20.500.12556/RUL-188645 Karnevalske prvine in vloga maske v romanu Gastona Lerouxa Fantom iz opere ter njihova primerjava z istoimenskim muzikalom Andrewa Lloyda Webbra Carnival Elements and the Role of the Mask in Gaston Leroux’s The Phantom of the Opera and Their Comparison with Andrew Lloyd Webber’s Musical of the Same Name Koncept ljudske smehovne kulture in z njo povezanega vseljudskega obdobja karnevala je ustvaril teoretik Mihail M. Bahtin. Diplomsko delo obravnava roman Fantom iz opere (Le Fantôme de l'Opéra, 1910) francoskega pisatelja Gastona Lerouxa z vidika prevzema elementov bahtinovskega karnevala in s posebnim ozirom na romantično grotesko. Avtor je vzpostavil dialog s tradicijo gotske književnosti, ob tem pa v svojo pripoved vpeljal novost. Postavil jo je namreč v poldokumentarni okvir, s katerim je sprva skrivnostnega fantoma predstavil kot racionalno pojasnljivega. Roman je postal predloga za številne adaptacije, za eno izmed priljubljenejših velja muzikal The Phantom of the Opera (1986) angleškega skladatelja Andrewa Lloyda Webbra. Muzikal večinsko ohranja karnevalske značilnosti in medbesedilne povezave Lerouxevega romana, vendar jih zaradi specifike svojega medija deloma preoblikuje in na določenih mestih celo stopnjuje. The concept of folk laughter culture and the associated all-inclusive carnival period was created by the theorist Mikhail M. Bakhtin. This thesis examines Gaston Leroux’s novel The Phantom of the Opera (Le Fantôme de l'Opéra, 1910) from the perspective of its incorporation of elements of the Bakhtinian carnival, with particular emphasis on the Romantic grotesque. Leroux established a dialogue with the tradition of Gothic literature while introducing an innovative element into his narrative. He placed his story within a half-documentary framework, thereby presenting the initially mysterious Phantom as a rationally explainable figure. The novel has served as the basis for numerous adaptations, one of the most popular being Andrew Lloyd Webber’s musical The Phantom of the Opera (1986). While the musical largely preserves the carnival characteristics and intertextual connections of Leroux's novel, the specific nature of its medium leads to a partial transformation and in certain instances, an intensification of these elements. Gaston Leroux: Fantom iz opere glasbene priredbe Andrew Lloyd Webber intertekstualnost karnevalskost Mihail M. Bahtin Gaston Leroux: The Phantom of the Opera musical adaptations Andrew Lloyd Webber intertextuality carnivalesque Mikhail M. Bakhtin true false false Slovenski jezik Angleški jezik Diplomsko delo/naloga 2026-09-25 07:19:02 2026-09-25 07:19:05 2026-10-14 12:53:47 0000-00-00 00:00:00 2026 0 0 0000-00-00 NiDoloceno NiDoloceno NiDoloceno 0000-00-00 0000-00-00 0000-00-00 1970-01-01 633581 300863235 74792.pdf 74792.pdf 1 5538BA3F05E26CD32D5FC7EE3A8BBADF 63c72a3e59179651af8cb7f2adb8fa87901a68c88963978d9260eb7a91a925f4 8d30a33b-b8a0-11f1-8bc5-0050569b8976 https://repozitorij.uni-lj.si/Dokument.php?lang=slv&id=248936 Filozofska fakulteta 0 0 0