Diverging definitions and uses of concepts such as “ageism,” “aetonormativity,” “adultism,” and “childism” point at the relative separateness of the fields of childhood studies, age studies, and children’s literature studies, while also highlighting their shared interest in questions of age, prejudice, and agency. This article uses John Wall’s concept of “childism” to highlight the potential of bringing these fields into conversation to explore intergenerational relationships. Using Anne Fine’s The Granny Book (1983) as a case study, it shows, moreover, that children’s books themselves can help foster the paradigm shift that Wall envisages with childism. Fine’s novel about four children’s resistance to their parents’ plans to move their grandmother out of their home thematises processes of othering, ageist prejudices, human rights, and intergenerational dialogue and care. While provocative scenes and gaps in the story may pose hurdles to children’s engagement and even risk reinforcing ageist stereotypes, the novel testifies to a belief in young readers’ agency and the potential for intergenerational understanding that Wall puts central in his concept of childism.
{"title":"Connecting Childhood Studies, Age Studies, and Children’s Literature Studies","authors":"V. Joosen","doi":"10.14811/clr.v45.745","DOIUrl":"https://doi.org/10.14811/clr.v45.745","url":null,"abstract":"Diverging definitions and uses of concepts such as “ageism,” “aetonormativity,” “adultism,” and “childism” point at the relative separateness of the fields of childhood studies, age studies, and children’s literature studies, while also highlighting their shared interest in questions of age, prejudice, and agency. This article uses John Wall’s concept of “childism” to highlight the potential of bringing these fields into conversation to explore intergenerational relationships. Using Anne Fine’s The Granny Book (1983) as a case study, it shows, moreover, that children’s books themselves can help foster the paradigm shift that Wall envisages with childism. Fine’s novel about four children’s resistance to their parents’ plans to move their grandmother out of their home thematises processes of othering, ageist prejudices, human rights, and intergenerational dialogue and care. While provocative scenes and gaps in the story may pose hurdles to children’s engagement and even risk reinforcing ageist stereotypes, the novel testifies to a belief in young readers’ agency and the potential for intergenerational understanding that Wall puts central in his concept of childism.","PeriodicalId":52259,"journal":{"name":"Barnboken","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83738047","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}
“As if it never happened”: Fictional Work with Forgiveness as a Value amongst 5th–7th Graders This article examines how middle school pupils respond to an aesthetic approach to forgiveness as a value. We observed a group of pupils aged 10–12 while they were investigating and discussing Stian Hole’s picturebook Garmanns gate (Garmann’s Street, 2008) together with their teacher. We claim that Garmanns gate can be read as a story about forgiveness, and that it is also a picturebook that invites the reader to take a performative, aesthetic position; the reader is encouraged to pay attention to how the story is told as well as to the story itself (Ørjasæter, “Terskelposisjonen”). The focus of the article is to what extent investigating Garmanns gate will shed light on forgiveness, a value which is central in the Norwegian school’s purpose clause. We analysed their comments in the light of a definition that identifies different aspects of the concept of forgiveness. Our theoretical framework is Martha Nussbaum’s theory on the importance of narrative imagination in taking other peoples’ perspectives, and Louise Rosenblatt’s theory on aesthetic and efferent reading. We also refer to Maria Nikolajeva’s views on how the picturebook can promote emotional literacy. To deal with the concept of forgiveness, we use Paul Leer-Salvesen’s definition, which enables us to look at different aspects of the concept. These aspects together with “the emancipating consequences of forgiveness” are the categories we use in analysing our findings (Leer-Salvesen, Min skyld 96). We find that an aesthetic approach to Garmanns gate may provide an opportunity for a broader understanding of forgiveness, and we find that the teacher’s role is essential in guiding the pupils in the common aesthetic approach to the book, and in bringing forth reflections in the conversations.
