Journal articles: 'Children's novels'

1

Stern, Madeleine B. "Dime Novels by “The Children's Friend”." Primary Sources & Original Works 4, no. 3-4 (February 7, 1997): 197–213. http://dx.doi.org/10.1300/j269v04n03_04.

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Firat, Hatice. "Grandparent-Grandchild Relationships in Turkish Children's Novels." Universal Journal of Educational Research 6, no. 10 (October 2018): 2047–60. http://dx.doi.org/10.13189/ujer.2018.061001.

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Klein, Thomas C. "Imperfect Order: Reflections of the Law in Two Classic Children’s Novels." Texas Wesleyan Law Review 12, no. 1 (October 2005): 303–18. http://dx.doi.org/10.37419/twlr.v12.i1.13.

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Man-made law, or "positive" law, and its related legal institutions are represented in children's novels as complicated, sometimes corrupt, and often arbitrary structures that prevent the protagonists from reaching their desired goals or resolving their difficulties. Rather than presenting positive law and its related institutions as a means to resolve conflicts and provide repose to the characters, children's novels present such law and institutions as aggravating or prolonging conflict, and creating uncertainty about how the protagonist will extricate himself or herself from the legal predicament. Children's novels do not offer the child reader any known points of reference in the legal landscape so the positive law and legal institutions themselves appear imposing, largely unknown, and mysterious. Positive law and legal institutions in children's stories create dramatic tension because the protagonist must negotiate out of, or around, a predicament that a legality, or a collision with a legal institution, has complicated. In some stories, the legal situation itself is the central predicament out of which the protagonist must escape. These stories present, from a child's perspective, the law as a quagmire with few understandable points of reference or clear exits. As a complex and largely arbitrary system, this imperfect order rendered by the positive law in children's novels reflects an avenue that inevitably leads the protagonist to outcomes inferior to those if the law is avoided, ignored, or flouted. This portrayal of positive law and legal institutions is evident in two classic children's novels The Wind in the Willows by Kenneth Grahame, and Shiloh by Phyllis Reynolds Naylor.

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Kneale, Peter. "Subversion and Survival: Australian Children's Novels in Postmodernity." Papers: Explorations into Children's Literature 6, no. 2 (July 1, 1996): 21–30. http://dx.doi.org/10.21153/pecl1996vol6no2art1400.

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Muhsyanur, Muhsyanur, Sri Suharti, and Setya Yuwana Sudikan. "Physical representation of female character in children’s novels by children." Diksi 30, no. 1 (October 19, 2022): 66–73. http://dx.doi.org/10.21831/diksi.v30i1.45663.

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Literary work is a form and result of creative works of art whose objects are humans and their lives use language as a medium. Especially children's literature by children, basically has its own advantages. The storyline is unique and interesting and builds the expression of the child's world. This study aims to describe the physical aspects of female characters in children's novels by children. This paper is a qualitative research with a descriptive approach. The approach used in this study is a psychological literacy approach. The technique of collecting research data was done by reading carefully accompanied by marking. The analytical technique used is a symbolic hermeneutic technique. Based on the results of the study, the findings of this study relate to the physical aspects of female characters in children's novels which include physical aspects in terms of gender, physical aspects in terms of age, physical aspects in terms of facial characteristics, the physical aspect in terms of the clothes used, and the physical aspect in terms of the state of the body (senses). Key words: physical, representation, children's novel, and children's work

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Trites, Roberta Seelinger. "Nesting: Embedded Narrative as Maternal Discourse in Children's Novels." Children's Literature Association Quarterly 18, no. 4 (1993): 165–70. http://dx.doi.org/10.1353/chq.0.0877.

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van Lierop-Debrauwer, Helma. "The Power of Dialogue: Religion in Contemporary Dutch Novels for Children." International Research in Children's Literature 2, no. 1 (July 2009): 115–27. http://dx.doi.org/10.3366/e1755619809000520.

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This article examines the approach to God and religion in contemporary Dutch children's novels. It is argued that their representation has changed completely when compared to the Protestant children's books from the nineteenth and twentieth centuries. Analysis of texts by Sjoerd Kuyper and Guus Kuijer, two of the best-known Dutch authors of children's books in which religion is important to the plot, shows at least two important differences. While earlier Protestant writers were only interested in religious instruction written from one particular stance, these two writers focus on dialogue, respectfully discussing religious issues. Looking at them from Ingarden's perspective on literature the conclusion is that the contemporary texts no longer simplify the complexities of life, thus showing the metaphysical qualities Ingarden considered essential to literature.

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Hapsarani, Dhita, and Nadia Farah Lutfiputri. "Reimagining Peter Pan: The Postmodern Childhood Portrayal in Wendy (2020)." k@ta 23, no. 1 (June 21, 2021): 1–9. http://dx.doi.org/10.9744/kata.23.1.1-9.

