{"title":"Colibri–Corpus Libri et Liberi: Digitization of 19th-Century Children’s and Young Adult Literature–a Project Sponsored by the German Research Foundation","authors":"Katja Wiebe, Jutta Reusch, Nikola von Merveldt","doi":"10.1353/bkb.2023.0008","DOIUrl":"https://doi.org/10.1353/bkb.2023.0008","url":null,"abstract":"","PeriodicalId":42208,"journal":{"name":"Bookbird-A Journal of International Childrens Literature","volume":"61 1","pages":"64 - 66"},"PeriodicalIF":0.2,"publicationDate":"2023-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43697916","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article focuses on George Sari’s works and how she presents multicultural and diverse characters in connection to the place and time they are put in. The cultural representations in the texts are explored using imagology, which studies “the origin and function of characteristics of other countries and peoples, as expressed textually, particularly in the way in which they are presented in works of literature” (Beller). The narration method (Genette theory) is also employed to make out the writer’s choices when she compiled the characters with the intention of projecting a specific ideology in connection to their multicultural aspects.
{"title":"The Image of “Foreigner” in George Sari’s Autobiographical Fictional Characters","authors":"Chryssa Kouraki, V. Patsiou","doi":"10.1353/bkb.2023.0005","DOIUrl":"https://doi.org/10.1353/bkb.2023.0005","url":null,"abstract":"Abstract:This article focuses on George Sari’s works and how she presents multicultural and diverse characters in connection to the place and time they are put in. The cultural representations in the texts are explored using imagology, which studies “the origin and function of characteristics of other countries and peoples, as expressed textually, particularly in the way in which they are presented in works of literature” (Beller). The narration method (Genette theory) is also employed to make out the writer’s choices when she compiled the characters with the intention of projecting a specific ideology in connection to their multicultural aspects.","PeriodicalId":42208,"journal":{"name":"Bookbird-A Journal of International Childrens Literature","volume":"61 1","pages":"39 - 48"},"PeriodicalIF":0.2,"publicationDate":"2023-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45319477","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
61.1 – 2023 | 3 Protest, as Cambridge Dictionary defines, is “a strong complaint expressing disagreement, disapproval, or opposition.” When protest is conveyed through children’s stories, how is the target reader made to recognize the complaint? What linguistic choices—structural patterns and deviations—make the protest content salient, accessible, and meaningful to the child reader? What other literary devices does the writer use to foreground the protest represented in the story? These are some questions addressed in this analysis of five Filipino children’s stories published in the Philippines from 2016 to 2022—the period when particular sociopolitical events, controversies, and issues gave rise to the publication of such stories. While the stories are published as picturebooks, this study opts to exclude the illustrations and focuses instead on the language of the original text (and not the translation). The reason is to discover how writers—not the translators—make the representation of protest accessible and comprehensible to the child, who may not have enough background knowledge on the matter. Four of the stories are written in Filipino and one is written in English. Being official languages in the Philippines, both English and Filipino are used as a medium of instruction in public and private schools. Both languages are taught as a subject at all educational levels. It is thus safe to assume that all five stories target Filipino children. With a focus on the language of the books—whether English or Filipino, cognitive stylistics is employed as the analytical tool of the study.
