Abstract:Interest in the life and work of Frida Kahlo continues to grow, and is now manifest in many picturebook representations of her life and work. These picturebook versions quote her iconic self-portraits in their illustrations, but instead of demanding veneration, these picturebooks use "totemic" characters alongside representations of Kahlo to invite young readers into less fraught, more playful, storyworlds.
{"title":"Frida Kahlo in Picturebooks: What Do Her Pictures Want?","authors":"Danielle Terceiro","doi":"10.1353/bkb.2022.0060","DOIUrl":"https://doi.org/10.1353/bkb.2022.0060","url":null,"abstract":"Abstract:Interest in the life and work of Frida Kahlo continues to grow, and is now manifest in many picturebook representations of her life and work. These picturebook versions quote her iconic self-portraits in their illustrations, but instead of demanding veneration, these picturebooks use \"totemic\" characters alongside representations of Kahlo to invite young readers into less fraught, more playful, storyworlds.","PeriodicalId":42208,"journal":{"name":"Bookbird-A Journal of International Childrens Literature","volume":"60 1","pages":"58 - 66"},"PeriodicalIF":0.2,"publicationDate":"2022-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48662469","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":"Focus Ibby","authors":"Liz Page, M. O'Brien","doi":"10.1353/bkb.2022.0065","DOIUrl":"https://doi.org/10.1353/bkb.2022.0065","url":null,"abstract":"","PeriodicalId":42208,"journal":{"name":"Bookbird-A Journal of International Childrens Literature","volume":"60 1","pages":"89 - 94"},"PeriodicalIF":0.2,"publicationDate":"2022-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46562760","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:Mordicai Gerstein's Caldecott Medal award-winning picturebook, The Man Who Walked between the Towers, commemorates Philippe Petit's high-wire walk between the architectural giants in 1974. Gerstein's picturebook was one of the selections of literature featured during a classroom-based study where Grade 4 students were provided with multiple opportunities to develop their visual meaning-making skills and competences, as well as their aesthetic understanding of and critical thinking about multimodal texts.
{"title":"Elementary Students Interpret Mordicai Gerstein's Artwork in The Man Who Walked between the Towers","authors":"Sylvia Pantaleo","doi":"10.1353/bkb.2022.0055","DOIUrl":"https://doi.org/10.1353/bkb.2022.0055","url":null,"abstract":"Abstract:Mordicai Gerstein's Caldecott Medal award-winning picturebook, The Man Who Walked between the Towers, commemorates Philippe Petit's high-wire walk between the architectural giants in 1974. Gerstein's picturebook was one of the selections of literature featured during a classroom-based study where Grade 4 students were provided with multiple opportunities to develop their visual meaning-making skills and competences, as well as their aesthetic understanding of and critical thinking about multimodal texts.","PeriodicalId":42208,"journal":{"name":"Bookbird-A Journal of International Childrens Literature","volume":"60 1","pages":"16 - 5"},"PeriodicalIF":0.2,"publicationDate":"2022-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45701519","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:Given the widespread expectation that children's war literature should be morally instructive, it is not surprising that epiphanies are a regular plot device used in children's picturebooks. This article will analyze four children's picturebooks about the 1914 Christmas Truce that are framed by epiphanic experiences: Shooting at the Stars: The Christmas Truce of 1914 (Hendrix; 2014), And the Soldiers Sang (Lewis; 2011), The Christmas Truce (Duffy; 2014), and The Christmas Truce: The Place Where Peace Was Found (Robinson; 2014).
{"title":"Children's Picturebooks, Epiphanies, and the 1914 Christmas Truce","authors":"Martin Kerby, Marcus Harmes, M. Baguley","doi":"10.1353/bkb.2022.0059","DOIUrl":"https://doi.org/10.1353/bkb.2022.0059","url":null,"abstract":"Abstract:Given the widespread expectation that children's war literature should be morally instructive, it is not surprising that epiphanies are a regular plot device used in children's picturebooks. This article will analyze four children's picturebooks about the 1914 Christmas Truce that are framed by epiphanic experiences: Shooting at the Stars: The Christmas Truce of 1914 (Hendrix; 2014), And the Soldiers Sang (Lewis; 2011), The Christmas Truce (Duffy; 2014), and The Christmas Truce: The Place Where Peace Was Found (Robinson; 2014).","PeriodicalId":42208,"journal":{"name":"Bookbird-A Journal of International Childrens Literature","volume":"60 1","pages":"48 - 57"},"PeriodicalIF":0.2,"publicationDate":"2022-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44214516","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}
74 | BOOKBIRD J has a history of books for children with disabilities that are handmade by volunteers. Their attractions have been made known around the world by way of IBBY activities. The selection of these cloth picturebooks (nuno-ehon) as “outstanding books for young people with disabilities” by IBBY has greatly encouraged the efforts of people engaged in cloth book-making. The origin of these books is in private mini-libraries called bunko, where people keenly aware of the scarcity of books for children with serious disabilities undertook research and made cloth picturebooks by hand. They are not for sale. That a significant part of the production of picturebooks made for children with disabilities has long been supported by volunteers may be a unique aspect of Japanese culture. Cloth picturebooks consist of a mount that is made of cloth, onto which pictures made with a variety of cloth and felt fabrics are sewn. Some of the pictures can be removed or moved using Velcro, buttons, snaps and other fasteners, strings, and the like. These books are devised for play with the hands and fingers—fastening, removing, attaching, pulling, tying, untying, and otherwise manipulating their parts.
