5780 KB53 KB197820252020Flis, Leonoraštevilka:1letnik:43str. 51-74ISSN:0351-1189COBISSID_HOST:18156803URN:URN:NBN:SI:doc-3NCIXQI8slSlovensko društvo za primerjalno književnostPrimerjalna književnostgrafična pripovedgrafični romangraphic narrativegraphic novelhibridni žanrihybrid genresnarativnostnarrativitypostclassical narratologypostklasična naratologijaroman v stripuSacco, JoeSatrapi, MarjaneSpiegelman, ArtGrafične pripovedi in pripovednost|The article focuses on the narrative principles of graphic narratives representing a hybrid genre that dwells at the intersection of literary and visual storytelling. The genre's multimodality is also viewed through the prism of certain principles of postclassical narratology. Graphic narratives occupy the intersection of showing and telling stories; they always tell a story, so they are a narrative genre. Graphic storytelling enables us to pose some fundamental questions that concern, for example, the temporal aspect of narrativity (understood as a collection of formal and contextual traits that define a narrative) and the issue of focalization. Graphic narratives treat time somewhat differently from (merely) verbal narratives, as a sense of time is created through the relationship between the visual and the verbal. Moreover, apart from the (mostly) framed images, graphic narratives also contain the so called "gutter" or an empty space between the frames. Scott McCloud, himself a comics theorist and comics artist, says that gutter is the place where the illusion of the movement of space and time takes place. Using the examples from a few graphic narratives (by Art Spiegelman, Joe Sacco, and Marjane Satrapi), the article shows the specifics of graphic storytelling, which, with its sequential nature, the principles of montage, the composition of individual pages, and other structural characteristics, enables the formation of narratives. When we talk about graphic narratives, it is appropriate to talk about the transgeneric and transmedial narratology, hence the article also exposes the role of postclassical narratology in the process of interpreting and understanding graphic narrativesGrafične pripovedi se nahajajo na stičišču prikazovanja zgodbe in pripovedovanja zgodbe, v vsakem primeru pa zgodbo pripovedujejo, torej predstavljajo narativen žanr. Grafično pripovedovanje omogoča zastavljanje temeljnih vprašanj, ki zadevajo na primer temporalni aspekt narativnosti (razumljene kot skupek formalnih in kontekstualnih lastnosti, ki določajo pripoved) in področje fokalizacije. Grafične pripovedi s pripovednim časom upravljajo nekoliko drugače od (zgolj)literarnih besedil, saj občutek časa ustvarjajo z razmerjem med vizualnim in verbalnim. Nadalje poleg (ponavadi uokvirjenih) ilustracij vsebujejo tudi tako imenovani "gutter", "jarek" ali "luknjo", torej vmesne prazne prostore. Teoretik in stripar Scott McCloud pravi, da je prav ta prostor najbolj kreativen v grafičnem romanu; je praznina, ki najbolj buri bralčevo domišljijo, obenem pa tudi prostor, kjer se zgodi iluzija premika prostora in časa. Na primerih nekaj stripov (izpostavljeni avtorji so Art Spiegelman, Joe Sacco in Marjane Satrapi) članek prikaže specifike grafičnega pripovedovanja, ki s sekvenčnostjo podob, montažo kadrov, kompozicijo posameznih strani in drugimi strukturnimi karakteristikami omogočajo grajenje in vzdrževanje zgodbe. Ko govorimo o grafičnih pripovedih, je torej ustrezno govoriti o čezžanrski in čezmedijski naratologiji, zato razprava izpostavi tudi vlogo postklasične naratologije pri interpretaciji in razumevanju tovrstnih zgodbTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaSlovensko društvo za primerjalno književnost