{"title":"Philippine Children’s Stories as Protest: A Cognitive Stylistics Approach","authors":"Lalaine F. Yanilla Aquino","doi":"10.1353/bkb.2023.0001","DOIUrl":"https://doi.org/10.1353/bkb.2023.0001","url":null,"abstract":"61.1 – 2023 | 3 Protest, as Cambridge Dictionary defines, is “a strong complaint expressing disagreement, disapproval, or opposition.” When protest is conveyed through children’s stories, how is the target reader made to recognize the complaint? What linguistic choices—structural patterns and deviations—make the protest content salient, accessible, and meaningful to the child reader? What other literary devices does the writer use to foreground the protest represented in the story? These are some questions addressed in this analysis of five Filipino children’s stories published in the Philippines from 2016 to 2022—the period when particular sociopolitical events, controversies, and issues gave rise to the publication of such stories. While the stories are published as picturebooks, this study opts to exclude the illustrations and focuses instead on the language of the original text (and not the translation). The reason is to discover how writers—not the translators—make the representation of protest accessible and comprehensible to the child, who may not have enough background knowledge on the matter. Four of the stories are written in Filipino and one is written in English. Being official languages in the Philippines, both English and Filipino are used as a medium of instruction in public and private schools. Both languages are taught as a subject at all educational levels. It is thus safe to assume that all five stories target Filipino children. With a focus on the language of the books—whether English or Filipino, cognitive stylistics is employed as the analytical tool of the study.","PeriodicalId":42208,"journal":{"name":"Bookbird-A Journal of International Childrens Literature","volume":"61 1","pages":"12 - 3"},"PeriodicalIF":0.2,"publicationDate":"2023-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45050033","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
58 | BOOKBIRD Compared to other Indonesian children, the literacy rate of Papuan children is pretty low. According to 2014 USAID’s Baseline Study for Rural and Remote Education Initiative for Papuan Provinces, the EGRA (Early Grade Reading Assessment) is also low, scoring only 14.61 percent (as opposed to the national score of 62.80 percent). This also means that despite Papuan children’s ability to read, they do not understand what they have read. Instead of reading, Papuan children generally prefer to play in the wild (Modouw 34). There is no encouragement from the parents as reading is considered unimportant and education is left entirely to the school. This calls for a strategy to foster Papuan children’s reading interest so they can gain new knowledge and experiences, develop imagination, and improve their language skills. In the early 2013, Community Reading Centers (CRCs) were established in Papua as an answer to this call (Yektiningtyas-Modouw and Karna 67-86). The books in CRC collections initially came from outside Papua and unfortunately, were not very attractive. Despite the improvement in 2020, CRCs still could not successfully attract children to read. During a 2021 observation of CRCs in Jayapura Regency, the children were seen just playing aimlessly. They merely browsed through the books before putting them back, showing no interest in reading. Interviews with several elementary schoolchildren reveal their disinterest in the contents of the books. “I don’t know rice fields, I don’t know elephants, I don’t like reading what I don’t know,” one of them said. Two teachers from CRCs in East Sentani and West Sentani Districts added that the children would read if they were forced to. Meanwhile, teachers from CRCs in Demta District and Kemtuk Gresi District said that while the children read books, they did not understand the contents. The teachers from CRCs in Central Sentani District also mentioned that the children would close the book immediately when they encountered unfamiliar terms, places, trees, objects, or animals. Even unfamiliar proper names could be an excuse for them to stop reading. These children seem to prefer reading folktales from the area where they came from (Yektiningtyas and Gultom 224). They find it easier to read and understand texts with familiar landscapes, animals, plants, daily routines, traditions, or proper names—a phenomenon referred to as “emotional ties” (Lazar). These connections become good bridges to motivate children to read and write, eliminating the burden of alienating materials (Yektiningtyas-Modouw and Karna; Dickinson et al.). Bringing Books to Life: Engaging Papuan Children to Read