{"title":"Japanese Handmade Cloth Picturebooks for Children with Disabilities","authors":"Hisako Kakuage","doi":"10.1353/bkb.2022.0062","DOIUrl":"https://doi.org/10.1353/bkb.2022.0062","url":null,"abstract":"74 | BOOKBIRD J has a history of books for children with disabilities that are handmade by volunteers. Their attractions have been made known around the world by way of IBBY activities. The selection of these cloth picturebooks (nuno-ehon) as “outstanding books for young people with disabilities” by IBBY has greatly encouraged the efforts of people engaged in cloth book-making. The origin of these books is in private mini-libraries called bunko, where people keenly aware of the scarcity of books for children with serious disabilities undertook research and made cloth picturebooks by hand. They are not for sale. That a significant part of the production of picturebooks made for children with disabilities has long been supported by volunteers may be a unique aspect of Japanese culture. Cloth picturebooks consist of a mount that is made of cloth, onto which pictures made with a variety of cloth and felt fabrics are sewn. Some of the pictures can be removed or moved using Velcro, buttons, snaps and other fasteners, strings, and the like. These books are devised for play with the hands and fingers—fastening, removing, attaching, pulling, tying, untying, and otherwise manipulating their parts.","PeriodicalId":42208,"journal":{"name":"Bookbird-A Journal of International Childrens Literature","volume":"60 1","pages":"74 - 80"},"PeriodicalIF":0.2,"publicationDate":"2022-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41564642","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":"The Boy in the Royal Box","authors":"Rosy-Triantafyllia Angelaki, Meni Kanatsouli","doi":"10.1353/bkb.2022.0063","DOIUrl":"https://doi.org/10.1353/bkb.2022.0063","url":null,"abstract":"","PeriodicalId":42208,"journal":{"name":"Bookbird-A Journal of International Childrens Literature","volume":"60 1","pages":"81 - 83"},"PeriodicalIF":0.2,"publicationDate":"2022-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43550638","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":"Korean American Children's Connections to Culturally Relevant Picturebooks","authors":"Jongsun Wee","doi":"10.1353/bkb.2022.0061","DOIUrl":"https://doi.org/10.1353/bkb.2022.0061","url":null,"abstract":"","PeriodicalId":42208,"journal":{"name":"Bookbird-A Journal of International Childrens Literature","volume":"60 1","pages":"67 - 73"},"PeriodicalIF":0.2,"publicationDate":"2022-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45693030","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 suggests a new cultural reading of children's clothing in children's literature through a 2021 Hebrew picturebook, Swirl Dress (Śimlah mi[inline-graphic 33]ovevet; [inline-graphic 02]), written by Meira Firon and illustrated by Tamar Lev. Although this is a contemporary Israeli book, it deals with universal values such as accepting the "other," whether depicted in terms of skin color or gender identity. The story is analyzed from a cross-cultural perspective that connects it to an older poem, also with a clothing item: Kadia Molodowsky's Yiddish canonical poem "The Life of a Coat" ("Gilgulav shel Me'il"; "[inline-graphic 03]"), which was translated and adapted into Hebrew several times throughout the last century.
