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All Are Welcome: Picture Books and Liberal Multiculturalism Post Trump 欢迎所有人:图画书和后特朗普时代的自由多元文化主义
IF 0.1 Q1 Arts and Humanities Pub Date : 2022-06-01 DOI: 10.1353/chq.2022.0027
S. Falkenberg
Abstract:According to Jodi Melamed, "[l]iterary studies has been a foremost cultural technology for producing, transmitting, and implanting official antiracist knowledges" (15). Melamed identifies liberal multiculturalism, which advocates "social solidarity" and "affirm[s] a positive cultural pluralism" as one way these antiracisms are transmitted (Melamed 35). What happens when official antiracisms break down? In a post-Trump age, racist attitudes have risen, sanctioned by the nation's highest political power. I identify children's picture books as an important cultural site of liberal multiculturalism in an age where official antiracisms are collapsing and cannot be relied upon to maintain liberal social structures. I will be examining several picture books published since 2018, as they emphasize the importance of pluralism as an inherent aspect of American national identity.
摘要:Jodi Melamed认为,“文学研究一直是生产、传播和植入官方反种族主义知识的最重要的文化技术”(15)。Melamed认为自由多元文化主义是这些反种族主义传播的一种方式,它倡导“社会团结”和“肯定积极的文化多元主义”(Melamed 35)。当官方的反种族主义崩溃时会发生什么?在后特朗普时代,种族主义态度有所抬头,得到了美国最高政治权力的认可。我认为儿童绘本是自由多元文化主义的一个重要文化场所,在这个时代,官方的反种族主义正在崩溃,不能依靠它来维持自由的社会结构。我将研究自2018年以来出版的几本绘本,因为它们强调了多元化作为美国民族认同固有方面的重要性。
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引用次数: 0
"Infinite Others": Mythpunk and Middle-Eastern Folklore in Catherynne M. Valente's Young Adult Novels “无限的他者”:凯瑟琳·M·瓦伦特青年小说中的神话与中东民俗
IF 0.1 Q1 Arts and Humanities Pub Date : 2022-06-01 DOI: 10.1353/chq.2022.0028
T. Michals, Fizza Fatima
Abstract:Catherynne M. Valente breaks up and remakes the Orientalist map of Anglo-American fantasy through a process of aggressive revision that she calls "mythpunk." Like her predecessors, Valente borrows images from Middle Eastern folklore, but her mixing and re-remixing of global cultural traditions is value neutral. She does not use images from any one region of the world to represent cultural superiority or inferiority, or to demarcate opposing sides in a battle between good and evil. Her mythpunk approach to fantasy rejects the binary thinking that structures much of C.S. Lewis' influential Chronicles of Narnia—but it at the same time, it engages deeply with the element of cultural syncretism that Lewis himself also includes.
摘要:凯瑟琳·M·瓦伦特(Catherinne M.Valente)通过一个她称之为“神话朋克”的激进修订过程,打破并重新制作了东方主义的英美幻想地图。和她的前任一样,瓦伦特借用了中东民间传说中的图像,但她对全球文化传统的混合和重新组合是价值中立的。她没有用世界上任何一个地区的图像来代表文化的优越性或自卑性,也没有在善与恶的斗争中划分对立的双方。她对幻想的神秘方法拒绝了构成C.S.刘易斯颇具影响力的《纳尼亚传奇》大部分内容的二元思维——但与此同时,它深深地融入了刘易斯本人也包含的文化融合元素。
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引用次数: 0
Little Women at 150 ed. by Daniel Shealy (review) 《小妇人》150版,丹尼尔·希利编辑(书评)
IF 0.1 Q1 Arts and Humanities Pub Date : 2022-06-01 DOI: 10.1353/chq.2022.0018
Marlowe Daly-Galeano
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引用次数: 0
Transformative Agency and the Pursuit of Justice in Mildred Taylor's Logan Family Series 米尔德丽德·泰勒《洛根家族》系列中的转型代理与正义追求
IF 0.1 Q1 Arts and Humanities Pub Date : 2022-03-17 DOI: 10.1353/chq.2021.0047
E. Newcomb
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引用次数: 0
The Dark Fantastic: Race and the Imagination from Harry Potter to the Hunger Games by Ebony Elizabeth Thomas (review) 《黑暗幻想:种族与想象——从哈利波特到饥饿游戏》,伊博尼·伊丽莎白·托马斯著(评论)
IF 0.1 Q1 Arts and Humanities Pub Date : 2022-03-17 DOI: 10.1353/chq.2021.0052
Tharini Viswanath
Book Reviews Finally, Cadden’s own narrative voice offers abundant humor. He is simply a very funny man, as when he notes, with a droll Hobbesian allusion, that a reader might identify with a character as being short, “but find nothing else in that character to connect to, perhaps because the character is nasty and brutish as well. . . .” Cadden welcomes disagreement with his readings of particular characters (I myself think he is somewhat unfair to Junie B. and Ramona), but hopes that readers will “find the framework, the idea of rhetorical modulation, useful.” At Arm’s Length presents its central device of the dial of character modulation so persuasively and enjoyably that readers will find their fingers twitching to spin it themselves into a host of fruitful discussions of how we understand character in children’s and young adult literature.