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As a social construct, the view towards childhood remains to change over time. Literary works, such as films or novels from different periods of time which feature children's characters as the protagonists can be the right medium to identify those shifts. This article analyzes Wendy (2020) film as the latest adaptation of J.M. Barrie’s classic children's novel Peter Pan (1911). This film has made some transformations from the original novel to make the story more relevant in today’s context, including how it showcases childhood that is experienced by the children’s characters. Using textual and comparative analysis, this study attempts to see the transformations in the film adaptation and how it shows a different childhood construction from the one appearing in the source novel. Referring to the concept of postmodern childhood, Linda Hutcheon’s adaptation theory, and Bordwell and Thompson’s elements of film analysis, this study reveals how Wendy (2020) has exemplified the concept of postmodern childhood through the portrayal of children’s roles, children’s agency, and children-adults relationship.

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Harde, Roxanne. ""Plus, you children": Growing Ecocitizens in Three American Children's Novels." Lion and the Unicorn 43, no. 3 (2019): 327–44. http://dx.doi.org/10.1353/uni.2019.0039.

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Borbenchuk, Iryna, and Olena Lytvynets. "LINGUAL STYLISTIC FEATURES OF F. BERNETT’S NOVELS AS A REFLECTION OF THE WRITER’S IDIOSTYLE." Advanced Linguistics, no. 10 (November 30, 2022): 15–19. http://dx.doi.org/10.20535/2617-5339.2022.10.266016.

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The article is focused on the study of linguo-stylistic features of the Anglo-American writer Frances Burnett idiostyle based on the novels "A little Princess" and "The Secret Garden". In the course of the study, it was defined that flourishing of children's literature in the XIXth - 1st part of the XXth century was due to a number of cultural factors that contributed to the emergence of a large number of authors whose work from the point of view of ideological, thematic and linguistic aspects was focused on children. No less important in this process was the establishment of traditions of home reading and the desire of adults to form aesthetic tastes in their children. Being both a representative of the neo-romantic trend and a children's writer, Frances Burnett rethinks traditional, even fairy-tale plots and builds a world whose image has a symbolic meaning (e.g. a garden for Mary, a boarding house for Sarah). A characteristic feature of F. Burnett's novels is the depiction of the world of childhood, realized through portrait characteristics that convey the characters' external and internal world, descriptions of landscapes and interiors that reproduce various emotional states. It was found out that to realize her own ideas, the writer uses epithets, in particular, to emphasize the specific features of the characters and to raise the emotional tension. The use of metaphors makes it possible to decorate the text with vivid pictures of nature and make images poetic, while thanks to comparisons and repetitions, the author reveals psychological states and focuses on strong emotions. The paper draws the conclusion that specific linguo-stylistic means belong to specific features of Frances Burnett's idiostyle, which make her work stand out among a large number of other authors and make it popular in the genre of children's literature. Keywords: children’s literature; idiostyle; individual style; linguostilistic means; epithet; simile; psychological portrait.

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T.R, Hebzibah Beulah Suganthi. "Folklore Elements in Vallikannan Novels." International Research Journal of Tamil 4, S-16 (December 12, 2022): 104–13. http://dx.doi.org/10.34256/irjt224s1614.

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Folk literature is created by the common people and preserved by them. Vallikannan is a renowned writer, journalist and author of all kinds of literature, his novels Iruttu Raja, Ninaivu charam and Oruveetin Kathi describe the life of Saiva Velalar in Nellai district in a rustic form. Among these games children's games are swinging, playing Tayakkatam, playing by singing and dancing, playing pandi, and playing Kannambuchi. Other common games are folk songs, titling, calling women by their village names, proverbs, folk performances related to religion, celebrating festivals, paying tribute to the village temple during festivals, performing arts, naming, marriage, processions, performing arts programs at weddings. They use figure of speech in their speech. The folk songs, proverbs and local idioms used by the Nellai district people reveals the author's general knowledge and approach to the people. It can be seen that the folk elements found in lullabies, folk tales, songs, stories, fables, myths, proverbs etc are mixed with the character and sentiment of the Tamil people. The article is about the folklore elements found in Vallikannan novels.

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Parsons, Linda T., and Lesley Colabucci. "To Be a Writer: Representations of Writers in Recent Children's Novels." Reading Teacher 62, no. 1 (September 2008): 44–52. http://dx.doi.org/10.1598/rt.62.1.5.

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Watson, Nancy. "A Revealing and Exciting Experience: Three of Patricia Lynch's Children's Novels." Lion and the Unicorn 21, no. 3 (1997): 341–46. http://dx.doi.org/10.1353/uni.1997.0029.

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Vyas, Diti. "Intersectional Analysis of Gender in Indian Children's Literature: Comparison of Novels Written in English and Gujarati." International Research in Children's Literature 8, no. 2 (December 2015): 156–68. http://dx.doi.org/10.3366/ircl.2015.0165.

