then the philosophical base of the author\u27s right is presented. The main philosophical theories on the field are the natural law theory and the economic-utilitarian philosophy which act as a basis for the copyright systems. One also has to question how creativity could be defined. Here the psychological research comes into play. The latter demystifies the creative process, especially in music. It is clear that music is formed with the adoption and borrowing of elements from pre-existing musical works, which are then reshaped and presented in a new context. The notion of the romantic conception of the author also proves to be false as the creation of new works seems to be a gradual mental process.
The author then continues with displaying the Slovene author\u27s law system, the main document being the Copyright and Related Rights Act. The next part is devoted to the analysis of the fair use and de minimis doctrines, which although part of the USA legal system, can serve as a tool for integration of psychological findings regarding music and the creative process also elsewhere. Lastly, legal cases mainly from the USA are unveiled where borrowing of elements from existing musical works is present. Here the possible implementation of aforementioned doctrines is discussed and the effect of copyright on creativity can be observed
Choice of Colour when Depicting Emotionally Intense Motifs
No full textDiplomsko delo vsebuje teoretični in empirični del. V teoretičnem delu sem raziskovala razvoj otrokovega likovnega in čustvenega izražanja. Pri likovnem izražanju sem se tako osredotočila na otrokovo risbo in razvoj likovnega izražanja v predšolskem obdobju. V predšolskem obdobju velikokrat opazujemo in raziskujemo otroško risbo, pri čemer lahko razmeroma hitro ugotovimo, kako pomembno vlogo ima ta pri otrokovem izražanju čustev in misli. Na osnovi risbe lahko razberemo tako potencialno stisko otroka kot tudi njegove potrebe, izkušnje in želje. V okviru svojega diplomskega dela sem se pri čustvenem izražanju osredotočila na opredelitev čustev in področja čustvovanja ter tudi njihov razvoj v predšolskem obdobju. Pri tem je pomembno, da otrok zna izraziti in prepoznati čustva, saj le tako lahko z njimi upravlja. Dotaknila sem se tudi področij, ki v predšolskem obdobju podobno kot likovnost vsebujeta zaznaven čustveni vidik. To sta pripovedovanje in glasba ter njun pomen v tem obdobju. Glasbene izkušnje, ki jih otrok pridobi, spodbujajo raziskovanje idej, povečajo otrokovo izražanje čustev ter povečajo zavedanje in opažanje čustev drugih ljudi. Pripovedovanje je v predšolskem obdobju močno povezano s slikanicami, ki tako v narativu zgodbe kot tudi z ilustracijami lahko vplivajo na otrokova čustva in njihovo izražanje.
V empiričnem delu diplomskega dela sem z raziskavo skušala ugotoviti, ali oziroma kako spodbujanje čustev vpliva na otrokovo izbiro barv pri likovnem izražanju. S tem namenom sem izvedla tri ločene aktivnosti, vezane na pripoved, ilustracijo in poslušanje glasbe. V raziskavi je sodelovalo 12 otrok. Vsak otrok je ustvarjal šestkrat, in sicer: na podlagi dveh likovnih del, dveh zgodb in dveh glasbenih del. V vseh primerih je imelo eno delo pozitivno, drugo pa negativno konotacijo. Avtor likovnih del je Henri Matisse, avtorica žalostne zgodbe je Ida Mlakar (Kako sta Bibi in Gusti preganjala žalost, 2021), avtorja vesele zgodbe sta Uli Geissler in Gunther Jakobs (Smeh je najboljše zdravilo, 2009), avtor žalostne glasbe je Beethoven (Moonlight Sonata), avtor vesele pa Wolfgang Amadeus Mozart (Mala nočna glasba). Likovni deli sta se med seboj razlikovali po drži telesa in izrazu na obrazu gospe na sliki. Prebrani zgodbi sta se med seboj razlikovali po vsebini, ena je žalostna in druga vesela. Ilustracije so pri obeh zgodbah v živahnih barvah. Prav tako sta se glasbeni deli, ki so ju otroci poslušali in pri tem ustvarjali, razlikovali po poskočnosti, umirjenosti. Otroci so imeli za ustvarjanje na izbiro živahne in umirjene barve. Z analizo risb sem ugotavljala, kako so umetniški deli, zgodbi in glasbi vplivali na izbiro barve pri likovnem izražanju. Prav tako sem ugotavljala, kako sta ilustraciji vplivali na vsebino likovnega izražanja otrok.The diploma thesis contains a theoretical and an empirical part. In the theoretical part I researched the development of children\u27s artistic and emotional expression. In case of artistic expression, I focused on the child\u27s drawing and the development of artistic expression in the pre-school period. In preschool, we often observe and explore children\u27s drawing, and we can relatively quickly realise how important a role it plays in a child\u27s expression of emotions and thoughts. Drawing can help us to understand both the child\u27s potential distress and his or her needs, experiences and wishes. As part of my thesis, I have been looking at the emotional expression, where I focused on the definition of emotions and the domains of emotion, as well as their development in pre-school period. It is important for the children to be able to express and identify their emotions, as only then they can manage them. I have also touched on the areas that are important in the pre-school period like art class, which contain a perceptible emotional aspect. Others are storytelling and music and their affective aspects in child\u27s life. The musical experiences of children encourage exploration of their ideas, increase the child\u27s expression of emotions and increase awareness and observation of the emotions of other people\u27s feelings. Storytelling in the pre-school period is strongly linked to picture books, which, in both the narrative of the story as well as through illustrations, can influence children\u27s emotions and their expression.
