Bibliografie tematiche / Siblings – Juvenile fiction

Letteratura scientifica selezionata sul tema "Siblings – Juvenile fiction"

Autore: Grafiati
Pubblicato: 25 luglio 2024
Ultima modifica: 28 luglio 2024

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Articoli di riviste sul tema "Siblings – Juvenile fiction"

1

Mueller, Adeline. "Roses Strewn Upon the Path: Rehearsing Familial Devotion in Late Eighteenth-Century German Songs for Parents and Children". Frontiers in Communication 6 (3 settembre 2021). http://dx.doi.org/10.3389/fcomm.2021.705142.

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Abstract (sommario):
Intra- and inter-generational family singing is found throughout the world’s cultures. Children’s songs across many traditions are often performed with adult family members, whether simultaneously (in unison or harmony) or sequentially (as in call-and-response). In one corpus of printed children’s songs, however, such musical partnering between young and old was scripted, arguably for the first time. Children’s periodicals and readers in late eighteenth-century Germany offered a variety of poems, theatricals, riddles, songs, stories, and non-fiction content, all promoting norms around filial obedience, virtue, and productivity. Readers were encouraged to share and read aloud with members of their extended families. But the “disciplining” going on in this literature was as much emotional as it was moral. Melodramatic plots to dialogues, plays, and Singspiele allowed for tenderness and affection to be role-played in the family drawing room. And the poems and songs included in and spun off from these periodicals constituted, for the first time, a shared repertoire meant to be sung and played by young and old together. Duets for brothers and sisters, parents and children—with such prescriptive titles as “Brotherly Harmony” and “Song from a Young Girl to Her Father, On the Presentation of a Little Rosebud”—not only trained children how to be ideal sons, daughters, and siblings. They also habituated mothers and fathers to the new culture of sentimental, devoted parenthood. In exploring songs for family members to sing together in German juvenile print culture from 1700 to 1800, I uncover the reciprocal learning implied in text, music, and the act of performance itself, as adults and children alike rehearsed the devoted bourgeois nuclear family.
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2

Richardson, Ann-Marie. "The Kingdom Where Nobody Dies". English Literature, n. 1 (9 marzo 2020). http://dx.doi.org/10.30687/el/2420-823x/2019/01/001.

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Abstract (sommario):
This essay explores Charlotte Brontë’s 1849 novel Shirley as a literary endeavour to recreate the sibling dynamic of the Brontës’ childhoods, and the psychological effect of being the ‘surviving’ sibling of a formally collaborative unit. In their adolescent years, the Brontës famously forged fictional kingdoms together, known collectively as “The Glass Town Saga”. Throughout adulthood, each Brontë continuously returned to these stories, oftentimes due to nostalgia and occasionally for creative reinvention. However, by the summer of 1849, their familial collaboration was at an end. Charlotte was the last sibling standing, having lost all her co-authors in the space of nine months. In despair, as a form of catharsis, she turned to her writing and this essay will focus on how protagonist Caroline Helstone became an elegy for both Branwell and Anne Brontë. Mere weeks before Charlotte began volume 1 of Shirley, Branwell was determined to return to a heroine created in his childhood, also named “Caroline (1836)”. This juvenilia piece explores themes of waning sibling connections, death and heartbreak – issues which tormented Branwell and Charlotte throughout his prolonged final illness. Yet Caroline Helstone’s ethereal femininity and infantilization mirrors Anne Brontë’s reputation as the ‘obedient’ sibling, as well as the views expressed in her semi-autobiographical novels Agnes Grey (1847) and The Tenant of Wildfell Hall (1848).
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3

Richardson, Ann-Marie. "The Kingdom Where Nobody Dies Shirley’s Caroline Helstone and the Mimicry of Childhood Collaboration". English Literature, n. 1 (9 marzo 2020). http://dx.doi.org/10.30687/el/2420-823x/2019/06/001.

Testo completo
Abstract (sommario):
This essay explores Charlotte Brontë’s 1849 novel Shirley as a literary endeavour to recreate the sibling dynamic of the Brontës’ childhoods, and the psychological effect of being the ‘surviving’ sibling of a formally collaborative unit. In their adolescent years, the Brontës famously forged fictional kingdoms together, known collectively as “The Glass Town Saga”. Throughout adulthood, each Brontë continuously returned to these stories, oftentimes due to nostalgia and occasionally for creative reinvention. However, by the summer of 1849, their familial collaboration was at an end. Charlotte was the last sibling standing, having lost all her co-authors in the space of nine months. In despair, as a form of catharsis, she turned to her writing and this essay will focus on how protagonist Caroline Helstone became an elegy for both Branwell and Anne Brontë. Mere weeks before Charlotte began volume 1 of Shirley, Branwell was determined to return to a heroine created in his childhood, also named “Caroline (1836)”. This juvenilia piece explores themes of waning sibling connections, death and heartbreak – issues which tormented Branwell and Charlotte throughout his prolonged final illness. Yet Caroline Helstone’s ethereal femininity and infantilization mirrors Anne Brontë’s reputation as the ‘obedient’ sibling, as well as the views expressed in her semi-autobiographical novels Agnes Grey (1847) and The Tenant of Wildfell Hall (1848).
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Libri sul tema "Siblings – Juvenile fiction"

1

ill, Lexa-Senning Susan, a cura di. Will I ever be older? Elgin, Ill: Chariot Books, 1986.