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This paper examines the validity of perceived associations of ‘parochialism’ and social conservatism with regional language literature (RLL) and ‘modernity’ and ‘progressiveness’ with Indian writing in English (IWE), through a comparative examination of gender in Indian children's literature in English (ICLE) and children's literature in Gujarati (CLG). For this purpose, it adopts an intersectional framework which studies how gender functions in conjunction with other identity markers, rather than operating in isolation. The conclusions emerging from this feminist analysis of intersections of gender with other systems of oppression such as caste, class and community in Indian children's novels in English and Gujarati challenge the associations of ‘parochialism’ with RLL and ‘modernity’ with IWE. They reveal that while both ICLE and CLG are similar in silencing dalit girls/women, and in enforcing minority community stereotypes as far as Muslim masculinity is concerned, CLG shows progressive trends by undertaking to re-gender dalit masculinity and by sensitively exploring gender and class intersection in the construction of poor women.

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Elshaikh, Ebtihal Abdelsalam. "Postcolonial Children's Literature: Songs of Innocence and Experience with Reference Tomarina Budhos’ Ask Me no Questions (2007), and Cathryn Clinton’s A Stone in my Hand (2002)." International Letters of Social and Humanistic Sciences 66 (February 2016): 10–22. http://dx.doi.org/10.18052/www.scipress.com/ilshs.66.10.

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The purpose of this paper is to show how psychological trauma resulted from conflicts such as colonialism, immigration, racism, wars and invasion; and even gender discrimination makes its way into postcolonial children’s literature. For example, some contemporary writers of children's literature depict the painful experience of young immigrants who are living under constant stress and tension. Others try to depict how the Middle East conflicts and turmoil affect children living under occupation. In all of these cases, children are highly at risk of psychological trauma. This paper is going to discuss two contemporary children’s novels which address the issues of immigration and war conflicts: Marina Budhos’Ask Me no questions (2007),and Cathryn Clinton’sA Stone in my Hand (2002). They were chosen to reflect not only the variety of children’s literature available, but also the unique struggles faced by young female protagonists living in two different cultural and political environments. The common thread running through these two novels is the experience of emotional trauma that young protagonists go through. The study of such trauma is at the core of the discussion of both novels. The paper will show how the protagonists of the two novels suffer “a double or triple trauma for children, who may witness the forcible removal of the parent, suddenly lose their caregiver, and/or abruptly lose their familiar home environment” (McLeigh)

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MacCann, Donnarae. "The Sturdy Fabric of Cultural Imperialism: Tracing Its Patterns in Contemporary Children's Novels." Children's Literature 33, no. 1 (2005): 185–208. http://dx.doi.org/10.1353/chl.2005.0018.

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Miquel-Baldellou, Marta. "‘The End Lies in the Beginning’: Embracing Childhood and Old Age in Susan Hill's Ghost Novels The Small Hand and Dolly." International Research in Children's Literature 14, no. 3 (October 2021): 315–29. http://dx.doi.org/10.3366/ircl.2021.0413.

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Susan Hill's novels The Small Hand (2010) and Dolly (2012) evoke Victorian tropes of age inversion drawn from children's literature and ghost narratives that undermine the boundaries established between childhood and old age. Given their neo-Victorian features, Hill's two novels engage in dialogue with these Victorian tropes, but, in comparison, Hill's spectral entities literally denote that these life stages are interrelated and should be embraced.

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Superle, Michelle. "Imagining the New Indian Girl: Representations of Indian Girlhood in Keeping Corner and Suchitra and the Ragpicker." Papers: Explorations into Children's Literature 20, no. 1 (January 1, 2010): 31–40. http://dx.doi.org/10.21153/pecl2010vol20no1art1152.

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The capacity of young girls to represent a healthy new beginning is nothing new to children's literature. One need look no further, for example, than two classics: Frances Hodgson Burnett harnessed this figure's power with Mary in 'The Secret Garden' (1911), as did C. S. Lewis with Lucy in 'The Lion, the Witch and the Wardrobe' (1950). Yet the way young girl characters are positioned in contemporary, English-language Indian children's novels by women writers does seem new; these 'new Indian girls' function to represent a modern, postcolonial India in which gender equality is beginning to find a happy home. Setting up a binary which positions societal values from pre-colonial and colonial India as backwards and problematic, these children's novels demonstrate the value of girls in postcolonial India - at least some girls, according to some writers.

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Dick, Maria-Daniella. "Be a Good Soldier: Children's Grief in English Modernist Novels by Jennifer Margaret Fraser." Modernism/modernity 20, no. 4 (2013): 794–96. http://dx.doi.org/10.1353/mod.2013.0103.

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West, Mark I. "The Role of Sexual Repression in Anthony Comstock's Campaign to Censor Children's Dime Novels." Journal of American Culture 22, no. 4 (December 1999): 45–49. http://dx.doi.org/10.1111/j.1542-734x.1999.2204_45.x.

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Smith, Michelle J. "Imagining Colonial Environments: Fire in Australian Children's Literature, 1841–1910." International Research in Children's Literature 13, no. 1 (July 2020): 1–14. http://dx.doi.org/10.3366/ircl.2020.0324.

