Barnboken – Journal of Children's Literature Research
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”Hinner vi inte ta en grogg tillsammans, innan ångaren sjunker?” : Fakta och fiktion i Erik Pallins Kaparkaptenen på Emden
No full text”How about a drink together, before the ship sinks?” Fact and Fiction in Erik Pallin’s Kaparkaptenen på Emden
The First World War gave rise to a surge of war novels, many of which were aimed at a young audience. These novels can be characterized as adventure stories with boys as their main target group. Swedish author Erik Pallin’s Kaparkaptenen på Emden: Romantiserad skildring från det stora världskriget 1914 (The Privateer Captain of Emden: Romanticized Depiction from the Great World War in 1914) was published in December 1914. It is not only one of the first Swedish youth novels about the war, but also one of the most intriguing as the tension between reality and fiction is particularly strong in Pallin’s novel. It tells the story of the German cruiser Emden whose raids in the Indian Ocean attracted much attention from journalists and authors. The article investigates how Pallin depicted the war for his young readers, focusing on the relationship between fact and fiction. The analysis shows that Pallin, much like the journalists reporting on Emden, transforms Emden’s warfare into heroic adventure tales and portrays Emden’s captain as a charismatic hero who symbolizes the male ideal of the time. The analysis concludes that Kaparkaptenen på Emden to some extent can be considered a “newsreel novel” (Paris), but that Pallin also romanticizes Emden’s warfare to appeal to his young readers. Rather than depicting the atrocities of real-life war, Pallin presents the war as an adventure with idyllic, romantic, and comical elements. The novel’s happy ending, with the war coming to an end, suggests that Pallin wished to take a stance against the war, but it can also be read as a strategy used to appeal to his young audience by offering them a story of hope
Nina Goga, Sarah Hoem Iversen & Anne-Stefi Teigland (red.), Verbal and Visual Strategies in Nonfiction Picturebooks: Theoretical and Analytical Approaches
No full textReview/Recensio
Tuva Haglund, Tillsammans i Engelsfors: Socialt fiktionsbruk i Engelsforstrilogins digitala fangemenskap 2011–2016
No full textReview/Recensio
”Dette skulle bli et dikt som noen skulle huske en stund” : Scenekunst som poesi for barn i forestillingen Snutebiller, stankelben
No full text”This was supposed to become a poem which someone would remember for a while”: Stage Art as Poetry for Children in the Theatre Performance Snutebiller, stankelben
Abstract: Norwegian author Rolf Jacobsen’s (1907–1994) modernist poetry, originally published for adults, has been celebrated for its boldness and innovativeness. In the stage performance Snutebiller, stankelben (Snout Beetle, Crane Fly) by the Norwegian theatre group Fleece & Rouge, four poems by Jacobsen are performed on stage with children as the target audience. This article studies the realization of Jacobsen’s poetry as stage art for children. Transferring the poems from book to stage involves several obvious medial transformations due to the theatre’s specific devices. By drawing theoretical inspiration from Jonathan Culler’s theory of the lyric poem’s ritualistic and fictional qualities, we ask to what degree the performance preserves the poetic qualities in the poems for the child audience. Or rather, does the theatre frame impose dramatic effects on the poems by expanding their element of fiction? The inquiry is also inspired by Margaret Meek’s and Kornej Tjukovskij’s perspectives on the relationship between children and poetic language. There is an amount of risk involved in the task of transferring poetry to the stage. In order to succeed, the actors must embrace the expressive possibilities of the theatre, which in one sense means replacing one genre with another and thus leaving the poetry behind. However, as the analysis of Snutebiller, stankelben demonstrates, the poetic may resurrect in the scenic expression, given that the performance’s embeddedness in and obligation towards the poems are strong enough.
 
Introduction: Silence and Silencing in Children’s Literature
No full textIntroduction: Silence and Silencing in Children’s Literatur
Stijn Praet & Anna Kérchy (red.), The Fairy-Tale Vanguard: Literary Self-Consciousness in a Marvelous Genre
No full textReview/Recensio
Ungdomens poetiska form: Språkets och begärets omstörtande kraft i antologierna Kärlek och uppror och Berör och förstör
No full textThe Poetic Form of Youth: The Rebellious Power of Language and Desire in the Anthologies Kärlek och uppror and Berör och förstör
Siv Widerberg and Anna Artén’s poetry anthology Kärlek och uppror: 210 dikter för unga människor (Love and Rebellion: 210 Poems for Young People, 1989) is something of a classic when it comes to Swedish contemporary poetry explicitly addressing young readers. Thirty years after its publication another poetry anthology, Berör och förstör: Dikter för unga (Affect and Destroy: Poems for Youth, 2019), edited by Athena Farrokhzad and Kristofer Folkhammar, was published. Both books tap into a long tradition of lyrical anthologies. Neither of the anthologies contain poetry written primarily for young readers. On the contrary, the anthologies include poems from the Swedish lyrical canon. Although the two anthologies share a similar structure and joint themes such as youth, love, poetry, and rebellion, they are significantly different in regard to poetic form and the conceptualizations of youth. The main theoretical perspective in this study is that the form of the anthologized poems can be understood as ideological expressions of an interplay between the genre's tradition and its specific aesthetic context. By historizing the genre and comparing the different paratexts of the anthologies, the article shows that adult conceptions of youth hides behind the editorial choices. In a quest to (re)create new writing subjects, through the rebellious powers of poetic language and love, the symbolic form of youth poetry both challenges and negates adult notions of youth in the two anthologies
Introduction: “Poetry for Children and Youth”
No full textIntroduction: “Poetry for Children and Youth