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2

Miller, Girando Jan, a cura di. Because you're my sister. Kansas City, [MO]: Andrews McMeel, 1997.

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3

ill, Thomer Susannah Hart, a cura di. Am I still a big sister? Newtown, PA: Fallen Leaf Press, 1992.

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4

Judy, Blume. Soupy Saturdays with the Pain and the Great One. New York: Delacorte Press, 2007.

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5

Judy, Blume. Soupy Saturdays with the Pain and the Great One. New York: Delacorte Press, 2007.

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6

Inc, Willowisp Press, e Copyright Paperback Collection (Library of Congress), a cura di. My sister, the pig, and me. Pinellas Park, Florida: Willowisp Press, 1992.

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7

Turney, Rebecca Mitchell. Road to Pleasant Hill. Louisville, Ky: Motes Books, 2009.

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8

illustrator, Gabrielov Julia, a cura di. Waiting for Emma: A brother's story (for siblings and families with babies in the NICU). Norfolk, Virginia: Bloom Publishing, 2014.

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9

Sims, Matt. Shell Beach. Novato, Calif: High Noon Books, 2002.

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10

ill, Meisel Paul, a cura di. Mr. Bubble Gum. Milwaukee: Gareth Stevens Pub., 1997.

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Più fonti

Capitoli di libri sul tema "Siblings – Juvenile fiction"

1

Smith, Vanessa. "Our Plays". In Toy Stories, 82–109. Fordham University Press, 2023. http://dx.doi.org/10.5422/fordham/9781531503574.003.0004.

Testo completo
Abstract (sommario):
Engages with the juvenile fiction of the Brontës, whose writing careers originated in perhaps the most famous of Victorian literary toy stories. A gift of twelve toy soldiers prompted the Brontë siblings to commence what they referred to as a series of “plays,” set in the imaginary worlds of Glasstown, Angria, and Gondal, which were eventually transcribed in tiny print into tiny books. Whereas the miniature books have been traditionally interpreted as objects of mourning, this chapter asks that we return to their foundation in games with toy objects and to reconceive the juvenilia as play therapy. It then considers Charlotte Brontë’s eventual repudiation of phantasy writing in favor of the “homely materials” of novelistic realism across a series of valedictory pieces. These texts pre-enact the conflict between Klein and Anna Freud over the relative merits of play versus domesticity and the pedagogic in maturation. Turning briefly to Charlotte’s perplexingly unlikeable first novel The Professor (1857), it offers a reading of the protagonist Crimsworth as sadistic avatar, which seeks to reconcile Kleinian toy-therapy with ideas set out in Anna Freud’s “Beating Fantasies and Daydreams.”
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2

McDonagh, Josephine. "Transported!" In Literature in a Time of Migration, 112–49. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192895752.003.0004.

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Abstract (sommario):
A shared interest in the practice of colonization as a form of predation and capture provides a surprising link between Edward Gibbon Wakefield’s writings about systematic colonization and Charlotte Brontë’s whimsical juvenile writings. Both present their ideas in fictional form, and their colonies as imaginative constructs. Wakefield’s theory, which was influential in shaping British colonial policy, involved transporting working-class families to Australia to establish a labour force within new settlements. To reinforce the difference between his scheme and that of chattel slavery, he emphasized the freedom of his workers. Yet his scheme entailed significant restraints of their personal liberties: their freedom of movement, association, and right to own property, as well as the requirement to marry and have children. Similar preoccupations are evident in an earlier episode in Wakefield’s biography, in which he kidnapped a young woman in order to marry her for her family’s wealth and prestige. Brontë, who was roughly the same age as Wakefield’s young victim, explores these themes explicitly in her own teenage accounts of a colony in Africa, Glass Town. Co-authored with her siblings, this intricate saga of conquest and settlement by a group of European explorers presents a juvenile commentary on contemporary colonial practices. It reveals the coercive violence within the colony, as well as the submerged erotic elements within it. It also shows the ways this same violence underpins fictional narratives, especially the marriage plots that Brontë develops in her mature works.
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