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This article examines children's novels and short stories published in the late nineteenth and early twentieth centuries that feature bushfires and the ceremonial fires associated with Indigenous Australians. It suggests that British children's novels emphasise the horror of bushfires and the human struggle involved in conquering them. In contrast, Australian-authored children's fictions represent less anthropocentric understandings of the environment. New attitudes toward the environment are made manifest in Australian women's fiction including J. M. Whitfield's ‘The Spirit of the Bushfire’ (1898), Ethel Pedley's Dot and the Kangaroo (1899), Olga D. A. Ernst's ‘The Fire Elves’ (1904), and Amy Eleanor Mack's ‘The Gallant Gum Trees’ (1910). Finally, the article proposes that adult male conquest and control of the environment evident in British fiction is transferred to a child protagonist in Mary Grant Bruce's A Little Bush Maid (1910), dispensing with the long-standing association between the Australian bush and threats to children.

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Hately, Erica. "Shakespeare as National Discourse in Contemporary Children’s Literature." Papers: Explorations into Children's Literature 13, no. 1 (January 1, 2003): 11–24. http://dx.doi.org/10.21153/pecl2003vol13no1art1293.

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Accepting Stephens' assertions about some of the cultural functions of children's literature, this paper raises the question of what happens in contemporary children's novels when that which is marked as 'centrally important' to both the child protagonist and reader is Shakespeare. More than that, I wish to examine the cultural complexities that are raised when that child protagonist and often the implied reader is Australian.

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YU, CHEN-WEI. "Power and its Mechanics in Children's Fiction: The Case of Roald Dahl." International Research in Children's Literature 1, no. 2 (December 2008): 155–67. http://dx.doi.org/10.3366/ircl.2008.0004.

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This article looks from a Foucauldian perspective at the exercise of power in children's fiction. Roald Dahl's novels are examined as the paradigmatic product of social discourses; and power operates through their circulation. It is argued that Dahl's narratives reflect the author's personal struggle against discourses, which construct both the author himself and his readers as subjects. The article then turns to some critical responses to the novels. It suggests that the author and critics further reprise the roles of fictional child and adult characters, in a constantly shifting dynamic of power relations.

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Angelaki, Rosy Triantafyllia. "Redefining the Margins: Intertextual and Secondary Characters in Children’s historical novels." Journal of Literary Education, no. 6 (December 31, 2022): 114. http://dx.doi.org/10.7203/jle.6.21735.

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The historical novel for children is the kind of Literature that transmits to young readers the historical knowledge in a pleasant and easy way, thanks to its entertaining and recreational character. The fictional heroes in most children's historical novels are social examples for the young readers, who adopt behaviors and motivations through observation. Additionally, the postmodern attestation of History as narration, with the appointment of microhistory - which is favored when the psychography of fictional heroes is on the forthground and when historical facts are interpreted from different perspectives and under various visual angles - spur many writers to provide marginal characters with space as well as speech. Bearing in mind that the byzantine era is a common subject in Children’s Literature and contemporary novelists try to educate children and at the same time bring out Byzantium's charm either by highlighting neglected historic events or by examining already known faces and facts from a fresh angle and given the fact that the concept of intertextuality in literature is a way to build up interpretive communities among young readers, this paper examines Greek writer’s, Penelope Maximos, five historical novels for children entitled as In the years of Alexios Komninos, (Stochastis, 1984), The first crusaders in Byzantium; 1096-1099 AD (Stochastis, 1989), Emmanouil Komninos. The knight emperor (Stochastis, 1990), The downfall of Thessaloniki. In the years of Andronikos Komninos (Stochastis, 1987) and Close to Athenais (Astir, 1972). More specifically, we will focus on the way Maximos attempted to make “visible” fictional characters who were until recently considered of less or least importance; Minors and adults who were being oppresed during the Byzantine era, such as slaves, suddenly become protagonists surrounding historic characters and, thanks to their presence, make the plot roll smoothly. In this paper will be also pointed out the way the writer chose to present to young readers female characters and their efforts not only to express their emotions freely, but also to interfere with Byzantine society and fight for their rights, in order to point out to the juvenile readers paths, thoughts and life idealism.

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Hakim, Herdiana. "‘Unsilencing’ Chinese Indonesians through Children's Literature." International Research in Children's Literature 13, Supplement (July 2020): 141–58. http://dx.doi.org/10.3366/ircl.2020.0343.

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This study investigates children's books published after the collapse in 1998 of an authoritarian regime in Indonesia that spanned more than three decades. During these years, Indonesians with Chinese ancestry were silenced from expressing their culture, tradition, and language in public. A dichotomy between Chinese Indonesians and the ‘indigenous’ Indonesians was also employed as a political strategy that resulted in negative stereotypes of the ethnic group that persist long after the regime's demise. As the current post-authoritarian government attempts to reinstate Chinese Indonesians’ rights in observing their culture, children's literature in the country is also embracing this ethnic group. This article employs a critical multicultural reading to examine the representation of Chinese Indonesians across a range of picturebooks and middle-grade novels.

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Riman, Kristina, and Svetlana Stojanović. "Changes in Gender Stereotypes of Girl Characters in 20th and 21st-Century Croatian Children's Novels." International Journal of Culture and History (EJournal) 4, no. 4 (2018): 102–8. http://dx.doi.org/10.18178/ijch.2018.4.4.130.