“仿佛从未发生过”:五年级至七年级学生中以宽恕为价值观的虚构作品本文考察了中学生如何回应以宽恕为价值观的美学方法。我们观察了一群10-12岁的学生，他们正在和老师一起调查和讨论斯蒂安·霍尔的绘本《加曼斯门》(《加曼斯街》，2008)。我们认为，《加曼斯之门》可以被解读为一个关于宽恕的故事，它也是一本图画书，邀请读者采取一种表演的、审美的立场;读者被鼓励去关注故事的讲述方式以及故事本身(Ørjasæter，“Terskelposisjonen”)。文章的重点是调查Garmanns事件将在多大程度上揭示宽恕，这是挪威学校宗旨条款的核心价值。我们根据宽恕概念的不同方面的定义分析了他们的评论。我们的理论框架是Martha Nussbaum关于叙事想象在获取他人视角中的重要性的理论，以及Louise Rosenblatt关于审美和传出阅读的理论。我们也参考Maria Nikolajeva关于绘本如何促进情感素养的观点。为了处理宽恕的概念，我们使用Paul Leer-Salvesen的定义，它使我们能够从不同的角度看待这个概念。这些方面以及“宽恕的解放后果”是我们在分析我们的发现时使用的类别(Leer-Salvesen, Min skyld 96)。我们发现，用美学方法来解读《加曼门》可能为更广泛地理解宽恕提供了机会，我们还发现，教师的角色在引导学生用普通的美学方法来解读这本书，并在对话中提出反思方面发挥着至关重要的作用。
{"title":"”Som om det aldri har skjedd”","authors":"S. Ottesen, Aasfrid Tysvær","doi":"10.14811/clr.v45.747","DOIUrl":"https://doi.org/10.14811/clr.v45.747","url":null,"abstract":"“As if it never happened”: Fictional Work with Forgiveness as a Value amongst 5th–7th Graders \u0000This article examines how middle school pupils respond to an aesthetic approach to forgiveness as a value. We observed a group of pupils aged 10–12 while they were investigating and discussing Stian Hole’s picturebook Garmanns gate (Garmann’s Street, 2008) together with their teacher. We claim that Garmanns gate can be read as a story about forgiveness, and that it is also a picturebook that invites the reader to take a performative, aesthetic position; the reader is encouraged to pay attention to how the story is told as well as to the story itself (Ørjasæter, “Terskelposisjonen”). The focus of the article is to what extent investigating Garmanns gate will shed light on forgiveness, a value which is central in the Norwegian school’s purpose clause. We analysed their comments in the light of a definition that identifies different aspects of the concept of forgiveness. Our theoretical framework is Martha Nussbaum’s theory on the importance of narrative imagination in taking other peoples’ perspectives, and Louise Rosenblatt’s theory on aesthetic and efferent reading. We also refer to Maria Nikolajeva’s views on how the picturebook can promote emotional literacy. To deal with the concept of forgiveness, we use Paul Leer-Salvesen’s definition, which enables us to look at different aspects of the concept. These aspects together with “the emancipating consequences of forgiveness” are the categories we use in analysing our findings (Leer-Salvesen, Min skyld 96). We find that an aesthetic approach to Garmanns gate may provide an opportunity for a broader understanding of forgiveness, and we find that the teacher’s role is essential in guiding the pupils in the common aesthetic approach to the book, and in bringing forth reflections in the conversations.","PeriodicalId":52259,"journal":{"name":"Barnboken","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90099132","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}
Murder, Mayhem, and the Moans of Dying Men: Fridtjuv Berg’s Trojanska kriget and The Iliad for Children Around the turn of the twentieth century, several retellings of Homer’s epic and Greek mythology were published for children in Sweden. Fridtjuv Berg’s Trojanska kriget (The Trojan War, 1901) in the canonical publication series Barnbiblioteket Saga (The Children’s Library Saga) became one of the most long-lived. This article examines the characteristics of Berg’s rewriting by an analysis of the organization of the narrative, paratextual features, and the depiction of gender. Berg’s strategies are compared with another contemporary rewriting of The Iliad, Kata Dalström’s Grekiska guda- och hjältesagor (Greek Tales of Gods and Heroes, 1893). The article shows that the two rewritings mainly depict the same events and in the same order. Trojanska kriget foregrounds the historical content of The Iliad in the paratexts and by structuring the narrative around the foundation and fall of Troy. Dalström’s paratexts stress the timelessness of the work by references to a long cultural tradition, which is reinforced by illustrations depicting artworks from different eras. Berg’s book is more richly and uniformly illustrated, and Louis Moe’s illustrations highlight the action of the tale. Furthermore, Berg and Dalström focus on different aspects when abridging the tales, which influences the depiction of gender. While both rewritings describe a patriarchal society, Berg puts greater emphasis on male relationships and heroism. The women are mainly described as passive victims of war or masculinist power structures. Dalström’s version contains a greater variety of women. The comparison makes clear that Berg’s greater interest in the historical and factual aspects of Homer’s epic may have contributed to a more conservative gender ideology. At the same time, the rapid action of Trojanska kriget together with the publication context in Barnbiblioteket Saga are probably two of the factors behind the book’s success.