{"title":"Bringing Books to Life: Engaging Papuan Children to Read","authors":"Wigati Yektiningtyas, James Modouw","doi":"10.1353/bkb.2023.0007","DOIUrl":"https://doi.org/10.1353/bkb.2023.0007","url":null,"abstract":"58 | BOOKBIRD Compared to other Indonesian children, the literacy rate of Papuan children is pretty low. According to 2014 USAID’s Baseline Study for Rural and Remote Education Initiative for Papuan Provinces, the EGRA (Early Grade Reading Assessment) is also low, scoring only 14.61 percent (as opposed to the national score of 62.80 percent). This also means that despite Papuan children’s ability to read, they do not understand what they have read. Instead of reading, Papuan children generally prefer to play in the wild (Modouw 34). There is no encouragement from the parents as reading is considered unimportant and education is left entirely to the school. This calls for a strategy to foster Papuan children’s reading interest so they can gain new knowledge and experiences, develop imagination, and improve their language skills. In the early 2013, Community Reading Centers (CRCs) were established in Papua as an answer to this call (Yektiningtyas-Modouw and Karna 67-86). The books in CRC collections initially came from outside Papua and unfortunately, were not very attractive. Despite the improvement in 2020, CRCs still could not successfully attract children to read. During a 2021 observation of CRCs in Jayapura Regency, the children were seen just playing aimlessly. They merely browsed through the books before putting them back, showing no interest in reading. Interviews with several elementary schoolchildren reveal their disinterest in the contents of the books. “I don’t know rice fields, I don’t know elephants, I don’t like reading what I don’t know,” one of them said. Two teachers from CRCs in East Sentani and West Sentani Districts added that the children would read if they were forced to. Meanwhile, teachers from CRCs in Demta District and Kemtuk Gresi District said that while the children read books, they did not understand the contents. The teachers from CRCs in Central Sentani District also mentioned that the children would close the book immediately when they encountered unfamiliar terms, places, trees, objects, or animals. Even unfamiliar proper names could be an excuse for them to stop reading. These children seem to prefer reading folktales from the area where they came from (Yektiningtyas and Gultom 224). They find it easier to read and understand texts with familiar landscapes, animals, plants, daily routines, traditions, or proper names—a phenomenon referred to as “emotional ties” (Lazar). These connections become good bridges to motivate children to read and write, eliminating the burden of alienating materials (Yektiningtyas-Modouw and Karna; Dickinson et al.). Bringing Books to Life: Engaging Papuan Children to Read","PeriodicalId":42208,"journal":{"name":"Bookbird-A Journal of International Childrens Literature","volume":"61 1","pages":"58 - 63"},"PeriodicalIF":0.2,"publicationDate":"2023-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43064598","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
61.1 – 2023 | 71 reflections from the analysis of a corpus of texts that deal with the subject of migration in general and international adoption in particular—the subject of her doctoral thesis. The author warns that in many cases, these texts approach complex issues in a simplistic way, telling singular stories of people who migrate and mobilize the help of the locals: “The operation of these stories is to leave out of our knowledge something that would seem harmful for us to know: global injustice” (84). “Necropolitics in The Isle and The Mediterranean” builds on the theme of the previous chapter with Achille Mbembe’s concept of necropolitics. García González analyzes here two works by Armin Greder, which highlight the brutality with which certain populations are left to die. “The Problem with Narratives of Empowerment for Girls” problematizes certain books for children aligned with mainstream “girl power” discourses. According to the author, the problem with these narratives is that they suggest a simplistic idea of individual empowerment. From an intersectional perspective, the author wonders: “Can a text be feminist and, at the same time, reproduce colonial imaginaries? I am afraid that a merely post-feminist text that embodies ideas of achievement and overcoming, or an approach to liberal feminism with the slogan for gender equality does not involve rethinking how dominations are produced, and how some lives develop more precariously than others” (121).3 “Narrating the Silences of the Dictatorship” studies the way the Chilean dictatorship is presented in books for children. The author analyzes several texts to understand how both references and silences work to express the intensity of grief and loss: “Gaps in these works...may not be there for adults to pick up, but to be filled in the silence. A silence that is not the lack of something, but the