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The present article highlights the views of Slovenian language teachers on the introduction of comics in literature lessons in primary school. We were interested in Slovenian language teachers’ views on the introduction of comics as an art-literary type of text as part of the literature curriculum as well as the use of comics as a literary-didactic method in literature classes. This was investigated via a questionnaire, which was fully completed by 121 Slovenian language teachers of the first to the ninth grade. The results show that factors such as gender, educational period taught, professional experience, field of study, highest level of completed education, source of skills related to the introduction of comics in the classroom, teachers’ reading habits and attitudes towards reading comics, and agreement with stereotypical claims about comics per se have no influence on teachers’ attitudes towards the use of comics in the forms studied. However, their attitudes towards the use of comics in the classroom are influenced by certain stereotypical attitudes of teachers towards comics. The most important limitation of our research was also the most important finding: teachers are neither empowered to introduce and use comics as an art-literary type of text in the literary curriculum, nor are they able to use comics as a literary didactic method in literature classes. There is a great need for teacher training and teachers should be empowered to use and introduce comics in all forms.

The present article highlights the views of Slovenian language teachers on the introduction of comics in literature lessons in primary school. The authors were interested in Slovenian language teachers' views on the introduction of comics as an art-literary type of text as part of the literature curriculum as well as the use of comics as a literary-didactic method in literature classes. This was investigated via a questionnaire, which was fully completed by 121 Slovenian language teachers of the first to the ninth grade. The results show that factors such as gender, educational period taught, professional experience, field of study, highest level of completed education, source of skills related to the introduction of comics in the classroom, teachers' reading habits and attitudes towards reading comics, and agreement with stereotypical claims about comics per se have no influence on teachers' attitudes towards the use of comics in the forms studied. However, their attitudes towards the use of comics in the classroom are influenced by certain stereotypical attitudes of teachers towards comics. The most important limitation of the research was also the most important finding: teachers are neither empowered to introduce and use comics as an art-literary type of text in the literary curriculum, nor are they able to use comics as a literary didactic method in literature classes. There is a great need for teacher training and teachers should be empowered to use and introduce comics in all forms. (DIPF/Orig.)

Med novejsimi znanstvenimi monografijami je eno najpomembnejsih ter po obsegu in prodornosti najbolj temeljitih del brez dvoma zgodovinsko-komparativistièna raziskava starejse slovenske mladinske knjizevnosti Vedez in zaèetki posvetnega mladinskega slovstva na Slovenskem 1778-1850 Marjane Kobe. Avtorica pojasnjuje nastajanje posvetnega mladinskega slovstva za mladino ter ga povezuje s sprejemanjem nemskega razsvetljenskega moralistiènega knjizevnega vzorca »iz 18. stoletja, zatem njegove bidermajerske desekularizirane razlièice« (Kobe 2004: 238). Osredotoèa se na vsebinske znaèilnosti literarnih, polliterarnih in stvarnih prispevkov v prvem slovenskem mladinskem èasopisu Vedez (1848-1850), ki jih povezuje s filantropistièno vzgojno doktrino ter ob njih ugotavlja nekatere temeljne poteze èasopisa, npr. objavljanje razliènih vrst beriva, laicizacija piscev (pomembna je vloga uèitelja kot avtorja mladinskega besedila), osrednje funkcijsko-tematske kategorije besedil (moralna in verska vzgoja, stvarni pouk) ter otroski lik kot