谋杀、混乱和垂死之人的呻吟:弗里乔夫·伯格的《特洛伊木马》和《儿童伊利亚特》在二十世纪之交，瑞典出版了几本荷马史诗和希腊神话的重述版。弗里乔夫·伯格的《特洛伊战争》(特洛伊战争，1901年)在权威出版物系列《儿童图书馆传奇》中成为流传最久的小说之一。本文从叙事的组织、文本的意蕴特征和对性别的刻画等方面分析了伯格的改写特点。伯格的策略与另一个当代的《伊利亚特》的重写，卡塔Dalström的Grekiska guda- och hjältesagor(希腊诸神与英雄的故事，1893年)进行了比较。文章表明，这两种改写主要描述相同的事件和顺序。Trojanska kriget将《伊利亚特》的历史内容置于准文本中，并围绕特洛伊城的建立和灭亡构建叙事。Dalström的作者通过引用悠久的文化传统来强调作品的永恒性，这一点通过描绘不同时代艺术品的插图得到加强。伯格的书插图更加丰富和统一，路易斯·莫的插图突出了故事的情节。此外，Berg和Dalström在对故事进行删节时侧重点不同，这也影响了对性别的刻画。虽然这两部作品都描述了男权社会，但伯格更强调男性关系和英雄主义。这些女性主要被描述为战争或男性主义权力结构的被动受害者。Dalström的版本包含了更多种类的女性。这种比较清楚地表明，伯格对荷马史诗的历史和事实方面的更大兴趣可能导致了他更保守的性别意识形态。同时，Trojanska kriget的快速行动和Barnbiblioteket Saga的出版背景可能是本书成功背后的两个因素。
{"title":"Mord, blod och rosslande kämpars dödskval","authors":"M. Andersson","doi":"10.14811/clr.v45.731","DOIUrl":"https://doi.org/10.14811/clr.v45.731","url":null,"abstract":"Murder, Mayhem, and the Moans of Dying Men: Fridtjuv Berg’s Trojanska kriget and The Iliad for Children \u0000Around the turn of the twentieth century, several retellings of Homer’s epic and Greek mythology were published for children in Sweden. Fridtjuv Berg’s Trojanska kriget (The Trojan War, 1901) in the canonical publication series Barnbiblioteket Saga (The Children’s Library Saga) became one of the most long-lived. This article examines the characteristics of Berg’s rewriting by an analysis of the organization of the narrative, paratextual features, and the depiction of gender. Berg’s strategies are compared with another contemporary rewriting of The Iliad, Kata Dalström’s Grekiska guda- och hjältesagor (Greek Tales of Gods and Heroes, 1893). The article shows that the two rewritings mainly depict the same events and in the same order. Trojanska kriget foregrounds the historical content of The Iliad in the paratexts and by structuring the narrative around the foundation and fall of Troy. Dalström’s paratexts stress the timelessness of the work by references to a long cultural tradition, which is reinforced by illustrations depicting artworks from different eras. Berg’s book is more richly and uniformly illustrated, and Louis Moe’s illustrations highlight the action of the tale. Furthermore, Berg and Dalström focus on different aspects when abridging the tales, which influences the depiction of gender. While both rewritings describe a patriarchal society, Berg puts greater emphasis on male relationships and heroism. The women are mainly described as passive victims of war or masculinist power structures. Dalström’s version contains a greater variety of women. The comparison makes clear that Berg’s greater interest in the historical and factual aspects of Homer’s epic may have contributed to a more conservative gender ideology. At the same time, the rapid action of Trojanska kriget together with the publication context in Barnbiblioteket Saga are probably two of the factors behind the book’s success.","PeriodicalId":52259,"journal":{"name":"Barnboken","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81748104","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":"Rebekah Fitzsimmons and Casey Alane Wilson (red.), Beyond The Blockbusters: Themes and Trends in Contemporary Young Adult Fiction","authors":"Anna Nordenstam","doi":"10.14811/clr.v45.735","DOIUrl":"https://doi.org/10.14811/clr.v45.735","url":null,"abstract":"Review/Recension","PeriodicalId":52259,"journal":{"name":"Barnboken","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89987902","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}
The aim of this article is to explore the queer possibilities of the silence in the depiction of the protagonist’s love life in Agnes von Krusenstjerna’s Tony trilogy (1922–1926). The silence in the trilogy is manifested through absence: the theme of “ingenting” (nothing), the protagonist not speaking or acting, and the aesthetic that is created by interruptions in the protagonist’s dialogue, inner monologue, and narration. The analysis focuses on three passages: a depiction of an encounter between Tony and one of her suitors, her relative Frank Maclean, in Tonys läroår (Tony’s Apprenticeship, 1924); the ending of the trilogy in Tonys sista läroår (Tony’s Last Apprenticeship, 1926); and an epilogue to the trilogy, which was never included in it but later published in the second, expanded edition of En dagdriverskas anteckningar (The Notes of a Flâneuse, 1934). They are contextualised with