presence of it” (146). “Nets of Poverty and Reading” presents an ethnographic study about “reading affections, and hard topics” carried out in two marginalized neighborhoods in the suburbs of Santiago de Chile. The author narrates the experience with sincere reflections: “As the months went by, I realised how I myself had been trapped by the promise of happiness through reading that I have been criticising in this book” (159). Overall, Macarena García González’s work is critically engaging and highly accessible. By introducing a social and political perspective, García González invites readers to think about the emotional dimension in children’s fictions as an ethical matter. It is valuable as a work that opens questions instead of closing conclusions, and as such, I consider it an essential reading for scholars, teachers, librarians, publishers, parents, and anyone interested in the encounters between books and children. Agustina Palenque Glasgow University and University of Buenos Aires BOOKS ON BOOKS
61.1–2023|71对处理移民问题，特别是国际收养问题的文本语料库的分析反思——这是她的博士论文的主题。作者警告说，在许多情况下，这些文本以一种简单化的方式处理复杂的问题，讲述了移民和动员当地人帮助的独特故事：“这些故事的运作是在我们不知情的情况下遗漏了一些对我们来说似乎有害的东西：全球不公正”（84）。“岛屿和地中海的亡灵政治”以阿希尔·姆本贝的亡灵政治概念为前一章的主题。加西亚·冈萨雷斯（García González）在这里分析了阿明·格里德（Armin Greder）的两部作品，这两部作品强调了某些人被遗弃致死的残酷性。《赋予女孩权力的叙事问题》将某些儿童书籍与主流“女孩权力”话语相结合。根据作者的说法，这些叙述的问题在于，它们暗示了一种简单化的个人赋权观念。从交叉的角度来看，作者想知道：“一个文本能是女权主义的，同时又能再现殖民地的想象吗？我担心，一个仅仅体现成就和克服思想的后女权主义文本，或者一个以性别平等为口号的自由女权主义方法，不包括重新思考支配是如何产生的，以及一些人的生活是如何比其他人更不稳定地发展的”（121）。3《讲述独裁政权的沉默》研究了智利独裁政权在儿童读物中的表现方式。作者分析了几篇文本，以了解引用和沉默是如何表达悲伤和失落的：“这些作品中的空白……可能不是成年人可以弥补的，而是在沉默中填补的。沉默不是缺少什么，而是它的存在”（146）。“贫困与阅读之网”介绍了在智利圣地亚哥郊区的两个边缘化社区进行的一项关于“阅读情感和艰难话题”的民族志研究。作者以真诚的反思讲述了这段经历：“几个月过去了，我意识到自己是如何通过阅读我在这本书中一直批评的幸福承诺而陷入困境的”（159）。总的来说，Macarena García González的作品非常吸引人，而且非常容易获得。通过引入社会和政治视角，加西亚·冈萨雷斯邀请读者将儿童小说中的情感维度视为一个伦理问题。作为一本打开问题而不是结束结论的作品，它很有价值，因此，我认为它是学者、教师、图书馆员、出版商、家长以及任何对书籍和儿童之间的接触感兴趣的人的必备读物。Agustina Palenque格拉斯哥大学和布宜诺斯艾利斯大学
{"title":"Picturebook Makers by Sam McCullen (review)","authors":"Cristina Sánchez Mejía","doi":"10.1353/bkb.2023.0013","DOIUrl":"https://doi.org/10.1353/bkb.2023.0013","url":null,"abstract":"61.1 – 2023 | 71 reflections from the analysis of a corpus of texts that deal with the subject of migration in general and international adoption in particular—the subject of her doctoral thesis. The author warns that in many cases, these texts approach complex issues in a simplistic way, telling singular stories of people who migrate and mobilize the help of the locals: “The operation of these stories is to leave out of our knowledge something that would seem harmful for us to know: global injustice” (84). “Necropolitics in The Isle and The Mediterranean” builds on the theme of the previous chapter with Achille Mbembe’s concept of necropolitics. García González analyzes here two works by Armin Greder, which highlight the brutality with which certain populations are left to die. “The Problem with Narratives of Empowerment for Girls” problematizes certain books for children aligned with mainstream “girl power” discourses. According to the author, the problem with these narratives is that they suggest a simplistic idea of individual empowerment. From an intersectional perspective, the author wonders: “Can a text be feminist and, at the same time, reproduce colonial imaginaries? I am afraid that a merely post-feminist text that embodies ideas of achievement and overcoming, or an approach to liberal feminism with the slogan for gender equality does not involve rethinking how dominations are produced, and how some lives develop more precariously than others” (121).3 “Narrating the Silences of the Dictatorship” studies the way the Chilean dictatorship is presented in books for children. The author analyzes several texts to understand how both references and silences work to express the intensity of grief and loss: “Gaps in these works...may not be there for adults to pick up, but to be filled in the silence. A silence that is not the lack of something, but the presence of it” (146). “Nets of Poverty and Reading” presents an ethnographic study about “reading affections, and hard topics” carried out in two marginalized neighborhoods in the suburbs of Santiago de Chile. The author narrates the experience with sincere reflections: “As the months went by, I realised how I myself had been trapped by the promise of happiness through reading that I have been criticising in this book” (159). Overall, Macarena García González’s work is critically engaging and highly accessible. By introducing a social and political perspective, García González invites readers to think about the emotional dimension in children’s fictions as an ethical matter. It is valuable as a work that opens questions instead of closing conclusions, and as such, I consider it an essential reading for scholars, teachers, librarians, publishers, parents, and anyone interested in the encounters between books and