GRADOVI MIŠEVA U „REDVOLU“ BRAJANA DžEJKSA I „MIŠJOJ STRAŽI“ DEJVIDA PITERSENA

The Redwall series by Brian Jacques presents a world of anthropomorphic mice who live within a tightly-knit social structure and struggle for survival against predatory threats. Jacques’s depiction of space is initially simple, relying on archetypal binary oppositions such as up-down and inside-out. However, Redwall Abbey (which, according to L. Mumford’s theory, can be viewed as a variant of the city) possesses a complex identity that transcends its seemingly straightforward framework. As a monastic institution, Redwall Abbey serves as an economic and cultural hub, providing a sanctuary for monks, families, and the impoverished. The identity of Redwall is defined by the monastic vow, which imbues the abbey with a sense of purpose and guides its role within the community. The abbey’s architecture, rich with hidden secrets, contributes to its survival, further emphasizing the importance of its design and symbolic significance. Following the legacy of Redwall, David Petersen’s Mouse Guard introduces an association of warrior mice tasked with defending a network of cities. These cities are carefully constructed to integrate with their respective ecosystems. While Petersen adopts medieval iconography reminiscent of Jacques’s work, he complicates the relationship between mice and other species, as well as their interactions with the harsh natural world. Petersen develops a more intricate poetics of space, building on the foundational ideas established in Redwall, but expanding the role of mice within a more hostile and uncertain environment. Despite the intensified threats from nature, Petersen’s mice persist in upholding humanistic values, reinforcing the deeper message found in Jacques’s work.