references to the trilogy as a whole and compared to Krusenstjerna’s previous novels Ninas dagbok (The Diary of Nina, 1917) and Helenas första kärlek (Helena’s First Love, 1918). The method is a close reading with instead of against the grain, focusing on queer aspects of depictions of heterosexuality. It draws on theory belonging to the anti-social turn of queer studies and queer temporality studies. My conclusion is that Tony not speaking or acting can be read as anti-social feminism, with Tony as an anti-social feminist subject. Her queer life schedule can be interpreted as unbecoming woman. The “nothing,” and implicitly the creativity, that her passivity leads to accomplishes the opposite of patriarchal and chrononormative structures. The narrative and its ending are queer in the sense that they refuse to cohere and to fulfil demands for a happy, emancipatory ending.
本文旨在探讨阿格尼斯·冯·克鲁森施特耶娜的《托尼三部曲》(1922-1926)中主人公爱情生活中沉默的奇异可能性。三部曲中的沉默是通过缺席来表现的:“没有”的主题，主角不说话不表演，以及主角对话、内心独白、叙述的中断所创造的审美。分析集中在三个段落:托尼läroår(托尼的学徒，1924年)中，托尼和她的追求者之一，她的亲戚弗兰克·麦克林的相遇;《托尼的姐妹》三部曲的结尾läroår(托尼的最后学徒，1926年);以及三部曲的后记，这部后记从未被收录在这本书中，但后来在《一个flalneuse的笔记》(En dagdriverskas anteckningar, 1934年)的扩充版中出版。它们与整个三部曲相关联，并与Krusenstjerna之前的小说Nina dagbok (Nina日记，1917年)和Helena första kärlek (Helena的初恋，1918年)进行比较。这种方法是一种密切的阅读，而不是反对，关注异性恋描写的酷儿方面。它借鉴了酷儿研究和酷儿时间性研究中反社会转向的理论。我的结论是，不说话不表演的托尼可以被解读为反社会女权主义，托尼是一个反社会女权主义的主体。她奇怪的生活安排可以被解释为不适合女人。她的被动导致的“无”，以及隐含的创造力，完成了父权和时间规范结构的对立面。故事和结局都很奇怪，因为它们拒绝连贯一致，也拒绝满足人们对一个快乐、解放的结局的要求。
{"title":"Not Speaking or Acting as Anti-Social Feminism and Unbecoming Woman","authors":"Hilda Jakobsson","doi":"10.14811/clr.v45.737","DOIUrl":"https://doi.org/10.14811/clr.v45.737","url":null,"abstract":"The aim of this article is to explore the queer possibilities of the silence in the depiction of the protagonist’s love life in Agnes von Krusenstjerna’s Tony trilogy (1922–1926). The silence in the trilogy is manifested through absence: the theme of “ingenting” (nothing), the protagonist not speaking or acting, and the aesthetic that is created by interruptions in the protagonist’s dialogue, inner monologue, and narration. The analysis focuses on three passages: a depiction of an encounter between Tony and one of her suitors, her relative Frank Maclean, in Tonys läroår (Tony’s Apprenticeship, 1924); the ending of the trilogy in Tonys sista läroår (Tony’s Last Apprenticeship, 1926); and an epilogue to the trilogy, which was never included in it but later published in the second, expanded edition of En dagdriverskas anteckningar (The Notes of a Flâneuse, 1934). They are contextualised with references to the trilogy as a whole and compared to Krusenstjerna’s previous novels Ninas dagbok (The Diary of Nina, 1917) and Helenas första kärlek (Helena’s First Love, 1918). The method is a close reading with instead of against the grain, focusing on queer aspects of depictions of heterosexuality. It draws on theory belonging to the anti-social turn of queer studies and queer temporality studies. My conclusion is that Tony not speaking or acting can be read as anti-social feminism, with Tony as an anti-social feminist subject. Her queer life schedule can be interpreted as unbecoming woman. The “nothing,” and implicitly the creativity, that her passivity leads to accomplishes the opposite of patriarchal and chrononormative structures. The narrative and its ending are queer in the sense that they refuse to cohere and to fulfil demands for a happy, emancipatory ending.","PeriodicalId":52259,"journal":{"name":"Barnboken","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74432676","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}
Doing What and How? New Swedish Nonfiction for Children and Young Adults on Environmental and Climate Issues in Light of the United Nations Convention on the Rights of the Child The aim of this article is to examine a selection of new Swedish nonfiction for children and young adults focusing on how environmental and climate issues are presented and in what ways the books encourage children and young adults to actively engage in dealing with the issues that are thematized. The material for the survey is based on the Swedish Institute for Children’s Books’ Book Tasting reports on books published in the years 2015–2020 and the titles mentioned there with relevance to the topic. The theoretical and methodological framework for the study is based on recent and relevant research on nonfiction for children and young adults, and on what is referred to as a child-centered and critical approach to children's literature based on the United Nations Convention on the Rights of the Child. An examination of the material in question against the background of the Convention on the Rights of the Child should be considered highly relevant because issues related to the environment and climate are affected by Article 24, which states that children have the right to the best possible health care, clean drinking water, healthy food, and a clean and safe environment to live in.