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West, Mark I. "Not to Be Circulated: The Response of Children's Librarians to Dime Novels and Series Books." Children's Literature Association Quarterly 10, no. 3 (1985): 137–39. http://dx.doi.org/10.1353/chq.0.0120.

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Mertová, Anna. "Metamorphoses of the Sublime: From Ballads and Gothic Novels to Contemporary AngloAmerican Children's Literature (Kamila Vránková)." Ostrava Journal of English Philology 12, no. 2 (December 2020): 117–18. http://dx.doi.org/10.15452/ojoep.2020.12.0015.

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Hicks, David. ""For the young, a magic-story. For the old, an allegory": Christopher Pearse Cranch's Children's Novels." Children's Literature Association Quarterly 20, no. 4 (1995): 193–94. http://dx.doi.org/10.1353/chq.0.0914.

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Huxley, David. "Marvel graphic novels and related publications: an annotated guide to comics, prose novels, children's books, articles, criticism and reference works, 1965–2005, by Robert G. Weiner." Journal of Graphic Novels & Comics 2, no. 1 (June 2011): 95–96. http://dx.doi.org/10.1080/21504857.2011.578419.

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Skardhamar, Anne-Kari. "An Insecure Base? Nerves, Violence and Step-Parents in Norwegian Children’s Literature." Papers: Explorations into Children's Literature 17, no. 1 (May 1, 2007): 19–27. http://dx.doi.org/10.21153/pecl2007vol17no1art1202.

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Central issues represented in four recent Norwegian books for children are children's resistance to step-parents, children's attempts to cope with family violence, and inverted relationships where children take responsibility for mentally unstable parents. The literary texts I have chosen as examples are three novels: Ingeborg Arvola's Blod, snørr og tårer (2000) (Blood, Snot and Tears); Kristin A. Sandberg's Verdens ondeste stemor (2004) (The World's Worst Stepmother); Endre Lund Eriksen's Pitbull-Terje går amok (2002) (Pitbull Terrier Runs Amok); and Gro Dahle and Svein Nyhus's picture book Sinna mann (2003) (Angry Man) My aim in this article is to explore how problems and survival strategies of children in troubled families are described and developed in these texts, and what stylistic devices and narrative techniques are employed. My analysis of the representations of nerves, violence and step-parents in four children's books draws on arguments from theories about philosophy and literature in general, children's literature, narrative analysis and attachment theories in child psychology.

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Ibarrán Bigalondo, Amaia. "A Chicano childhood experience." Journal of English Studies 2 (May 29, 2000): 51. http://dx.doi.org/10.18172/jes.57.

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The difficult social and cultural situation that the Chicano community has suffered after the signing of theTreaty of Guadalupe Hidalgo in 1848, has been overtly manifested in the Literature produced by its writers. Themes such as the social and economical conditions of the members of the Chicano community, schooling and housing, the situation of the workers in the fields, portrayals of the first organized political movements, family and domestic relationships etc., are widely found in the Literature written by Chicano authors. Chicanas, on their part, also use the novel for vindicatory purposes. Their body of Literature also deals with subjects that account for their constrained existence as members of an oppressed gender and ethnic group. The first Chicano novels are, in general terms, therefore, "adult" novels even though Monserrat Fontes¿ First Confession is one of the exceptions in which childhood and children's voices are portrayed in a novel, a thematic analysis of the novel demonstrates that many of the most recurrent themes of the female novel are present in this story.

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Butler, Catherine. "Metamorphoses of the Sublime: From Ballads and Gothic Novels to Contemporary Anglo-American Children's Literature. Kamila Vránková." International Research in Children's Literature 13, no. 2 (December 2020): 346–48. http://dx.doi.org/10.3366/ircl.2020.0366.

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Bonnie Latimer. "Leaving Little to the Imagination: The Mechanics of Didacticism in Two Children's Adaptations of Samuel Richardson's Novels." Lion and the Unicorn 33, no. 2 (2009): 167–88. http://dx.doi.org/10.1353/uni.0.0463.

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Martin, Simon. "A ‘Boy's Own’ boy zone: The making of fascist men in Emilio De Martino's children's sporting novels." Literature & History 26, no. 1 (May 2017): 74–104. http://dx.doi.org/10.1177/0306197317695081.

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Sports editor of the Corriere della Sera, Emilio De Martino was one of Fascist Italy's most vitriolic sports journalists and prolific authors of sporting fiction. Analysis of his three novels for children published from 1941 to 1943 will consider how his works contributed, first, to the regime's attempt to forge and reinvent both real and imagined traditions through literature, and, second, to Fascism's drive to create a virile, physically and mentally strong youth. Offering a new perspective on Fascism's investment in and exploitation of sport, this article will reveal how a variety of the regime's policies, ideals, myths and goals were propagated and transmitted through fictional stories and adventures. The increasingly radical content and narratives will also show the regime's growing frustration at society's failure to respond to its mobilisation campaigns and increasing desperation following Italy's disastrous entry into the Second World War. Rather than hastening the maturity of young people to create a warrior race ready to risk all for the regime, Fascism's use of ‘Boy's Own’ heroes and fantasy space will be seen to have contributed to the illusion of strength that young Italians could not match and readiness that the regime could not offer.