In the empirical part of my thesis, I conducted research to find out whether or how stimulating emotions influences children\u27s choice of colours in artistic expression. To this end I carried out three separate activities related to narration, illustration and listening to music. Twelve children took part in the study. Each child expressed himself six times: based on two artworks, two stories and two pieces of music. In all cases, one piece of art had a positive and the other one a negative connotation. The author of both artworks is Henri Matisse, the author of the sad story is Ida Mlakar (Kako sta Bibi in Gusti preganjala žalost, 2021), the author of the happy story is Uli Geissler and Gunther Jakobs (Laughter Is The Best Medicine, 2009), while the author of the sad music is Beethoven (Moonlight Sonata) and the author of the happy music piece is Wolfgang Amadeus Mozart (A Little Night Music). The two artworks differed in the posture of the body and the facial expression of the subject in the picture. The two stories differed in the content, one was sad and the other happy, meanwhile the illustrations in both stories were in vivid colours. The music that the children listened to and created to differed in the tempo and calmness. They had a choice of vibrant or calm colours for artistic creation. By analysing the drawings, I found out how the artworks, the stories and the music influenced the choice of colours in artistic expression. I also looked at how the illustrations influenced the content of the children\u27s artistic expressio
EU\u27s digital single market and geo-blocking
No full textAvtor v magistrskem delu obravnava razvoj enotnega digitalnega trga EU in proučuje njegovo postopno omejevanje z diskriminatornimi praksami, ki so neskladne s svoboščinami notranjega trga. Takšne prakse zavirajo pretok blaga in storitev v Uniji, kar preprečuje uresničitev polnega potenciala rasti notranjega trga EU ter izbiro potrošnikov. Čeprav je v nekaterih primerih morda različno obravnavanje objektivno upravičeno, v drugih primerih nekateri trgovci neupravičeno blokirajo ali omejujejo dostop do spletnih vmesnikov, uporabljajo drugačne splošne pogoje za dostop do blaga ali storitev oziroma ne sprejemajo plačilnih sredstev ali uporabljajo drugačne splošne pogoje za plačilne transakcije, iz razlogov, povezanih s strankinim državljanstvom, krajem prebivališča ali krajem sedeža. Evropska komisija je prepoznala diskriminatorne prakse neupravičenega geografskega blokiranja in v Uredbi (EU) 2018/302 predstavila ciljno usmerjene ukrepe za izbrano število primerov. Avtor v pričujočem delu ocenjuje splošni učinek veljavne Uredbe (EU) 2018/302 ter prikazuje pomembnost komplementarnega obravnavanja konkurenčnopravnih pravil EU v odnosu do zakonodajnega okvirja Komisije glede geografskega blokiranja. V tej luči poizkuša odgovoriti na raziskovalno vprašanje, ali določila v distribucijskih (licenčnih) pogodbah, ki narekujejo ozemeljske omejitve in geografsko blokiranje avtorsko zaščitenih digitalnih vsebin, kršijo določila Uredbe (EU) 2018/302 oziroma pravila poštene konkurence. Iz sklepnih ugotovitev je razvidno, da odgovor ni enostaven, saj je treba upoštevati številne dejavnike, vključno z značilnostmi industrije digitalnih vsebin, pravnim in gospodarskim kontekstom praks licenciranja, kot tudi značilnostmi zadevne storitve in geografskih trgov.In the master thesis the author analyses the development of the EU\u27s digital single market and examines its gradual restriction by discriminatory practices which are inconsistent with the freedoms of the internal market. Such practices are hindering the movement of goods and services within the Union, which prevents the realization of the full growth potential of the EU internal market and the consumer\u27s choice. Although such different treatment might, in some cases, be objectively justified, in other cases, respectively, some trader\u27s practices deny or limit access to online interfaces, apply different general conditions of access to their goods or services or do not accept means of payment or apply different conditions for payment transactions, for reasons related to customer\u27s nationality, a place of residence or place of establishment. The European Commission has identified discriminatory practices of unjustified geographical blocking and, for a selected number of cases, set out targeted measures in its Regulation (EU) 2018/302. In this paper the author assesses the overall impact of the current Regulation (EU) 2018/302 and shows the importance of complementary treatment of the EU\u27s competition rules in relation to the Commission\u27s legislative framework on geographical blocking. In the light of the aforementioned facts, the author seeks to answer the research question whether the provisions in distribution (licensing) agreements that dictate territorial restrictions and geographical blocking of copyrighted digital content violate the provisions of Regulation (EU) 2018/302 or fair competition rules respectively. The conclusions show that the answer is not easy, as a number of factors need to be taken into account, including the characteristics of the digital content industry, the legal and economic context of licensing practices, as well as the characteristics of the service and geographic markets concerned