children. Agustina Palenque Glasgow University and University of Buenos Aires BOOKS ON BOOKS","PeriodicalId":42208,"journal":{"name":"Bookbird-A Journal of International Childrens Literature","volume":"61 1","pages":"71 - 73"},"PeriodicalIF":0.2,"publicationDate":"2023-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46524496","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article examines the implication of metamodern engagement for the emergence of micropowers in times of political instability, as portrayed in Lissa Evans’s Wed Wabbit (2017). Metamodernism is a cultural sensibility that reacts to the sense of anxiety that springs from crises through qualities such as engagement and affect. As micropowers who are engaged—but also aware of their limitations—the Wimbley Woos (or the Wimblies) learn to use their own strengths to work together, with a singular aim, namely, to get rid of the tyrant and restore order to their society. The use of metamodernism in this article is based on the premise that children’s literature has responded to ideas associated with metamodernism but has not been given due attention. In this metamodern reading on the Wimblies’ engagement, I posit that Wed Wabbit addresses the changing patterns of engagement in current times and embodies the transformative capacity of children’s literature by subverting power structures in its expressions of metamodernism as a cultural sensibility that has emerged in response to intensified political instabilities.
{"title":"Metamodern Engagement and Micropower in Lissa Evans’s Wed Wabbit","authors":"Nurul Fateha","doi":"10.1353/bkb.2023.0004","DOIUrl":"https://doi.org/10.1353/bkb.2023.0004","url":null,"abstract":"Abstract:This article examines the implication of metamodern engagement for the emergence of micropowers in times of political instability, as portrayed in Lissa Evans’s Wed Wabbit (2017). Metamodernism is a cultural sensibility that reacts to the sense of anxiety that springs from crises through qualities such as engagement and affect. As micropowers who are engaged—but also aware of their limitations—the Wimbley Woos (or the Wimblies) learn to use their own strengths to work together, with a singular aim, namely, to get rid of the tyrant and restore order to their society. The use of metamodernism in this article is based on the premise that children’s literature has responded to ideas associated with metamodernism but has not been given due attention. In this metamodern reading on the Wimblies’ engagement, I posit that Wed Wabbit addresses the changing patterns of engagement in current times and embodies the transformative capacity of children’s literature by subverting power structures in its expressions of metamodernism as a cultural sensibility that has emerged in response to intensified political instabilities.","PeriodicalId":42208,"journal":{"name":"Bookbird-A Journal of International Childrens Literature","volume":"61 1","pages":"30 - 38"},"PeriodicalIF":0.2,"publicationDate":"2023-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42126934","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Niet Eens Een Labjas? De veelstemmige verbeelding van wetenschappers en technologen in hedendaagse jeugdliteratuur. [Not Even a Lab Coat? The Polyphonic Imagination of Scientists and Technologists in Contemporary Youth Literature.] by Frauke Pauwels (review)","authors":"Toin Duijx","doi":"10.1353/bkb.2023.0017","DOIUrl":"https://doi.org/10.1353/bkb.2023.0017","url":null,"abstract":"","PeriodicalId":42208,"journal":{"name":"Bookbird-A Journal of International Childrens Literature","volume":"61 1","pages":"77 - 78"},"PeriodicalIF":0.2,"publicationDate":"2023-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42801979","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article examines three picturebooks that represent different approaches to the problem of economic hardship in Taiwan: two books by Chih-Yuan Chen, Yige buneng meiyou liwu de rizi (The Best Christmas Ever; 2003) and Xiong baba qu ling yige chengshi gongzuo (Papa Bear Goes to Work in Another City; 2010), and Heihaizi (Black Kids; 2017) by Yiyang Chen and Shangren Pan. It first situates the picturebooks in the context of Taiwan’s publishing industry before conducting a close reading of the texts and discussing them from the lens of Taiwan’s recent economic conditions and social issues. I argue that although all three books present a message of hope, they contain some problematic passive ideologies. The Best Christmas Ever and Papa Bear Goes to Work in Another City imply that although families may suffer due to economic difficulties, they must accept this as “natural” or “the way it is” and make the most of the situation. Meanwhile, Black Kids suggests that neglected children must be empowered to make a living themselves to survive. However, the issue of child labor and the termination of schooling is never questioned.