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SKYGGEBJERG, ANNA KARLSKOV. "God, King and Country: The Depiction of National Identity in Danish Historical Novels for Children." International Research in Children's Literature 1, no. 1 (July 2008): 27–37. http://dx.doi.org/10.3366/e1755619808000082.

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This article charts the depiction of national identity in the historical novel for children. The introduction defines the historical novel in general (with a review of theories by Georg Lukács and Hayden White), and then reflects upon the function of this genre in children's literature (drawing on studies by John Stephens, Åsfrid Svensen and Anna Adamik Jáscó). To cast light on the structure and development of national identity there is an analysis of two Danish historical novels for children: Marius Dahlsgaard's Thorkilds Træl[Thorkild's slave] (1932) and Lars-Henrik Olsen's Sagaen om Svend Pindehugger [The saga of Svend Pindehugger] (1993). These books deal with the same historical event – the conquest of Estonia in the thirteenth-century – and both novels are based on a national historical legend about the Danish flag. The article argues that the historical novel for children has moved away from purely heroic images and eulogies of king and nation, but is still rooted in national history and incorporates a strong emphasis on power relations fought out in wars.

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Houlden, Kate, and Sorcha Gunne. "The Gendering of Irish and Caribbean Food/Land Crises in Children's Novels by Marita Conlon-McKenna and James Berry." Irish University Review 49, no. 1 (May 2019): 36–53. http://dx.doi.org/10.3366/iur.2019.0379.

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Marita Conlan-McKenna's Under the Hawthorne Tree (1990) and James Berry's Ajeemah and His Son (1991) are children's novels that address foundational national or regional trauma (dealing with transatlantic slavery and the Irish potato famine respectively). Both employ historical fictive modes to bring the nineteenth century to life, in the process illustrating the extractive capitalism at the heart of the colonial endeavour. Links between Ireland and the Caribbean have long existed, Hilary Beckles observing the persistent characterization of the Irish as ‘one-dimensional colonial characters […] battered and bruised by a triumphant imperial Englishness that viewed them as “baggage” along the route from Cork and Limerick through Bristol to Boston and Barbados’ (Beckles ix). Expanding on this sense of Ireland and the Caribbean as jointly tethered to global imperial trends, this article focuses on the role of food and consumption, arguing that these novels make clear the ongoing role of food scarcity and land control within the cyclical crises of capitalist expansion. Ajeemah and His Son reinforces the importance of land ownership in Jamaica as its protagonist falls in line with the values of the society he has been thrust into, while Under the Hawthorne Tree frames famine as a representative crisis of the world-system.

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Gubar, Marah. "On Not Defining Children's Literature." PMLA/Publications of the Modern Language Association of America 126, no. 1 (January 2011): 209–16. http://dx.doi.org/10.1632/pmla.2011.126.1.209.

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As Roger Sale has wryly observed, “everyone knows what children's literature is until asked to define it” (1). The Reasons WHY this unruly subject is so hard to delimit have been well canvassed. If we define it as literature read by young people, any text could potentially count as children's literature, including Dickens novels and pornography. That seems too broad, just as defining children's literature as anything that appears on a publisher-designated children's or “young adult” list seems too narrow, since it would exclude titles that appeared before eighteenth-century booksellers such as John Newbery set up shop, including the Aesopica, chapbooks, and conduct books. As numerous critics have noted, we cannot simply say that children's literature consists of literature written for children, since many famous examples—Huckleberry Finn, Peter Pan, The Little Prince—aimed to attract mixed audiences. And, in any case, “children's literature is always written for both children and adults; to be published it needs to please at least some adults” (Clark 96). We might say that children's literature comprises texts addressed to children (among others) by authors who conceptualize young people as a distinct audience, one that requires a form of literature different in kind from that aimed at adults. Yet basing a definition on authorial intention seems problematic. Many famous children's writers have explicitly rejected the idea that they were writing for a particular age group, and many books that were not written with young people in mind have nevertheless had their status as children's or young adult literature thrust upon them, either by publishers or by readers (or both).

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Shonoda, Mary-Anne. "Metaphor and Intertextuality: A Cognitive Approach to Intertextual Meaning-Making in Metafictional Fantasy Novels." International Research in Children's Literature 5, no. 1 (July 2012): 81–96. http://dx.doi.org/10.3366/ircl.2012.0045.

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Scholars in children's literature have frequently commented on the humorous and ideological functions of intertextuality. There has however, been little discussion of the cognitive processes at work in intertextual interpretation and how they provide readers with more interpretive freedom in the meaning-making process. Drawing on research from the field of metaphor studies and the interdisciplinary area of cognitive poetics, this article suggests that the interpretation of foregrounded intertextuality is analogous to the interpretation of metaphoric expression. Current models of metaphor interpretation are discussed before I outline my own intertextuality-based variant. The cross-mapping model developed is then applied to literary intertexts in Inkheart and cultural intertexts in Starcross in order to show how the model might work with intertexts of varying degrees of specificity and that serve different narrative functions. The explanatory power of the cross-mapping model is not limited to cases where elements in the primary storyworld can be directly matched with those in the intertext, but extends to instances that involve a recasting of the intertext and thus retelling as in Princess Bride.

