| KRATKA VSEBINA | Slikanica je posebna oblika knjige, v kateri sta besedilo in ilustracija enakovredna oz. šele jezikovni in likovni kod tvorita presežno kakovost tovrstne knjige. Zaradi posebnih jezikovnih zakonitosti, te so izražene v zgodbi (ustrezajo pa morfološkim značilnostimliterarnih besedil), in likovnih zakonitosti (sočasno upoštevanje likovnegajezika in oblikovnih posebnosti slikanice) je temelj kakovostne slikanice odvisen od interakcije med obema kodoma izražanja. V članku je predstavljena zbirka štirih slikanic Kje rastejo bonboni? pisateljice Ide Mlakar in ilustratorke Ane Razpotnik Donati, in sicer Čarmelada (2008), Ciper coper medenjaki (2008a), Zafuclana prejica (2009) in Kodrlajsa in treskbum trobenta (2009a). Z metodo analize so predstavljene slikanice, prisintezi in komparaciji med slikanicami pa se jasno pokažeta literarna in likovna poetika avtoric. Metoda generalizacije je uporabljena za sintezo žeznanih dejstev o teoriji slikanice ter konkretnih spoznanj ob predstavitvi izbranih slikanic. Zbirka Kje rastejo bonboni? sodi med kakovostna beriva vpredbralnem obdobju otrokovega razvoja, pri čemer je posrednik (profesionalni ali neprofesionalni) tisti, ki otroka opozarja na oba slikaniška koda, literarnega in likovnega. Glavna lika v vseh slikanicah sta Kuštra in Štumfa, ki živita v neimenovanem mestu, dogajanje je strnjenona en sam binarno predstavljeni dogodek, kar je tema posamezne slikanice: sovraštvo/prijateljstvo, prepirljivost/razumevanje med ljudmi, hitenje in brezbrižnost/pravljičnost ter umirjenost, sivina in dolgčas/barvita lepota življenja. Literarna lika vedno ravnata pozitivno, kar se izkaže kot etičnavrednota vseh ljudi. To pisateljica še posebej poudari z zaključki literarnih del, v katerih pripovedovalec z nasveti o strpnosti in razumevanju med ljudmi nagovarja bralca. Ilustratorka negativnosti in pozitivnosti likovno prikaže predvsem z izbiro barv, z upodobitvami in postavitvami figur ter z upodobitvami prostora. // A picture book is a special book format where verbal narrative and illustration play equal roles, or, in other words, it is the combination of the linguistic and the visual codes that gives that extra quality to such a book. Due to particular linguistic features which are expressed in the narrative (these correspond to morphological features of literary texts) and visual features(simultaneous consideration of the visual language and the particularities of the picture book in terms of its form) the foundations of a good picturebook rely on the interaction between the two codes of expression. This article introduces four picture books in the collection entitled Kje rastejo bonboni?, which were written by Ida Mlakar and illustrated by Ana Razpotnik Donati, namely, Čarmelada (2008), Ciper coper medenjaki (2008a), Zafuclana prejica (2009), and Kodrlajsa in treskbum trobenta (2009a). The respective picture books are presented by means of an analysis. Furthermore, a synthesis and a comparison between picture books reveal the literary and the artistic poetics of both authors. Generalisation method isused to summarise familiar facts on picture book theory and some specific findings resulting from the presentation of selected picture books. The collection Kje rastejo bonboni? classifies among quality reading material in the pre-reading period of a child's development, whereby it is the role of the mediator (professional or non-professional) to point to both codes incorporated in a picture book. Two main characters in all four picture books are Kuštra and Štumfa who live in an unnamed city. The narrative focuses on a single event that is the main topic of each book: hatred vs. friendship, arguing vs. understanding among people, haste and carelessness vs. "fairy tale-ness" and calm, greyness and boredom vs. colourful beauty of life. The two literary characters are always positive, which in fact represents also the ethical value of all people. The writer accentuates the latter in the endings of her stories, in which the narrator turns to the reader, giving advice on tolerance and understanding among all. The illustrator, on the otherhand, portrays the negativity and the positivity through her careful selection of colours as well as through depiction and placement of figures and space. |