{"title":"Economic Hardship in Taiwanese Picturebooks","authors":"S. Chen","doi":"10.1353/bkb.2023.0006","DOIUrl":"https://doi.org/10.1353/bkb.2023.0006","url":null,"abstract":"Abstract:This article examines three picturebooks that represent different approaches to the problem of economic hardship in Taiwan: two books by Chih-Yuan Chen, Yige buneng meiyou liwu de rizi (The Best Christmas Ever; 2003) and Xiong baba qu ling yige chengshi gongzuo (Papa Bear Goes to Work in Another City; 2010), and Heihaizi (Black Kids; 2017) by Yiyang Chen and Shangren Pan. It first situates the picturebooks in the context of Taiwan’s publishing industry before conducting a close reading of the texts and discussing them from the lens of Taiwan’s recent economic conditions and social issues. I argue that although all three books present a message of hope, they contain some problematic passive ideologies. The Best Christmas Ever and Papa Bear Goes to Work in Another City imply that although families may suffer due to economic difficulties, they must accept this as “natural” or “the way it is” and make the most of the situation. Meanwhile, Black Kids suggests that neglected children must be empowered to make a living themselves to survive. However, the issue of child labor and the termination of schooling is never questioned.","PeriodicalId":42208,"journal":{"name":"Bookbird-A Journal of International Childrens Literature","volume":"61 1","pages":"49 - 57"},"PeriodicalIF":0.2,"publicationDate":"2023-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41840264","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
61.1 – 2023 | 73 VON PIONIEREN UND PIRATEN. Der DEFA-Kinderfilm in seinen kulturhistorischen, filmästhetischen und ideologischen Dimensionen. [OF PIONEERS AND PIRATES. The DEFA Children’s Film in Its Cultural-Historical, Cinematic-Aesthetic and Ideological Dimensions.] Edited by Steffi Ebert and Bettina Kümmerling-Meibauer. Series: Studien zur europäischen Kinderund Jugendliteratur [Studies in European Children’s and Youth Literature]; 10. Winter, 2021, 302 pages. ISBN: 978-3-8253-4837-3 The anthology Von Pionieren und Piraten (Of Pioneers and Pirates) emerged from a conference of the same name at the University of Halle (2019). The editors, Steffi Ebert and Bettina Kümmerling-Meibauer, aim to shed light on open research questions concerning the DEFA children’s film from the perspectives of film art history, cultural history, media history, and more. The contributions of the volume deal with original films as well as literary adaptations of the DEFA in terms of film genres (such as contemporary children’s film, puppet film, animation film), images of childhood in the GDR, production and creation processes, adaptation practice under the principles/doctrine of socialist realism, the context of GDR television for