Mythological mosaic in the plays of Rudi Šeligo

V diplomski nalogi sem analizirala mitološke prvine v treh dramah Rudija Šeliga, to so Lepa Vida, Čarovnica iz Zgornje Davče in Svatba. Ukvarjala sem se s staroslovansko motiviko, poganskimi obredi in ljudskimi običaji, ki predstavljajo rdečo nit diplomske naloge. Zanimala so me predvsem poganska božanstva in simbolika ritualov ob njihovem čaščenju. Zaradi raznovrstnih tem povezanih z magičnostjo, sem svojo analizo razdelila v štiri poglavja. Prvo poglavje Vijoličasto hrepenenje odpira področje Šeligove interpretacije lepovidskega motiva in njegove posebnosti. Sledi poglavje Obredje prehodov, kjer me je zanimal način prehoda glavnih junakinj v ekstazo in vzpostavljanje komunikacije s transcendenco. Vihar božanske energije je naslednji sklop, kjer sem raziskovala glavna poganska božanstva, ki se pojavljajo v dramah, in glavne junakinje kot polboginje. Zadnje poglavje pa nosi naslov Kataklizmatični kraji, kjer sem se osredotočala na posebno prostorsko umeščenost junakinj v ekstatičnih trenutkih, ki reflektira njihovo notranjo razklanost. Vse tri junakinje so zaradi svoje drugačnosti izločene iz družbe in posledično uničene. Avtor skozi sovražnost družbe do nekdaj svetih vrednot in idealov prikaže sodobni potrošniški svet brez kakršnekoli transcendence, obenem pa mu nasproti postavlja princip magičnega (neo)poganstva, ki v ospredje postavlja izgubljeno čustvenost in domišljijo.In my thesis I analyse mythological elements in three following plays of Rudi Šeligo, Lepa Vida, Čarovnica iz Zgornje Davče and Svatba. I observed Old Slavic motifs, pagan rituals and folk customs, which represent the main thread of my thesis. I was mainly focused on pagan deities and the symbolism of worshipping rituals. Due to the diversity of topics considering magical motifs I divided my analysis into four chapters. The first chapter, Violet desire, opens the field of Šeligo\u27s interpretation regarding Lepa Vida motif and its individuality. It is followed by a chapter called Transition rituals, where I mostly dealt with the way main characters transit into the state of ecstasy and how they communicate with transcendence. The storm of deistic energy is the third chapter, where I analysed main pagan deities that are to be found in the plays and main characters as half deities. In the last chapter named Cataclysmic places I pointed out the specific placement of the characters in their ecstatic moments, which reflects their inner division. All three of the main characters are socially discriminated because of their individualism and consequently destroyed. The author portrays the modern consumerist world left without any kind of transcendence through hate against the once sacred principles and ideals. While at the same time showing the principle of (neo)paganism, which brings to the forefront the lost sentimentality and imagination