{"title":"Gjøre hva og hvordan?","authors":"Nina Goga","doi":"10.14811/clr.v45.741","DOIUrl":"https://doi.org/10.14811/clr.v45.741","url":null,"abstract":"Doing What and How? New Swedish Nonfiction for Children and Young Adults on Environmental and Climate Issues in Light of the United Nations Convention on the Rights of the Child \u0000The aim of this article is to examine a selection of new Swedish nonfiction for children and young adults focusing on how environmental and climate issues are presented and in what ways the books encourage children and young adults to actively engage in dealing with the issues that are thematized. The material for the survey is based on the Swedish Institute for Children’s Books’ Book Tasting reports on books published in the years 2015–2020 and the titles mentioned there with relevance to the topic. The theoretical and methodological framework for the study is based on recent and relevant research on nonfiction for children and young adults, and on what is referred to as a child-centered and critical approach to children's literature based on the United Nations Convention on the Rights of the Child. An examination of the material in question against the background of the Convention on the Rights of the Child should be considered highly relevant because issues related to the environment and climate are affected by Article 24, which states that children have the right to the best possible health care, clean drinking water, healthy food, and a clean and safe environment to live in.","PeriodicalId":52259,"journal":{"name":"Barnboken","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89669448","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":"Elina Druker, Björn Sundmark, Åsa Warnqvist och Mia Österlund (red.), Silence and Silencing in Children's Literature","authors":"Sarah Hoem Iversen","doi":"10.14811/clr.v45.733","DOIUrl":"https://doi.org/10.14811/clr.v45.733","url":null,"abstract":"Review/Recension","PeriodicalId":52259,"journal":{"name":"Barnboken","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88433771","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}
Concentrating on Doris drar (Doris Leaves, 2015), Pudlar och pommes (Poodles and Fries, 2016), and Vitvivan och Gullsippan (Vitvivan and Gullsippan, 2021), this article explores how Pija Lindenbaum utilizes the artistic possibilities of the picturebook medium to communicate with the child reader. Following James Phelan, my investigation goes beyond a static and universal understanding of narratives to seeing them as context-determined and composed in relation to a rhetorical audience. Mike Cadden points out that this rhetorical turn is particularly striking when it comes to children’s literature, as the targeted reader by definition is a child and narratives for children often use specific strategies for more or less well-defined purposes. Taking my cue from rhetorical approaches to literature, I argue that a focus on plots and conflicts enhances our understanding of reading as ethical meaning-making. Conflicts in modern children’s literature are regularly perceived from the child’s point of view in ways that are essential for the transaction of meaning. In my terminology, the conflict constitutes an aesthetic-pedagogical node connecting the reader with the evaluative perspective of the narrative. Addressing the dynamics between text, image, and medium in Lindenbaum’s picturebooks, this article argues that plots and conflicts are pivotal for the reader’s involvement, directing interest and emotional engagement. The plot not only invites the reader to the fictional world, but it also stimulates a context-bound meaning-making involving thoughts, feelings, and values.
