{"title":"Humor i to nyere norske diktbildebøker","authors":"Berit Westergaard Bjørlo","doi":"10.14811/clr.v44.607","DOIUrl":null,"url":null,"abstract":"Humour in Two Contemporary Norwegian Poetry Picturebooks: Pling i bollen and 123 for barske barn \nAbstract: This article examines visual and verbal humour in two contemporary Norwegian poetry picturebooks for children. The main aim is to study how different types of humour and various poetic devices are expressed through the interplay of words and images. Moreover, the article discusses in which ways the two books represent a continuation and a renewal of classic humour traditions. The theoretical framework mainly consists of intermedial theory, picturebook theory, children’s poetry studies, and studies on literary humour traditions such as nonsense, parody, and the Bakhtinian carnivalesque. The selected books are Pling i bollen: Fine og ufine barnerim (Off One’s Chump: Delicate and Indelicate Children’s Verses) from 2011 by Ingvild Rishøi and Bendik Kaltenborn and 123 for barske barn: Tull med tall (123 for Rough Children: Nonsense with Numbers) from 2020 by Anne Østgaard and Egil Nyhus. The analyses point to examples of both playful and sophisticated interactions between poems and illustrations, suggesting that the picturebook medium includes more diverse combinations of visual and verbal humour compared to traditional illustrated poetry books. In addition, the various types of humour appear to be wilder and coarser than in classic children’s poetry. 123 for barske barn combines pedagogical and aesthetic qualities by featuring nonsense and carnivalesque humour with numbers, while Pling i bollen offers an even wider range of humour by combining satire, parody, and sophisticated nonsense with more playful and carnivalesque qualities. These compounds of humour tend to transgress the classic genre of children’s verse and to include a cross-generational audience.","PeriodicalId":52259,"journal":{"name":"Barnboken","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2021-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Barnboken","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.14811/clr.v44.607","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"Arts and Humanities","Score":null,"Total":0}
引用次数: 0
Abstract
Humour in Two Contemporary Norwegian Poetry Picturebooks: Pling i bollen and 123 for barske barn
Abstract: This article examines visual and verbal humour in two contemporary Norwegian poetry picturebooks for children. The main aim is to study how different types of humour and various poetic devices are expressed through the interplay of words and images. Moreover, the article discusses in which ways the two books represent a continuation and a renewal of classic humour traditions. The theoretical framework mainly consists of intermedial theory, picturebook theory, children’s poetry studies, and studies on literary humour traditions such as nonsense, parody, and the Bakhtinian carnivalesque. The selected books are Pling i bollen: Fine og ufine barnerim (Off One’s Chump: Delicate and Indelicate Children’s Verses) from 2011 by Ingvild Rishøi and Bendik Kaltenborn and 123 for barske barn: Tull med tall (123 for Rough Children: Nonsense with Numbers) from 2020 by Anne Østgaard and Egil Nyhus. The analyses point to examples of both playful and sophisticated interactions between poems and illustrations, suggesting that the picturebook medium includes more diverse combinations of visual and verbal humour compared to traditional illustrated poetry books. In addition, the various types of humour appear to be wilder and coarser than in classic children’s poetry. 123 for barske barn combines pedagogical and aesthetic qualities by featuring nonsense and carnivalesque humour with numbers, while Pling i bollen offers an even wider range of humour by combining satire, parody, and sophisticated nonsense with more playful and carnivalesque qualities. These compounds of humour tend to transgress the classic genre of children’s verse and to include a cross-generational audience.
摘要:本文考察了两本当代挪威诗歌儿童绘本中的视觉幽默和言语幽默。主要目的是研究不同类型的幽默和不同的诗歌手段是如何通过文字和图像的相互作用来表达的。此外,本文还讨论了这两本书在哪些方面代表了经典幽默传统的延续和更新。理论框架主要包括中介理论、绘本理论、儿童诗研究以及对文学幽默传统的研究,如胡言乱语、戏仿和巴赫金式的狂欢式。入选的书籍包括英格维尔德·里什约伊和本迪克·卡尔滕伯恩2011年出版的《好孩子:精致和粗俗的儿童诗歌》,以及安妮·Østgaard和伊吉尔·尼胡斯2020年出版的《粗野的孩子:无数字的废话》。分析指出了诗歌和插图之间既有趣又复杂的相互作用的例子,表明与传统的插图诗歌书相比,绘本媒介包括更多不同的视觉和口头幽默组合。此外,各种类型的幽默似乎比经典儿童诗歌更加狂野和粗俗。barske barn的《123》结合了教学和美学的特点,以无意义和狂欢式的幽默与数字相结合,而Pling i bollen则通过将讽刺、戏仿和复杂的无意义与更有趣和狂欢式的品质相结合,提供了更广泛的幽默。这些混合的幽默倾向于超越儿童诗歌的经典体裁,并包括跨代观众。