{"?xml":{"@version":"1.0"},"edm:RDF":{"@xmlns:dc":"http://purl.org/dc/elements/1.1/","@xmlns:edm":"http://www.europeana.eu/schemas/edm/","@xmlns:wgs84_pos":"http://www.w3.org/2003/01/geo/wgs84_pos","@xmlns:foaf":"http://xmlns.com/foaf/0.1/","@xmlns:rdaGr2":"http://rdvocab.info/ElementsGr2","@xmlns:oai":"http://www.openarchives.org/OAI/2.0/","@xmlns:owl":"http://www.w3.org/2002/07/owl#","@xmlns:rdf":"http://www.w3.org/1999/02/22-rdf-syntax-ns#","@xmlns:ore":"http://www.openarchives.org/ore/terms/","@xmlns:skos":"http://www.w3.org/2004/02/skos/core#","@xmlns:dcterms":"http://purl.org/dc/terms/","edm:WebResource":[{"@rdf:about":"http://www.dlib.si/stream/URN:NBN:SI:doc-HG5TDI6E/1a42eccd-07fa-4f39-b141-4a87cfba94c1/PDF","dcterms:extent":"215 KB"},{"@rdf:about":"http://www.dlib.si/stream/URN:NBN:SI:doc-HG5TDI6E/10e8bc69-e4ab-4129-97b6-cccf6c93f135/TEXT","dcterms:extent":"30 KB"},{"@rdf:about":"http://www.dlib.si/stream/URN:NBN:SI:doc-HG5TDI6E/084b4e6d-4397-449f-b832-3d6a519ef8d2/PDF","dcterms:extent":"148 KB"},{"@rdf:about":"http://www.dlib.si/stream/URN:NBN:SI:doc-HG5TDI6E/f003c9cd-4d5b-4353-9b50-d4abe3ce4bb7/TEXT","dcterms:extent":"6 KB"}],"edm:TimeSpan":{"@rdf:about":"2015-2025","edm:begin":{"@xml:lang":"en","#text":"2015"},"edm:end":{"@xml:lang":"en","#text":"2025"}},"edm:ProvidedCHO":{"@rdf:about":"URN:NBN:SI:doc-HG5TDI6E","dcterms:isPartOf":[{"@rdf:resource":"https://www.dlib.si/details/URN:NBN:SI:spr-I624P2HE"},{"@xml:lang":"sl","#text":"Amfiteater (Ljubljana)"}],"dcterms:issued":"2024","dc:creator":"Pezdirc Bartol, Mateja","dc:format":[{"@xml:lang":"sl","#text":"številka:1"},{"@xml:lang":"sl","#text":"letnik:12"},{"@xml:lang":"sl","#text":"str. 112-128"}],"dc:identifier":["DOI:10.51937/Amfiteater-2024-1/112-128","ISSN:1855-4539","COBISSID_HOST:200385539","URN:URN:NBN:SI:doc-HG5TDI6E"],"dc:language":"sl","dc:publisher":{"@xml:lang":"sl","#text":"= University of Ljubljana Press"},"dc:subject":[{"@xml:lang":"en","#text":"body"},{"@xml:lang":"en","#text":"comedy"},{"@xml:lang":"en","#text":"construction of social and gender roles"},{"@xml:lang":"en","#text":"contemporary Slovenian drama"},{"@xml:lang":"sl","#text":"Dušan Jovanović"},{"@xml:lang":"sl","#text":"komedija"},{"@xml:lang":"sl","#text":"konstrukcija družbenih in spolnih vlog"},{"@xml:lang":"sl","#text":"ljubezen"},{"@xml:lang":"en","#text":"love"},{"@xml:lang":"sl","#text":"Simona Semenič"},{"@xml:lang":"sl","#text":"sodobna slovenska dramatika"},{"@xml:lang":"sl","#text":"telo"},{"@xml:lang":"sl","#text":"Tone Partljič"}],"dcterms:temporal":{"@rdf:resource":"2015-2025"},"dc:title":{"@xml:lang":"sl","#text":"Preseganje spolnih stereotipov v sodobni slovenski komediji (Ditka - Milena - Boris)|"},"dc:description":[{"@xml:lang":"sl","#text":"Comedy has always paid much attention to the depiction of gender relations, love affairs and the happy ending that a wedding represents. In this paper, the author explores to what extent 21st-century Slovenian comedy tracks the changing roles of men and women in the family and society and diverges from traditional representations of the body and sexuality. The analysis covers Slovenian comedies that question social constructions of genders, roles and occupations, play with gender stereotypes or go beyond them in some of their aspects: Denis in Ditka by Tone Partljič; Boris, Milena, Radko by Dušan Jovanović; and jerebika, štrudelj, ples pa še kaj by Simona Semenič. In these comedies, gender relations form the central theme, and a female character plays the leading role"},{"@xml:lang":"sl","#text":"Komedija je že od svojih začetkov veliko pozornosti namenjala prikazovanju odnosov med spoloma, ljubezenskim zapletom ter srečnemu koncu, ki ga je predstavljala poroka. V prispevku raziskujem, v kolikšni meri slovenska komedija v 21. stoletju sledi spremenjeni vlogi moškega in ženske v družini in družbi ter se odmika od tradicionalnih reprezentacij telesa in spolnosti. V analizo sem vključila slovenske komedije, ki družbene konstrukcije spolov, vlog in poklicev postavljajo pod vprašaj, se s spolnimi stereotipi poigravajo oziroma jih v določenih vidikih že tudi presegajo, to so Denis in Ditka Toneta Partljiča, Boris, Milena, Radko Dušana Jovanovića ter jerebika, štrudelj, ples pa še kaj Simone Semenič. V izbranih komedijah so odnosi med spoloma osrednja tema, ženska dramska oseba pa ima glavno vlogo"}],"edm:type":"TEXT","dc:type":[{"@xml:lang":"sl","#text":"znanstveno časopisje"},{"@xml:lang":"en","#text":"journals"},{"@rdf:resource":"http://www.wikidata.org/entity/Q361785"}]},"ore:Aggregation":{"@rdf:about":"http://www.dlib.si/?URN=URN:NBN:SI:doc-HG5TDI6E","edm:aggregatedCHO":{"@rdf:resource":"URN:NBN:SI:doc-HG5TDI6E"},"edm:isShownBy":{"@rdf:resource":"http://www.dlib.si/stream/URN:NBN:SI:doc-HG5TDI6E/1a42eccd-07fa-4f39-b141-4a87cfba94c1/PDF"},"edm:rights":{"@rdf:resource":"http://creativecommons.org/licenses/by-sa/4.0/"},"edm:provider":"Slovenian National E-content Aggregator","edm:intermediateProvider":{"@xml:lang":"en","#text":"National and University Library of Slovenia"},"edm:dataProvider":{"@xml:lang":"sl","#text":"Slovenski gledališki inštitut (SLOGI)"},"edm:object":{"@rdf:resource":"http://www.dlib.si/streamdb/URN:NBN:SI:doc-HG5TDI6E/maxi/edm"},"edm:isShownAt":{"@rdf:resource":"http://www.dlib.si/details/URN:NBN:SI:doc-HG5TDI6E"}}}}