children, film aesthetics (cinematographic strategies of directors), canonization processes (such as the allocation of cinema licenses and film criticism on behalf of the party as well as structural censorship), and comparative studies. They illustrate “the extent to which political, social, and cultural change in the GDR is reflected in corresponding children’s films. Special attention is paid to the recurrent, often subtly hidden criticism of social circumstances” (20). The volume is divided into four thematic sections: (1) “Childhood in Transition: The DEFA Children’s Film of the 1940s and 1950s,” (2) Political Frameworks: Between Cultural Education and Ideology Critique,” (3) “Media Transformations: From Literary Adaptation to Media Composite,” and (4) “Media Reception: CulturalSociological and Film Didactic Perspectives.” In the first part, the films Irgendwo in Berlin (Somewhere in Berlin; directed by Gerhard Lamprecht, 1946), Sheriff Teddy (directed by Heiner Carow, 1957), and Die Störenfriede (The Troublemakers; directed by Wolfgang Schleif, 1953) are analyzed against the background of the founding history of the GDR and DEFA. Themes such as the children’s collective or the conversion of a boy from his capitalist infiltration to a pioneer are elaborated. In the second part, the analysis of the films Die dicke Tilla (Fat Tilla; directed by Werner Bergmann, 1981) and Moritz in der Litfaßsäule (Moritz in the Advertising Column; directed by Rolf Losansky, 1983) shows how they individually and openly question “the ideological constructs of GDR family policy and the official GDR image of children” (95). Fantasy is described in different ways as an escape from BOOKS ON BOOKS
[61.1 - 2023] [b] [c] [c]。defa -儿童电影在中国的文化历史，filmästhetischen和意识形态维度。(指拓荒者和海盗)。DEFA儿童电影的文化历史、电影美学和意识形态维度。编辑:Steffi Ebert和Bettina kmmerling - meibauer。丛书:studen zur europäischen Kinderund jugendliterature[欧洲儿童与青年文学研究];10. 《冬天》，2021年，302页。《先驱者与海盗》选集于2019年在哈雷大学举行的同名会议上出版。编辑Steffi Ebert和Bettina kmmerling - meibauer旨在从电影艺术史、文化史、媒体史等角度阐明有关DEFA儿童电影的开放性研究问题。该卷的贡献涉及原版电影以及DEFA在电影类型(如当代儿童电影，木偶片，动画电影)方面的文学改编，德意志民主共和国的童年形象，制作和创作过程，在社会主义现实主义原则/教义下的改编实践，德意志民主共和国儿童电视的背景，电影美学(导演的电影策略)，规范化过程(如电影许可证的分配和代表党的电影评论以及结构性审查)，以及比较研究。它们说明了“民主德国的政治、社会和文化变化在多大程度上反映在相应的儿童电影中”。特别注意的是反复出现的，往往是微妙隐藏的对社会环境的批评。”本书分为四个主题部分:(1)“转型中的童年:20世纪40年代和50年代的DEFA儿童电影”，(2)政治框架:在文化教育和意识形态批判之间，”(3)“媒体转型:从文学改编到媒体合成”，以及(4)“媒体接受:文化社会学和电影教学视角”。在第一部分，电影Irgendwo In Berlin (Somewhere In Berlin;导演:格哈德·兰普雷希特，1946年)，警长泰迪(导演:海纳·卡罗，1957年)，以及死亡Störenfriede(《麻烦制造者》;由沃尔夫冈·施莱夫(Wolfgang Schleif)执导，1953年)在德意志民主共和国和德意志民主共和国的建国历史背景下进行分析。诸如儿童集体或一个男孩从资本主义渗透到先锋的转变等主题都得到了详细阐述。第二部分，对电影《胖馅饼》(Die dicke Tilla;导演:沃纳·伯格曼，1981年)和莫里茨in der Litfaßsäule(莫里茨在广告栏;罗尔夫·洛桑斯基(Rolf Losansky)导演，1983年)展示了他们如何单独和公开地质疑“德意志民主共和国家庭政策的意识形态建构和德意志民主共和国官方对儿童的形象”(95)。幻想以不同的方式被描述为对书中书的逃避
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