Barnboken – Journal of Children's Literature Research
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Henrik Edgren, En kungsådra för nationens samhörighet. Läsebok för folkskolan i det sena 1800- och det tidiga 1900-talets skola och samhälle
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Introduction: Motherhood and Mothering
No full textTheme: Motherhood and Mothering. Ill. ©Stina Wirsén
Introduction: Motherhood and Motherin
Sean P. Connors and Roberta Seelinger Trites, Neoliberalism and Young Adult Literature: Exceptionalism, Exploitation, and Erasure
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En selskapshund på Nordpolen: Relasjonen mellom hund og polarhelt i to mediefremstillinger fra 2022 av terrieren Titina
No full textTheme: Dog
A Companion Dog at the North Pole: The Relationship Between Dog and Polar Hero in Two Media Portrayals from 2022 of the Terrier Titina
Titina was the Italian airship engineer Umberto Nobile’s terrier. He took her to the North Pole in the airship Norge in 1926 (together with Roald Amundsen) and on the airship Italia in 1928. There are several archive photographs of her. Titina is also the subject of a full-length animated family film, Titina (2022), directed by Kajsa Næss. The adaptation Titina (2022) is an illustrated non-fiction book for children, written by Lars Mæhle and illustrated by the film’s production designer Emma McCann. Here the two Titina versions are examined through adaptation theory (Bryant; Hutcheon). Inspired by Donna Haraway, the article discusses how the representations constitute the relationship between dog and human in each of these two media portrayals through five dependent research questions: How do the two representations place themselves in the polar literary tradition? How do the two 2022 representations relate to each other? How is humour acted out and for what purpose? What kind of perspective characterizes the presentations? How are dogs and humans constituted in relation to each other? The analysis is inspired by children’s literary humour theory (Cross) as well as point-of-view studies in film and children’s literature research (Janson; Lury; Rhedin; Ørjasæter). The article argues that when the companion dog becomes the polar hero’s companion, not only does the struggle to reach the North Pole appear meaningless, in line with the alternative polar literature. The closeness between dog and human is also emphasized and charged with meaning in a way that points forward to the cultural dominance of the family dog paradigm
”Hunder er det beste jeg vet!”: Om barne- og hunderelasjoner i Tor Åge Bringsværds Karsten og Petra-bøker
No full textTheme: Dog
”The things I like the most are dogs!”: Exploring Child and Dog Interactions in Tor Åge Bringsværd’s Books about Karsten and Petra
This article explores the relationship between children and dogs in the Norwegian picturebooks about Karsten and Petra, written by Tor Åge Bringsværd. The article aims to answer the following questions: How is the relationship between children and dogs depicted in the picturebooks’ constructions of childhood? How do these books explore perspectives on the relationship between humans and nature? The books’ iconotext primarily depicts a balanced relationship between children and dogs, with the dog taking on the role of the child’s companion. The study shows that these books align with a longer tradition of literature focused on the competent child, who naturally develops a positive relationship with nature. However, the picturebooks about Karsten and Petra draw attention to the dog’s dual nature in literature – both as a domesticated being and as an animal with its instinctual, wild sides. Additionally, the books convey an awareness of the potential of children’s literature to remind us of nature’s presence in human life and the importance of respecting it
"Der det er bilder så kan man slappe litt av": Ungdommers vurderinger av lettlest skjønnlitteratur
No full textTheme: Children's Literature Reviews - How, Where and Who? Ill. Jenny Nyström from Barnkammarens bok, 1882.