odraz namembnosti èasopisa. Poglavje, namenjeno obravnavi starejse mladinske poezije, analizira dve osrednji razlièici nemskega razsvetljenskega mladinskega pesnistva, tj. skupini besedil C. F. Weisseja in C. A. Overbecka, glede na znaèilno tematiko (otroske kreposti, npr. ubogljivost, prijateljstvo, èista vest, delavnost, usmiljenje - in temu nasprotne pregrehe), slog (»otroski ton« pesmi, v Overbeckovi poeziji je bolj poudarjena igrivo-idilièna podoba besedilne stvarnosti) ter podobo otroka kot osrednjega pesemskega lika (zgled oz. svarilo). Avtorica prenos obeh skupin besedil v slovensko poezijo prikaze na podlagi analize najstarejsih publikacij pred Vedezem: Weissejev pesemski vzorec se pojavlja v abecedniku J. Debevca (Nov popravleni plateltaf, 1794), Overbeckov v prevodih J. N. Primca (Nemsko-slovenske branja, 1813), Weissejev spet izraziteje v pesmarici V. Stanièa (Pesme za kmete ino mlade ljudi, 1822). Znanstveno delo Marjane Kobe ni pomembno le zaradi izjemne izèrpnosti podatkov in obsezne sekundarne literature, ki jo zajema; s svojimi spoznanji potrjuje tipolosko-vrednotenjske interpretacije mladinske poezije, ki izvirajo iz presojanja knjizevne kakovosti besedil na podlagi avtorjevega dozivljanja otrostva. Ne le v (naj)starejsi, ampak tudi v novejsi in sodobni poeziji je namreè poleg neposrednega avtorjevega dvogovora z otrokom (kot inherentnim bralcem oz. s »spominom«, izhodisèem ustvarjanja) zaznati drzo, ki zeli mladega bralca bodisi vzgajati (moralistièna funkcija besedila) bodisi svet otrostva idealizira (»sladkanje« vsebinsko-slogovnih potez z znaèilno rabo pomanjsevalnic ter praviloma nezahtevno tematizacijo otroske igrivosti in radosti v naravi) - prim. Borut Strazar 1972, Igor Saksida 1994: 83-122. V luèi sodobnih literarnovednih in knjizevnodidaktiènih vprasanj in dilem je zanimiva ugotovitev, da se ze v najstarejsih mladinskih knjigah »zgledi pesemskih sestavkov za otroske naslovnike [...] povezujejo z izborom iz poezije za odrasle« (Kobe 2004: 70) - to pomeni, da tako v najstarejsi kot v sodobni vsebinsko veèplastni mladinski poeziji v resnici ni mogoèe zaèrtati povsem jasne meje med knjizevnostjo za mladega in odraslega bralca - kar bi vsekakor veljalo upostevati tudi pri naèrtovanju knjizevnega pouka v osnovni soli. Mladinska knjizevnost je tako na Slovenskem kot sirse v Evropi postopoma prehajala iz okvirov pedagogike v literarno vedo sele v drugi polovici petdesetih let dvajsetega stoletja, kot v teoreticni knjigi o mladinski knjizevnosti Pogledi na mladinsko knjizevnost ugotavlja Marjana Kobe (1987: 7-26). Avtorica navaja temeljne evropske in slovenske strokovne knjige s podrocja teorije, zgodovine in recepcije mladinske knjizevnosti, omenja oblikovanje specializiranega strokovnega periodicnega tiska s tega podrocja (npr. revija Otrok in knjiga, ki je od leta 1972 osrednja »revija za vprasanja mladinske knjizevnosti, knjizevne vzgoje in s knjigo povezanih medijev«) ter opozarja na raznovrstne smeri in metode raziskovanja. Metodologije raziskovanja mladinske knjizevnosti ne dolocata le bralec in vsa kompleksnost dvojnega naslovnika te zvrsti - kakovostna mladina knjizevnost namrec ni namenjena le mlademu bralcu (otroku, mladostniku), temvec tudi odraslemu - ceprav je prav to izhodisce, ki ne vzpostavlja le moznosti subjektivne dozivljajske (otroske) recepcije mladinskega besedila, ampak omogoca tudi njegovo kriticno in razlagalno branje. Tako mladinska knjizevnost kot studijski predmet na dodiplomskem univerzitetnem studiju praviloma zajema vse tri vidike raziskovanja podrocja: literarnozgodovinskega, literarnoteoreticnega in literanorecepcijskega. Predmet zeli studentom in bodocim uciteljem knjizevnosti izostriti kriterije za prepoznavanje kakovostne mladinske knjizevnosti vseh treh knjizevnih zvrsti (poezije, pripovednistva, dramatike). Slikanice kot likovno-besedne stvaritve, branje besedil, studij literature in samostojna interpretacija mladinske knjizevnosti pa omogocajo studentom dojeti moznosti za subjektivno, vendar utemeljeno in veljavno razumevanje in vrednotenje besedil, hkrati pa jim kot osrednji knjizevni studijski