书评最后,Cadden自己的叙事声音提供了丰富的幽默。他只是一个非常有趣的人,正如他用一个滑稽的霍布斯式的典故指出的那样,读者可能会认为一个角色很矮,“但在这个角色身上找不到其他可以联系的东西,也许是因为这个角色也很肮脏和野蛮……”Cadden欢迎他对特定角色的解读存在分歧(我自己认为他对Junie B.和Ramona有点不公平),但希望读者“发现这个框架,修辞调整的想法是有用的”。“《一臂之遥》以令人信服和愉快的方式展示了其角色调节表盘的核心装置,读者会发现他们的手指在抽搐,自己将其旋转成一系列富有成效的讨论,讨论我们如何理解儿童和青少年文学中的角色。
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引用次数: 0
Lewis Carroll's Photography and Modern Childhood by Diane Waggoner (review) 刘易斯·卡罗尔的《摄影与现代童年》,作者:黛安·瓦格纳
IF 0.1 Q1 Arts and Humanities Pub Date : 2022-03-17 DOI: 10.1353/chq.2021.0054
Katherine Wakely-Mulroney
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引用次数: 0
Equity, Altruism, and the Voice of the Child in An Episode of Sparrows: Perennial Issues of Youth Justice and Child Protection 公平,利他主义和麻雀插曲中的孩子的声音:青少年正义和儿童保护的长期问题
IF 0.1 Q1 Arts and Humanities Pub Date : 2022-03-17 DOI: 10.1353/chq.2021.0046
A. Diver
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引用次数: 0
Teddy, The Little Refugee Mouse by Dorothy Burroughes, and: The Magic Herb by Dorothy Burroughes (review) 多萝西·巴勒斯的《泰迪,小难民老鼠》和多萝西·伯勒斯的《神奇草药》(评论)
IF 0.1 Q1 Arts and Humanities Pub Date : 2022-03-17 DOI: 10.1353/chq.2021.0056
Jan Susina
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引用次数: 0
Portraying Issues of Incarceration and (In)Justice for Young Readers 为年轻读者描绘监禁与司法问题
IF 0.1 Q1 Arts and Humanities Pub Date : 2022-03-17 DOI: 10.1353/chq.2021.0045
R. Caponegro
© 2022 Children’s Literature Association. Pp. 351–356. 2020 marked the tenth anniversary of Michelle Alexander’s groundbreaking work, The New Jim Crow: Mass Incarceration in the Age of Colorblindness, which brought unprecedented attention to the ongoing discrimination present in the US criminal justice system and its many devastating effects, particularly in Black and Latinx communities. In the preface to the tenth anniversary edition, Alexander states, “It has been an astonishing decade. Everything and nothing has changed” (ix). Alexander is describing the seemingly rapid changes and ongoing stagnation in how the United States deals with its racial (racist) history and the use of mass incarceration as a means of racial and social control. Numerous other scholarly and popular works, fiction and nonfiction, have also continued to address the inequities built into the US legal system. These representations and analyses have been accompanied by steps both forward and backward in terms of the law’s evolution and its enforcement. As more frequent discussions about the criminal justice system have entered the public consciousness again, more books about trials, prisons, and the effects of mass incarceration have been published for children and young adults. I wrote my first graduate term paper on children’s books about prisons in 2004, and I finished my dissertation about representations of the legal system for young readers in the Victorian era and the contemporary era—two periods of massive prison expansion—in 2010. Since completing this project, I’ve been heartened to see not only more books about incarceration being published, but also that these books explore legal systems and issues of incarceration in increasingly complex ways and from a greater variety of perspectives, while often gaining more critical attention.1 For example, in Milo Imagines the World (2021), written by Matt de la Peña and illustrated by Christian Robinson, a new, more expansive take on the