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Sultan, Abdelazim, and Deema Ammari. "Children and Adolescents' Voices and Experiences in Climate Fiction." World Journal of English Language 12, no. 8 (November 9, 2022): 420. http://dx.doi.org/10.5430/wjel.v12n8p420.

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This article aims to analytically and comparatively examine the representation of children's and adolescents' voices and experiences in a world entirely altered by climate change. The article focuses on two cli-fi novels: Lydia Millet's A Children's Bible (2020) and Tochi Onyebuchi's War Girls (2019). The article looks at how children's and adolescents' voices and experiences are depicted in a climate changed-world. Climate Fiction (cli-fi) writers can serve as a wake-up call for the world to recognize the needs of children during a climatic catastrophe by incorporating children's and adolescents' voices and experiences in their literary works so that readers of all ages will be able to see how children will harvest their fathers' sins, and what actions needed to preserve the Earth from a climatic crisis. Indeed, children and teenage protagonists in climate change literature have something to say about their current situation and the corruption of their social and political structures, which have caused climate change and destroyed their sole home; the Earth.

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Hill, Vivienne. "Children's fantasy literature: A comparative analysis of the novels of Clive Staples Lewis and Ursula Kroeber Le Guin." New Review of Children's Literature and Librarianship 4, no. 1 (January 1998): 119–44. http://dx.doi.org/10.1080/13614549809510608.

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Pavlik, Anthony. "‘A Special Kind of Reading Game’: Maps in Children's Literature." International Research in Children's Literature 3, no. 1 (July 2010): 28–43. http://dx.doi.org/10.3366/ircl.2010.0004.

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This article looks at the endpaper maps that often accompany children's novels. Taking its cue from Victor Watson's suggestion that maps ‘are both a signal and an invitation to a special kind of reading game,’ it argues the case that, rather than being considered paratextual, or only ancillary to the narratives they accompany, or (far worse) ideologically confining, as some have suggested, such maps are irreducible to simply the ideology of the individuals who ‘author’ them. Following Michel de Certeau's consideration of the difference between maps and tours, the article then discusses how these maps might unfold spatial potential, repeatedly remaking territory, thereby opening up the notion of spatiality for the reader.

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Smith, Michelle J., and Kristine Moruzi. "Colonial Girls’ Literature and the Politics of Archives in the Digital Age." Papers: Explorations into Children's Literature 22, no. 1 (January 1, 2012): 33–42. http://dx.doi.org/10.21153/pecl2012vol22no1art1130.

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The history of colonial children’s literature is intriguingly complex. Most of the books and magazines that colonial children read, by both British and colonial authors, were produced in London and then shipped to the colonies. Yet alongside these texts are others that were written and published in the colonies themselves, only occasionally making their way back to the metropole. Some colonial novels for young people remain well known, like Mary Grant Bruce’s Billabong series or L.M. Montgomery’s Anne of Green Gables. But what of the many other texts, the ones that were published in Canada, in Australia, in New Zealand, and seem to have disappeared from the history of children’s literature? Attempts to recover this history are complicated by the canonisation of particular children’s texts, a process that narrows the definition of the field to texts popularised by the academy through teaching and research. Moreover, historical children’s literature can be difficult to make accessible to scholars and students because many of the texts are out of print, which may have contributed to the under-representation of certain texts in undergraduate and postgraduate courses. Critical editions of historical children's literature tend to concentrate on frequently taught texts, which reinforces those texts as the most interesting and important in the field.

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LEHTONEN, SANNA. "Invisible Girls: Discourses of Femininity and Power in Children's Fantasy." International Research in Children's Literature 1, no. 2 (December 2008): 213–26. http://dx.doi.org/10.3366/ircl.2008.0008.

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In children's fantasy, invisibility is a popular motif, typically achieved by using different magic items. Invisibility also serves an important role in feminist discourses of femininity and power. In feminist theory, invisibility has been used to describe the status of females in patriarchal systems, while in fantastic texts invisible females have often literally served as the monstrous Others. However, invisibility has also been seen as a form of empowerment, particularly in fantastic contexts where it can be interpreted both literally and metaphorically. To open up and explore these questions, this article examines the feminist discourses of invisibility, femininity and power in two British children's fantasy novels: The Time of the Ghost (1981) by Diana Wynne Jones and The Ghost Drum (1987) by Susan Price .

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Ghane, Fateme, and Amir Ali Nojoumian. "Modern Iranian Female Identity in Farhad Hassanzadeh's Hasti." International Research in Children's Literature 14, no. 2 (June 2021): 213–25. http://dx.doi.org/10.3366/ircl.2021.0398.