predmet dajejo temelje za knjizevnodidakticno nadgradnjo vsebinsko-slogovnih besedilnih prvin; brez temeljitega poznavanja klasicnih in sodobnih, kratkih in na videz preprostih pa tudi obseznih in tezko razumljivih besedil namrec ni mogoce pricakovati, da bo bodoci vzgojitelj ali ucitelj kos izjemno obsezni mnozici besedil, ki se pod oznako mladinska knjizevnost pojavlja v javnosti in pogosto zahteva temeljito kriticno presojo kakovosti. Vrednotenje mladinske knjizevnosti, predvsem kot spremljanje njenega sprotnega nastajanja, poteka v okviru Mestne knjiznice Ljubljana (Pionirska - center za mladinsko knjizevnost in knjiznicarstvo), ki vsako leto izda »prirocnik za branje kakovostnih mladinskih knjig« (npr. Algoritem arene, 2012); razprave, temeljne informacije in kritike s tega podrocja zajema revija Otrok in knjiga, za promocijo slovenske mladinske knjizevnosti v svetovni javnosti (npr. nominacije za Andersenovo nagrado, nominacije za nagrado Astrid Lindgren, sodelovanje na mednarodnih kongresih zveze) skrbi slovenska sekcija Mednarodne zveze za mladinsko knjizevnost (IBBY - International Board on Books for Young People), za promocijo kakovostnega prostocasnega branja otrok in mladostnikov pa Drustvo Bralna znacka Slovenije - ZPMS. Na Slovenskem se posebej za podrocje mladinske knjizevnosti podeljujejo stiri nagrade in dve priznanji: Levstikova nagrada, vecernica, desetnica, izvirna slovenska slikanica za nagrado Kristine Brenkove, priznanje moja najljubsa knjiga in priznanje zlata hruska. Nagrajene in nominirane knjige so dober izbor za branje in odlicen vodnik po kakovostni izvirni mladinski knjizevnosti.

As stated in the theoretical study of children's literature Pogledi na mladinsko knjizevnost (Views on children's literature), by [Marjana Kobe] (1987:7-26), Slovene and wider European children's literature gradually transitioned from a literary to pedagogic science only in the late 1950s. The author cites fundamental European and Slovene scholarly books on the theory, history, and reception of children's literature. She also notes the formation of specialized scholarly periodical publishing in this area, such as the journal Otrok in knjiga (Children and books), which since 1972 has been the main \"journal for issues in children's literature, literary education, and book-related media,\" and she also highlights different research directions and methods. The methodology for researching children's literature is determined not only by the reader and all the complexity of the genre's double addressee-quality children's literature is intended not only for young readers (children and youth), but for adult readers as well-although this in fact is the starting point that enables critical and interpretative reading, in addition to establishing the possibility of (children's) subjective, experiential reception of a text. As a rule, study of children's literature at the university undergraduate level encompasses all three aspects of research in the area: literary history, literary theory, and reception. It requires students and future literature teachers to sharpen criteria for recognizing quality children's literature in all three literary genres (i.e., poetry, narrative prose, and drama) and visual-verbal creations like picture books. Reading texts, studying literature, and independently interpreting children's literature enable students to grasp the potential for subjective, yet well-founded and valid comprehension and assessment of texts. This core program of literary studies at the same time provides students a foundation in literarydidactic constructs of content and stylistic elements. Without exhaustive knowledge of classic and contemporary texts-short and seemingly simple, as well as extensive and hard to comprehend-it is impossible to expect future teachers and educators to manage the wide array of texts that appear under the label of children's literature and often require critical qualitative assessment. Evaluation of children's literature, mainly as ongoing release tracking, takes place at the Ljubljana City Library (Mestna kniznica) is