{"title":"Dare to Dress: Cross-Dressing and Intercultural Shifts within an Israeli Literary Children's Closet","authors":"Erga Heller","doi":"10.1353/bkb.2022.0057","DOIUrl":"https://doi.org/10.1353/bkb.2022.0057","url":null,"abstract":"Abstract:This article suggests a new cultural reading of children's clothing in children's literature through a 2021 Hebrew picturebook, Swirl Dress (Śimlah mi[inline-graphic 33]ovevet; [inline-graphic 02]), written by Meira Firon and illustrated by Tamar Lev. Although this is a contemporary Israeli book, it deals with universal values such as accepting the \"other,\" whether depicted in terms of skin color or gender identity. The story is analyzed from a cross-cultural perspective that connects it to an older poem, also with a clothing item: Kadia Molodowsky's Yiddish canonical poem \"The Life of a Coat\" (\"Gilgulav shel Me'il\"; \"[inline-graphic 03]\"), which was translated and adapted into Hebrew several times throughout the last century.","PeriodicalId":42208,"journal":{"name":"Bookbird-A Journal of International Childrens Literature","volume":"60 1","pages":"28 - 37"},"PeriodicalIF":0.2,"publicationDate":"2022-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46672474","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}
84 | BOOKBIRD The two German artists who immediately come into mind when talking about wimmelbooks are Ali Mitgutsch and Rotraut Susanne Berner. But there are many other creators of wimmelbooks to be discovered, both nationally and internationally! The genre of the Wimmelbuch was born when illustrator Ali Mitgutsch published the now-classic picturebook Rundherum in meiner Stadt (All around My City) in 1968, although he did not particularly like the term. In wimmelbooks, there are lots of people or animals teeming across doublespreads, and although the books are textless or have little text, the juxtaposition of events and their rich detail develop a great narrative power: the wimmelbook invites readers to look more closely at its action-packed illustrations and to invent stories about what they see (Rémi 158). In the books of Mitgutsch as well as in those of Flemish illustrator Tom Schamp or German illustrator Britta Teckentrup, the city, the mountains, and even the water function as thematic brackets: they visually contain and connect (proto)typical crowded places with high recognition value such as marketplaces, construction sites, parks, sledding hills, fairgrounds, beaches, and airports, featuring scenes that everybody is familiar with. Very often wimmelbooks appeal to the senses: you can literally hear the lively chatter of the people and the clatter of the machinery in the scenes depicted. This vividness is one of the hallmarks of Ali Mitgutsch’s timeless illustrations. At the same time, however, they do reflect the context in which they were created. Most pages show only a few women, most often wearing an apron or pushing a stroller, thus giving an outdated image of gender roles. When it comes to the technical side, Mitgutsch favors a hybrid point of view: half bird’s-eye view, half frontal view. The resulting perspective merges the front view with the one from above, levels the foreground and the background, and depicts almost every object on the double-spread the same size. The visual abundance is structured by colors and shapes as well as by groups of figures and by routes like paths or streets, which add direction and movement. Movement of time and space and motion of the different characters are central in narrative wimmelbooks such as Rotraut Susanne Berner’s stories from a town called Wimmlingen. The individual characters and story lines of the books develop both The Whole World on One Page—Wimmelbooks: An International Perspective
{"title":"The Whole World on One Page—Wimmelbooks: An International Perspective","authors":"Ines Galling, Katje Wiebe","doi":"10.1353/bkb.2022.0064","DOIUrl":"https://doi.org/10.1353/bkb.2022.0064","url":null,"abstract":"84 | BOOKBIRD The two German artists who immediately come into mind when talking about wimmelbooks are Ali Mitgutsch and Rotraut Susanne Berner. But there are many other creators of wimmelbooks to be discovered, both nationally and internationally! The genre of the Wimmelbuch was born when illustrator Ali Mitgutsch published the now-classic picturebook Rundherum in meiner Stadt (All around My City) in 1968, although he did not particularly like the term. In wimmelbooks, there are lots of people or animals teeming across doublespreads, and although the books are textless or have little text, the juxtaposition of events and their rich detail develop a great narrative power: the wimmelbook invites readers to look more closely at its action-packed illustrations and to invent stories about what they see (Rémi 158). In the books of Mitgutsch as well as in those of Flemish illustrator Tom Schamp or German illustrator Britta Teckentrup, the city, the mountains, and even the water function as thematic brackets: they visually contain and connect (proto)typical crowded places with high recognition value such as marketplaces, construction sites, parks, sledding hills, fairgrounds, beaches, and airports, featuring scenes that everybody is familiar with. Very often wimmelbooks appeal to the senses: you can literally hear the lively chatter of the people and the clatter of the machinery in the scenes depicted. This vividness is one of the hallmarks of Ali Mitgutsch’s timeless illustrations. At the same time, however, they do reflect the context in which they were created. Most pages show only a few women, most often wearing an apron or pushing a stroller, thus giving an outdated image of gender roles. When it comes to the technical side, Mitgutsch favors a hybrid point of view: half bird’s-eye view, half frontal view. The resulting perspective merges the front view with the one from above, levels the foreground and the background, and depicts almost every object on the double-spread the same size. The visual abundance is structured by colors and shapes as well as by groups of figures and by routes like paths or streets, which add direction and movement. Movement of time and space and motion of the different characters are central in narrative wimmelbooks such as Rotraut Susanne Berner’s stories from a town called Wimmlingen. The individual characters and story lines of the books develop both The Whole World on One Page—Wimmelbooks: An International Perspective","PeriodicalId":42208,"journal":{"name":"Bookbird-A Journal of International Childrens Literature","volume":"60 1","pages":"84 - 88"},"PeriodicalIF":0.2,"publicationDate":"2022-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47001002","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}
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