Body as a landscape: the types and roles of metaphors in poetry by Muanis Sinanović

Diplomsko delo obravnava sodobnega slovenskega pesnika Muanisa Sinanovića in njegovo rabo metafor v zbirkah Dvovid in Krhke karavane. V teoretičnem delu so povzete značilnosti sodobne slovenske poezije, sledijo pregled osrednjih teorij metafore (substitucijske, interakcijske in kognitivne), slovnična razdelitev metafor in delitev na tradicionalne in moderne (ali drzne, absolutne) metafore. V osrednjem delu so metafore iz obravnavanih zbirk najprej razdeljene glede na nanašanje (nanašanje nase, nagovor, glagolske metafore v nedoločniku, rodilniške metafore in ostale), nato pa še glede na prevladujoče motive. Pri obravnavanem pesniku je pogosta raba drznih in absolutnih metafor, zato je interpretacija precej zahtevnapogosto se ponavljajo navezava telesa na pokrajino ter transformacija in identifikacija.The thesis examines contemporary Slovenian poet Muanis Sinanović and his use of metaphors in the collections Dvovid and Krhke karavane. The theoretical part summarizes the characteristics of modern Slovenian poetry, followed by an overview of the central theories of metaphor (substitution, interaction and cognitive), the grammatical division of metaphors and the division into traditional and modern (or absolute) metaphors. In the main part, metaphors from the considered collections are first divided according to reference (self-reference, address, verbal metaphors in the indefinite article, genitive metaphors and others), and then according to dominant motifs. The poet in question often uses modern and absolute metaphors, which makes the interpretation quite demandingthe attachment of the body to the landscape along with transformation and identification are often repeated

Space as a form of expression critically evaluating the capitalist system in the play Our Warehouse by Tjaša Mislej

Diplomska naloga se ukvarja s prostorom v sodobni slovenski drami avtorice Tjaše Mislej: Naše skladišče iz leta 2020. Izhajam iz teoretičnega ozadja postdramskega gledališča po Hansu-Thiesu Lehmannu in opredelitve prostora po Gay McAuley, Anne Ubersfeld in Meti Hočevar, ki jo navezujem na obravnavano dramo. Namen dela je ugotoviti, kako prostor, kakor je predstavljen v drami, komentira oziroma reflektira kapitalistični sistem kot glavnega »krivca« za neugoden položaj glavnih likov (štirih žensk različnih starosti in karakterjev). Opredelitev kapitalizma v nalogi izhaja iz Zygmunta Baumana (Tekoča moderna) ter Noama Chomskega in Marva Waterstona (Consequences of Capitalism). Glavni poudarki so namenjeni besedilnim prostorskim referencam v drami, osrednjemu položaju prostora in načinu, kako s svojo vseobsegajočo prisotnostjo nad osrednjimi liki prikazuje neizprosnost sistema, v katerega so ujeti izkoriščani in podplačani delavci.The thesis deals with theatrical space in the contemporary Slovenian drama Our Warehouse by Tjaša Mislej, from 2020. I lean on the theoretical background of postdramatic theatre according to Hans-Thies Lehmann and the definition of space according to Gay McAuley, Anne Ubersfeld and Meta Hočevar, which I apply to the drama in question. The purpose of the thesis is to determine how the theatrical space, as presented in the drama, comments or reflects the capitalist system as the main culprit for the unfavorable position of the main characters (four women of different ages and personalities). The definition of capitalism in the thesis is derived from Zygmunt Bauman (Liquid Modernity) and Noam Chomsky with Marv Waterstone (Consequences of Capitalism). The main emphasis is on the spatial references in the text, the centrality of space and the way it shows the inexorability of the system in which exploited and underpaid workers are trapped by its all-encompassing presence