The scope of legal protection in relation to sampled works
No full textTradicija ustvarjanja v umetnosti sloni na opazovanju že ustvarjenega, iz katerega avtor črpa navdih in imaginacijo za izdelavo in oblikovanje lastne stvaritve. Vzorčenje glasbenih del je proces (po)ustvarjanja glasbenih stvaritev in fonogramov, katerega se danes poslužuje že večina glasbenih ustvarjalcev v žanrih kot so, rap, hip-hop, »house«, elektronska in plesna glasba, prevladuje pa tudi že v rock glasbi. Osnova vzorčenega dela so z avtorskimi in sorodnimi pravicami varovana tuja glasbena dela in fonogrami, kar pomeni, da se z uporabo teh del (potencialno) posega v pravni položaj imetnikov pravic. Vzorčenje glasbenih del in fonogramov je sodoben način umetniškega izražanja, ki črpa iz obstoječe baze glasbenih stvaritev. Kljub temu trenutna pravna ureditev vzorčenja ne prepoznava kot kreativne metode, s katero se poglablja kulturni napredek, in mu ne priznava umetniške vrednosti. Po ZASP se vzorčenje šteje za predelavo in predstavlja potencialno kršitev avtorjevih moralnih avtorskih pravic in materialnih avtorskih pravic ter kršitev pravic proizvajalcev fonograma. Na svetovni in na evropski ravni ne obstoja akt, ki bi določal posebno izjemo kršitve avtorske pravice in sorodnih pravic za uporabo delov – vzorcev – prvotnega dela v novem delu. Z vidika posega v avtorsko delo je novo delo, ki vsebuje del originala izenačen s priredbo glasbenega dela. Monopolizacija intelektualnega vložka na majhnih delih celotne stvaritve oz. na predmetu varstva pravice je etično vprašljiva. Zdi se, da je zakon preveč restriktiven z vidika omejevanja manevrskega prostora ustvarjalcev oziroma povedano drugače, da pravica avtorjev glasbenih del in proizvajalcev fonogramov ter interes družbe po spodbujanju kulturnega ustvarjanja nista v ustreznem sorazmerju.The tradition of creation in art is based on observation of the already created, from which the author draws inspiration and imagination for the creation of his own work. The sampling of musical works is the process of recreating musical creations and phonograms, which are now used by most musicians in genres such as rap, hip-hop, house, electronic and dance music, and in rock music. The basis of the sampled work consists of musical works protected by copyright and phonograms protected by related rights, which means that the use of these works (potentially) interferes with the legal position of right holders. Sampling of musical works and phonograms is a modern way of artistic expression, which draws from the existing basis of musical creations. Nevertheless, the current legal regulation of sampling does not recognize it as a creative method that intensifies cultural progress and does also not recognize artistic value. According to Copyright and Related Rights Act, sampling is a derivative work and represents a potential infringement of the author\u27s moral rights and material copyrights and a violation of the related right of phonogram producers. There is no such act on the European as well as on the global level that would provide for a special exception to the infringement of copyright and related rights for the use of samples. From the perspective of intervening in the author\u27s work, the new work, which contains a sample is equated with the adaptation of the musical work. The monopolization of an intellectual input on small parts of the whole creation is ethically questionable. It seems that the law is too restrictive in terms of limiting the freedom of expression of creators or, in other words, the holders of copyright and related rights on one side and the interest of society in promoting cultural creation on the other side are not proportionate
Drawing and Sculptural Self-Portrait of 6-year-olds
No full textDiplomsko delo sestavljata teoretični del, v katerem so predstavljene značilnosti likovnega področja risanje in kiparjenje, ter empirični del, v katerem sem primerjala kako otroci predšolskega obdobja sami sebe upodabljajo in pri tem uporabljajo risanje in kiparjenje. V teoretičnem delu sem predstavila pojem avtoportreta, njegovo zgodovino ter pojem risanja in kiparjenja, njihov pomen in faze risanja.
V empiričnem delu so otroci upodabljali avtoportret, za katerega sem uporabila avtorski ocenjevalni list. Uporabila sem ga za ovrednotenje prisotnosti posameznih kategorij na risarskem in kiparskem izdelku. Rezultati istih so pokazali opazne razlike v upodobitvi oblikovanih obrazov med otorki različne starosti.This thesis consists of a theoretical part, in which the characteristics of the art field of drawing and sculpting are presented, and an empirical part, in which I compared how preschool children portray themselves by using drawing and sculpting. In the theoretical part, I presented the concept of self-portrait, its history, and the concept of drawing and sculpting, their meaning and phases of drawing.
In the empirical part, the children depicted a self-portrait, for which I used the author\u27s evaluation sheet. I used it to evaluate the presence of individual categories on the drawing and sculpture product. The results of the same showed noticeable differences in the depiction of shaped faces between children of different ages
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