本文以Doris drar (Doris Leaves, 2015)、Pudlar och pommes (Poodles and Fries, 2016)和Vitvivan och Gullsippan (Vitvivan and Gullsippan, 2021)为研究对象，探讨Pija Lindenbaum如何利用绘本媒介的艺术可能性与儿童读者进行交流。继James Phelan之后，我的调查超越了对叙事的静态和普遍理解，将它们视为与修辞观众相关的语境决定和组成。迈克·卡登指出，当涉及到儿童文学时，这种修辞上的转变尤其引人注目，因为根据定义，目标读者是儿童，而儿童叙事通常使用特定的策略来达到或多或少明确定义的目的。我从文学的修辞方法中得到启示，我认为，对情节和冲突的关注可以增强我们对阅读作为伦理意义创造的理解。现代儿童文学中的冲突通常是从儿童的角度来看待的，这种方式对于意义的交换至关重要。用我的术语来说，这种冲突构成了一个美学-教学节点，将读者与叙事的评价视角联系起来。针对林登鲍姆绘本中文本、图像和媒介之间的动态关系，本文认为情节和冲突对读者的参与、直接兴趣和情感投入至关重要。情节不仅邀请读者进入虚构的世界，而且还激发了一种涉及思想、感情和价值观的语境约束的意义创造。
{"title":"”Tänk om Egon tar min cykel”","authors":"O. Widhe","doi":"10.14811/clr.v45.739","DOIUrl":"https://doi.org/10.14811/clr.v45.739","url":null,"abstract":"Concentrating on Doris drar (Doris Leaves, 2015), Pudlar och pommes (Poodles and Fries, 2016), and Vitvivan och Gullsippan (Vitvivan and Gullsippan, 2021), this article explores how Pija Lindenbaum utilizes the artistic possibilities of the picturebook medium to communicate with the child reader. Following James Phelan, my investigation goes beyond a static and universal understanding of narratives to seeing them as context-determined and composed in relation to a rhetorical audience. Mike Cadden points out that this rhetorical turn is particularly striking when it comes to children’s literature, as the targeted reader by definition is a child and narratives for children often use specific strategies for more or less well-defined purposes. Taking my cue from rhetorical approaches to literature, I argue that a focus on plots and conflicts enhances our understanding of reading as ethical meaning-making. Conflicts in modern children’s literature are regularly perceived from the child’s point of view in ways that are essential for the transaction of meaning. In my terminology, the conflict constitutes an aesthetic-pedagogical node connecting the reader with the evaluative perspective of the narrative. Addressing the dynamics between text, image, and medium in Lindenbaum’s picturebooks, this article argues that plots and conflicts are pivotal for the reader’s involvement, directing interest and emotional engagement. The plot not only invites the reader to the fictional world, but it also stimulates a context-bound meaning-making involving thoughts, feelings, and values.","PeriodicalId":52259,"journal":{"name":"Barnboken","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87226726","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}
Introduction: Conceptions of Girlhood Now and Then: “Girls’ Literature” and Beyond
导论:少女时代的时代观:“少女文学”及其后
{"title":"Introduction: Conceptions of Girlhood Now and Then: “Girls’ Literature” and Beyond","authors":"Malin Alkestrand, M. Nilson","doi":"10.14811/clr.v45.723","DOIUrl":"https://doi.org/10.14811/clr.v45.723","url":null,"abstract":"Introduction: Conceptions of Girlhood Now and Then: “Girls’ Literature” and Beyond","PeriodicalId":52259,"journal":{"name":"Barnboken","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76538313","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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