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Iranian women's first attempt at changing their social conditions dates back to the Qajar era, continuing up to the present time. In recent years, the traditional discourse on women in Iran has changed significantly, resulting in ongoing revisions concerning modern Iranian female gender identity. Yet, this new conception of identity has not been reflected in official Iranian media. Similarly, children's books usually depict women and girls mostly within pre-established ideological frameworks. However, a seminal publication project acted as a game-changer in 2010. ‘Today's Young Adult Fiction’, commissioned by the Institute for the Intellectual Development of Children and Young Adults, invited many children's and adolescents' novelists to contribute to a collection of novels with a new outlook. Among the published books, some writers narrated women's issues and struggles in the guise of young adult literature. Hasti (2013), a novel by Farhad Hassanzadeh, comes from this project, emerging as an exemplar of protest against gender stereotypes. We argue that Hassanzadeh's book has been influenced by radical changes in gender identity in Iran's recent years, and in turn, this novel, among other literary and artistic works, may raise awareness and affect the process of change in Iranian society.

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R, Roshini, and Rajasekaran V. "More Than an Invalid: A Comparative Study Addressing Disability Portrayal in Children’s Fiction." Theory and Practice in Language Studies 12, no. 3 (March 1, 2022): 551–57. http://dx.doi.org/10.17507/tpls.1203.15.

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Children's literature or young adult literature is often seen as an elementary and casual genre, but people overlook the powerful tools it acquires in modelling attitudes and shaping children's minds. Various studies point out that society's behaviours and attitudes towards disability and people with disability are primarily based on popular culture and not personal encounters or experiences. Disability has always been an inseparable part of children's movies and stories from the beginning of times, only the magnitude to which it has been revealed has changed. This literature is seen as the most important as it introduces the world to young minds, and hence the impression it creates in children's minds would not easily be eliminated. It is also noted that young children accept differences and generate positive, acceptive attitudes during their early ages as they are less resistant and have little foreknowledge. This paper examines the disability representations in children's literature and traces the changes it has undergone as a genre from the nineteenth century to the twenty-first century. Two children's books are selected for this study, “Heidi” by Johanna Spyri and “Rules” by Cynthia Lord. The differences in the portrayal of disability and disabled characters in these novels are studied through content analysis, character study, comparison and by analyzing the linguistic symbols. This paper also ventures to decipher the norms and societal values the stereotypes were based on, and it also attempts to account for any changes.

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김태호. "The possibility of taking children’s literature from North Korea as material texts for Korean textbooks for the Unified Korea -focused on fables, fairy tales, children's novels-." Journal of CheongRam Korean Language Education ll, no. 61 (March 2017): 267–89. http://dx.doi.org/10.26589/jockle..61.201703.267.

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Valentová, Kateřina. "Challenging Stereotypes through Visual Narratives: The Figure of the Grandfather in Children's Picturebooks and Graphic Narratives." International Research in Children's Literature 14, no. 3 (October 2021): 341–56. http://dx.doi.org/10.3366/ircl.2021.0415.

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Positive attitudes towards older people can be developed over time, and it is of paramount importance to build realistic perceptions from an early age. This article focuses on the figure of the grandfather portrayed in children's literature, comics, and graphic novels, which may all successfully contribute to avoiding cultural stereotypes related with ageing. The selected narratives have a high emotional impact on their readers, enhancing more positive representations of intergenerational relationships.

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Bradford, Clare. "Muslim–Christian Relations and the Third Crusade: Medievalist Imaginings." International Research in Children's Literature 2, no. 2 (December 2009): 177–91. http://dx.doi.org/10.3366/e1755619809000684.

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This article takes as its starting-point the responsiveness of children's literature to socio-political events, considering how contemporary anxieties about relationships between Muslim and Christian individuals and cultures inform three historical novels set in the period of the Third Crusade (1189–92): Karleen Bradford's Lionheart's Scribe (1999), K. M. Grant's Blood Red Horse (2004), and Elizabeth Laird's Crusade (2008). In these novels, encounters between young Christian and Muslim protagonists are represented through language and representational modes which owe a good deal to the habits of thought and expression which typify orientalist discourses in Western fiction. In effect, the novels produce two versions of medievalism: a Muslim medieval world which is irretrievably pre-modern, locked into rigid practices and beliefs against which individuals are powerless; and a Christian medieval world which offers individuals the possibility of progressing to an enhanced state of personal fulfilment. The article argues that the narratives of all three novels incorporate particularly telling moments when Christian protagonists return to England, regretfully leaving Muslim friends. The impossibility of enduring friendships between Muslims and Christians is based on the novels’ assumptions about the incommensurability of cultures and religions; specifically, that there exists an unbridgeable gulf between Islam and Christianity.

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Hoydis, Julia. "Der Initiationsroman in der deutsch- und englischsprachigen Kinderliteratur. [Novels of initiation in German and Anglophone children's literature]. Hadassah Stichnothe." International Research in Children's Literature 11, no. 2 (December 2018): 214–15. http://dx.doi.org/10.3366/ircl.2018.0280.

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Journal articles on the topic 'Children's novels'

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