©2022儿童文学协会。351 - 356页。2020年是米歇尔·亚历山大开创性作品《新吉姆·克劳:盲视时代的大规模监禁》出版十周年,该书引起了人们对美国刑事司法系统中持续存在的歧视及其许多破坏性影响的前所未有的关注,特别是在黑人和拉丁裔社区。在十周年纪念版的序言中,亚历山大写道:“这是令人震惊的十年。亚历山大正在描述美国如何处理其种族(种族主义)历史以及使用大规模监禁作为种族和社会控制手段方面的看似快速的变化和持续的停滞。许多其他的学术和通俗作品,小说和非小说类,也在继续解决美国法律体系中存在的不平等问题。这些陈述和分析伴随着法律的演变和执行方面的前进和后退的步骤。随着公众对刑事司法系统的讨论越来越频繁,针对儿童和青少年的关于审判、监狱和大规模监禁影响的书籍也越来越多。2004年,我写了第一篇关于监狱的儿童读物的研究生学期论文。2010年,我完成了一篇关于维多利亚时代和当代——两个监狱大规模扩张的时期——对年轻读者的法律体系表现的论文。自从完成这个项目以来,我很高兴地看到,不仅有更多关于监禁的书出版,而且这些书以越来越复杂的方式和更多样化的角度探讨了法律制度和监禁问题,同时经常获得更多的批判性关注例如,马特·德拉Peña (Matt de la Peña)撰写、克里斯蒂安·罗宾逊(Christian Robinson)配图的《米洛想象的世界》(2021),就以一种全新的、更广阔的视角来看待世界
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引用次数: 0
Animals, Museum Culture and Children's Literature in Nineteenth-Century Britain: Curious Beasties by Laurence Talairach (review) 《19世纪英国的动物、博物馆文化和儿童文学:好奇的动物》劳伦斯·塔拉拉赫著(书评)
IF 0.1 Q1 Arts and Humanities Pub Date : 2022-03-17 DOI: 10.1353/chq.2021.0053
C. Tarr
Book Reviews cult to map onto characters of African descent” and because vampire stories are often about taboo sexual desires), this chapter highlights the significant differences between how the Black, American Bonnie Bennet and her White, Irish book counterpart, Bonnie McCullough are treated (113). By tracing TV Bonnie’s dark fantastic cycle, Thomas demonstrates how “the imperatives of commercial teen television and fan responses limit the liberating possibilities of characters of color” (127). The final sections of the chapter discuss the following: how social media activism raises awareness against injustice; the increased number of Black girls and women advocating for better representation in mainstream speculative fiction; and fan fiction as a way to rewrite the stories of marginalized characters. The final chapter in this monograph, “Hermione Is Black,” is most compelling as it moves from literary criticism to audiences’ responses to the lack of representation—or even misrepresentation—in popular literature. Recounting her experiences as an avid reader of the Harry Potter novels and as a writer of Harry Potter fan fiction, Thomas discusses the contemporary audiences’ use of social media to construct meanings from texts independent of or contrary to authorial intent. She goes on to offer the practice of “restorying”—which describes how young readers “reimagine the very stories themselves” as they “imagine themselves into stories”—time and place, identity, and across modes as some ways of decolonizing the imagination (159, emphasis original). To say that The Dark Fantastic does important work in the fields of critical race theory, young adult literature, and media studies would be an understatement; its impact is both dynamic and far-reaching. One reason this book is such as an important resource for decentering whiteness in academic settings and beyond is because it uses critical counterstorytelling to bring historically marginalized voices to the forefront. Another reason is that Thomas’s incorporation of autoethnography and reader responses increases the text’s accessibility (and teachability) so that readers—regardless of their backgrounds—might learn new ways of seeing.
书评热衷于刻画非裔人物”,而且因为吸血鬼故事通常是关于禁忌的性欲),这一章强调了黑人、美国人邦妮·班纳特和白人、爱尔兰人邦妮·麦卡洛在书中被对待的显著差异(113)。通过追踪电视剧《邦妮》的黑暗奇幻循环,托马斯展示了“商业青少年电视剧的必要性和粉丝的反应如何限制了有色人种角色解放的可能性”(127)。本章的最后部分讨论了以下内容:社交媒体行动主义如何提高人们对不公正的认识;越来越多的黑人女孩和妇女主张在主流投机小说中有更好的代表性;同人小说是重写边缘人物故事的一种方式。这本专著的最后一章,“赫敏是黑的”,是最引人注目的,因为它从文学批评转移到观众对大众文学中缺乏代表性甚至歪曲的反应。托马斯讲述了她作为哈利波特小说的狂热读者和哈利波特同人小说的作者的经历,讨论了当代读者使用社交媒体从独立于或违背作者意图的文本中构建意义。她接着提出了“恢复”的实践——描述了年轻读者如何“重新想象故事本身”,因为他们“把自己想象成故事”——时间和地点,身份,以及跨模式,作为一些去殖民化想象力的方式。如果说《黑暗奇幻》在批判种族理论、青少年文学和媒体研究领域做出了重要贡献,那就太轻描淡写了;其影响是动态的和深远的。这本书之所以成为学术环境及其他领域去中心化白人的重要资源之一,是因为它采用了批判性的反叙事方式,将历史上被边缘化的声音带到了最前沿。另一个原因是托马斯将自己的民族志和读者的反应结合起来,增加了文本的可访问性(和可教性),这样读者——不管他们的背景如何——都可以学习新的观看方式。
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Childrens Literature Association Quarterly
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