STYLISTICS OF COMICS: COMPARISION OF EUROPEAN, AMERICAN AND JAPANESE COMICS

U ovom diplomskom radu analiziraju se sličnosti i razlike stilova europskih, američkih i japanskih stripova. Rad počinje pregledom najvažnijih pojmova i pravaca u stilistici, a posebno se opisuje diskursna i / ili kontekstualizirana stilistika i multimodalna stilistika. Ovi pravci nastaju kada proučavanje samog teksta gubi vrijednost i počinje ga se proučavati s više gledišta, odnosno počinju se proučavati odnosi među tekstovima i kontekstima. Diskursna i / ili kontekstualizirana stilistika usmjerena je na proučavanje svih tipova diskursa, a multimodalna stilistika je pravac koji uključuje mnogo izražajnih načina (jezik, slika, glazba, zvuk, geste) u svoja istraživanja. Ovim pravcima u stilistici, strip je zanimljiv za proučavanje jer uz tekst uključuje i sliku koja je neizostavna za stvaranje njegova značenja. Nakon opisivanja tih stilističkih pravaca, definira se pojam stripa, objašnjava njegov naziv i ukratko se navode najvažniji trenutci u povijesti svjetskog i hrvatskog stripa. Oblikovna sredstva stripa izdvajaju se kao posebno poglavlje u kojem su opisani kvadrat-sličica, montažni postupak kojim se povezuju te kvadrat-sličice, oblačići, onomatopeje i linije pokreta. U središnjem dijelu rada opisuje se stilistika europskih, američkih i japanskih stripova na primjerima. Lingvostilistička analiza daje primjere za nekoliko stripova koji se analiziraju prema razinama lingvističke stilistike. Iako pripadaju grafostilističkoj razini, posebno poglavlje imaju vizualne metafore jer se razlikuju u europskim, američkim i japanskim stripovima. Ovi se stripovi razlikuju i prema stilu pisanja, crtanja i pripovijedanja koji opisuju po čemu su ove tri vrste stripa prepoznatljive. Posljednje poglavlje opisuje autoreferencijalnost u stripovima kao postupak u kojem se stripovi odnose sami na sebe. Izdvajaju se primjeri u kojima se likovi obraćaju čitatelju ili autoru/crtaču i komentiraju radnju tog istog stripa, govore o njegovim oblikovnim sredstvima i koriste ta sredstva u radnji stripa.This thesis analyzes the similarities and differences between the styles of European, American and Japanese comics. The paper begins with an overview of the most important concepts and directions in stylistics, and in particular discourse and / or contextualized stylistics and multimodal stylistics are described. These directions arise when the study of the text itself loses its value and begins to be studied from several points of view, that is, the relations between texts and contexts begin to be studied. Discourse and / or contextualized stylistics is focused on the study of all types of discourse, and multimodal stylistics is a direction that includes many expressive modes (language, image, music, sound, gestures) in its research. In these directions in stylistics, comics are interesting to study because, along with the text, they also include an image that is indispensable for creating its meaning. After describing these stylistic directions, the concept of comics is defined, its name is explained and the most important moments in the history of world and Croatian comics are briefly listed. The formative means of comics are singled out as a special chapter in which panels, arrangement of these panels, speech balloons, onomatopoeias and speed lines are described. The central part of the paper describes the stylistics of European, American and Japanese comics on examples. Linguistic stylistic analysis provides examples for several comics that are analyzed according to the levels of linguistic stylistics. Although they belong to the grapho-stylistic level, visual metaphors have a special chapter because they differ in European, American and Japanese comics. These comics also differ in the style of writing, drawing and narrative that describe how these three types of comics are recognizable. The last chapter describes self-referentiality in comics as a process in which comics refer to themselves. There are examples in which the characters address the reader or the author / cartoonist and comment on the plot of the same comic, talk about its formative means and use these means in the plot of the comic