"Where there are pictures, you can relax a bit": Young People’s Assessments of Easy-to-read Fiction
This article examines young people’s reviews of a selection of Norwegian easy-to-read YA fiction books. The purpose of the study is to gain more knowledge about young people as actual readers and critics of easy-to-read literature, but also to gain insight into what makes a literary text easier to read. Our empirical material consists of 129 reviews from the digital archive of Uprisen, a literature prize awarded to the best Norwegian YA novel of the year. We have analysed the reception of three easy-to-read YA novels across different genres. The analysis is grounded in theories of reading processes and multimodality, as well as the field’s own definitions of easy-to-read literature. Our findings show that young readers primarily associate readability with linguistic simplicity and brevity. At the same time, they point to connections between readability and aspects such as content, theme, composition, credibility, and originality, as well as opportunities for immersion and identification. However, there are also statements that reveal a tension between easy-to-read language and more complex themes, content, narrative structures or forms of presentation. Although all three books fall under the category of easy-to-read, they are not unequivocally perceived as such by all reviewers. Both compressed text and multimodal formats appear challenging. The analysis shows that young critics do not share a uniform understanding of what is easy or difficult to read, which underlines that the categorization of readability cannot be regarded as a straightforward or objective category
Barnlitteraturkritikens ordning: Recensioner av barnlitteratur i svenska dagstidningar och bloggar 2006 och 2016
No full textTheme: Children's Literature Reviews - How, Where and Who? Ill. Jenny Nyström from Barnkammarens bok, 1882.
The Order of Children’s Literature Criticism: Book Reviews of Children’s Literature in Swedish Newspapers and Blogs in 2006 and 2016
Based on computational analyses of book reviews of children’s literature in relation to other literary criticism from the years 2006 and 2016 in daily press and book blogs, this study examines the discursive order of children’s book reviews. The study is inspired by the analytical model employed by Lina Samuelsson in Kritikens ordning (2013). Specifically we focus on the characteristics of children’s book criticism and questions whether it differs from other literary reviews, and if so, how. The article identifies several essential features present in children’s book reviews, and discusses possible differences between reviews in the daily press and those on book blogs. We conclude that our mixed-methods approach – “computational” combined with “traditional” – allows us to highlight both similarities and differences between children's literature criticism and literary criticism in general, and that there is value in examining children’s book reviewing from both digital and traditional perspectives
Raphaela Heil, Document Image Processing for Handwritten Text Recognition: Deep Learning-based Transliteration of Astrid Lindgren’s Stenographic Manuscripts
No full textReview/Recensio
Undogmatic Re(ve)lations : Eva Lindström’s Picturebooks and the Animal-Human Gaze
No full textTheme: Dog
The Swedish illustrator and author Eva Lindström is an explorer of relationships – between human beings, animals, and the outside world. Her relational storyworld is inhabited by a host of humans and animals and things. No essential difference can be seen in her work between human and animal characters in terms of agency and subjectivity, yet the animal-human nexus allows Lindström to explore relational themes in depth and with great economy. The theoretical framing of my reading of two of her picturebooks – Musse (My Dog Mouse, 2016) and Lunds hund (Mr. Krup's Pup, 2013) – derives from Martin Buber’s classic work of relational theology, I and Thou (1923), and from a few passages in Jacques Derrida’s foundational work in Animal studies, The Animal That Therefore I Am (1997). These seminal works in Animal studies are, furthermore, discussed and nuanced with the help of John Berger’s and Donna Haraway’s contributions to the field. My thesis is that Lindström’s visual representations offer a complement and posthumanist corrective to Buber’s and Derrida’s fundamentally human-centered systems of thought. The pictures – as well as the sparse, precise words – decenter the human and focus on animal-human relationships. In so doing, Lindström peels away “the crust of thinghood,” to use Buber’s term. Finally, the animal-human gaze is essential to my discussion; the way in which Lindström’s characters (human and animal) look (or avoid looking) at each other is revelatory. And while the human and animal gaze for both Buber and Derrida is a sign of human power and indicative of self-recognition/revelation, the direction and meaning of the gaze in Lindström’s art also points towards the reciprocity of common creaturehood
Introduktion: Barnlitteraturkritik – hur, var och vem?
No full textTheme: Children's Literature Reviews - How, Where and Who? Ill. Jenny Nyström from Barnkammarens bok, 1882.
Introduktion: Barnlitteraturkritik – hur, var och vem