Pionirska Center za mladinsko knjizevnost (Center for Children's Literature), which publishes an annual \"Prirocnik za branje kakovostnih mladinskih knjig\" (A handbook for reading quality children's literature; e.g., Algoritem arene, 2012). Essays, basic information, and critiques in the field are covered in the journal Otrok in knjiga. The Slovene section of International Board on Books for Young People (IBBY) is responsible for promoting Slovene children's literature worldwide (e.g., nominations for the Andersen Prize, nominations for the Astrid Lindgren Prize, participation in international conferences); The Drustvo Bralna znacka Slovenije - ZPMS is responsible for promoting quality leisure time reading for children and youth. In Slovenia, four prizes and two recognitions are awarded in the field of children's literature: the Levstik Prize, the Vecernica, Desetnica, the Kristina Brenkova Prize for best original Slovene picture book, the Moja najljubsa knjiga (My Favorite book) recognition, and the Zlata hruska recognition.

Predstavljamo najpomembnejše teoretične študije o slovenski mladinski književnosti. Ob upoštevanju raznovrstnosti zgodovinske, sistemske, recepcijske in književnodidaktične problematike je smiseln pregled obravnav mladinske književnosti po književnih zvrsteh. Pri poeziji je nastalo veliko esejev in spremnih zapisov (npr. Niko Grafenauer, Igor Saksida, Alenka Glazer), pripovedništvo je med vsemi zvrstmi žanrsko najbolj razvejano in raznovrstno (npr. Marjana Kobe, Igor Saksida, Metka Kordigel-Aberšek, Dragica Haramija, Milena Mileva Blažić); najmanj je razprav o mladinski dramatiki, ki je v knjižni obliki tudi najredkeje zastopana (npr. Igor Saksida, Vida Medved Udovič).

The article deals with the following questions: Which are the essential changes offered by the so called communication classes of literature? What is the role of teachers in this system? Which is the best way for a teacher to consider the principles of dialogic reading? How to adapt his/her reading to the imaginative faculties, expectations and literary interests of a young reader? And, finally, which are the phases of a teacher’s preparation for the classes of literature? The author proceeds from the hypothesis that with communication classes, ethical principles are incorporated into teacher’s simultaneous consideration of a young reader and his imaginative world, as well as into the necessity of the deepening of his literary and aesthetical experience. The latter results from a reader’s role in the creation of textual world. His role is substantiated in the difference between the primary and the secondary existence of a text, which gives ground to the basic definition of communication classes – relevance of texts for readers. Therefore, the starting-points of teacher’s preparation for the literature classes are: - teacher’s reading and pupils’ reading are the setting up of a secondary existence of a literary text – neither the first nor the second can be attributed absolute validity or superiority; - teacher proceeds from his/her pupils’ subjective responses, finding ways in them to deepen the experience – so his/her own as children’s – as well as to acquire experience for the work with future generations (the supposition of hypothetical children’s reception); - the sense of teacher’s work is substantiated in the relation between a text, young readers and the knowledge of literary science, which is a component of the faculty of reading. These starting-points enable teachers to form steps in their preparations for literature classes. These are: 1. adult person’s reading and his/her own understanding of a given text, 2. anticipation of hypothetical children’s reception, 3. technical preparation with text analyses, 4. goal definition and 5. the choice of appropriate cognitive and teaching methods. With each of the steps, ways are given for its most adequate realization, as well as possibilities for the trivialization of literature classes. Ethical principles are therefore also encoded in the teaching of literature, not only in its creation and expert interpretation.