Characters of detectives in a contemporary Croatian children's crime novel

U diplomskom radu interpretiraju se, temeljem književno-teorijskog i književno-povijesnog metodološkog instrumentarija, suvremeni hrvatski dječji kriminalistički romani i to: Ivan Kušan:Koko i duhovi, Zlatko Krilić:Zagonetno pismo, Hrvoje Kovačević:Tajna Ribljeg Oka i Tajna Zmajeva vrta, Ivona Šajatović:Tajna ogrlice sa sedam rubina, Anto Gardaš:Duh u močvari i Koliba u planini, Pavao Pavličić:Trojica u Trnju i Lopovska uspavanka i Tihomir Horvat:Tajna Gornjeg grada. Nakon definiranja složenog termina dječjeg romana i pregleda njegovih podjela i tipologija, slijedom teorijskih postavki Crnkovića (2002), Zalara (1983), Skoka (1991), Hranjeca (1998), Majhuta (2005), Hameršak-Zime (2015), Zime (2011) i Vrcić-Mataija (2018), slijedi određenje poetike kriminalističkog romana prema Pavličiću (2008) i Lasiću (1973) te pregled autora i osnovnih značajki dječjeg kriminalističkog romana. U radu je naglasak stavljen na analizu kolektivnog lika dječje družine koji se javlja u ulozi detektiva u navedenom književnom korpusu. Dječji likovi nisu idealizirani, već predstavljaju suvremeno dijete sa svim manama i vrlinama. Osim analize likova dječaka koji najčešće čine družinu, analizira se i prisutnost rodnih stereotipa u oblikovanju likova djevojčica koje mogu postati ravnopravni članovi družine samo ako preuzmu osobine dječaka. Iako različite, družine uvijek se okupljaju s istim ciljem, a to je rješenje zagonetke. Zadaće koje družina rješava mogu biti posve konkretne, najčešće vezane uz ozbiljne zločine ili ostvarenje dječjihplanova vezanih uz manje opasne zločine.Kako bi istraga bila uvjerljiva, zločin se odvija u ograničenom prostoru djelovanja (najčešće gradski toposi) i kraćem vremenskom razdoblju (ne više od tjedan dana).U dječjem kriminalističkom romanu sve je podređeno igri i pustolovini, a dječji likovi najčešće sami odlučuju u kojoj će mjeri tražiti pomoć likova odraslih. U jednom dijelu romanesknog korpusa dječji likovi istražuju u suradnji s likovima odraslih koji funkcioniraju kao pomagači, dok su u drugom dijelu opusa dječji likovi relativno samostalni, a likovi odraslih javljaju se uglavnom kao negativci.Galerija negativaca raznolika je, od okrutnih i nemilosrdnih koji ni pred čim ne prezaju kako bi ostvarili svoju dobit do negativaca iz dječje svakodnevnice koji zapravo ni ne žele nauditi malim detektivima.The graduate thesis is based on literary-theoretical and literary-historical methodological instruments and interprets contemporary Croatian children's crime novels, as follows: Ivan Kušan:Koko i duhovi, Zlatko Krilić:Zagonetno pismo, Hrvoje Kovačević:Tajna Ribljeg Oka and Tajna Zmajeva vrta, Ivona Šajatović:Tajna ogrlice sa sedam rubina, Anto Gardaš: Duh u močvariand Koliba u planini, Pavao Pavličić:Trojica u Trnju and Lopovska uspavanka and Tihomir Horvat:Tajna Gornjeg grada. After defining the complex term of a children's novel and reviewing its divisions and typology, following the theoretical assumptions of Crnković (2002), Zalar (1983), Skok (1991), Hranjec (1998), Majhut (2005), Hameršak-Zima (2015), Zima 2015), Zima 2011) and Vrcić-Mataija (2018) follows the definition of the poetics of a crime novel according to Pavličić (2008) and Lasić (1973), and an overview of the authors and basic features of the children's crime novel. The emphasis of the work is placed on the analysis of the collective character of the children's band that appears in the role of a detective in the cited literary corpus. Children's characters are not idealized, but represent a modern child with all its flaws and virtues. Except for the analysis of boys's characters, who most often make up the band, it is also analyzed the presence of gender stereotypes in shaping the characters of girls who can become equal members of the band only if they take on the boys' qualities. Although different, bands always come together with the same goal, and that is the solution to the puzzle. The tasks that the band solves can be quite specific, most often related to serious crimes or the realization of children's plans related to less dangerous crimes. To make the investigation convincing, the crime takes place in a limited area of action (most often city topos) and in a shorter period of time (no more than a week). In a children's crime novel, everything is subordinated to play and adventure, and children's characters usually decide for themselves to what extent they will seek the help of adult characters. In one part of the novel's corpus, children's characters explore in collaboration with adult characters who function as helpers, while in another part of the opus, children's characters are relatively independent, and adult characters appear mostly as villains. The gallery of villains various from the cruel and ruthless once, who don't hesitate to do anything for their own profit, to the villains from children's everyday life who don't really want to harm the little detectives