Barnboken – Journal of Children's Literature Research
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Nathalie Op de Beeck (red.), Literary Cultures and Twenty-First-Century Childhoods
No full textReview/Recensio
Hur skapas en rebelltjej på svenska? Om översättningen av Elena Favillis och Francesca Cavallos Good Night Stories for Rebel Girls
No full textWhat’s a Rebel Girl in Swedish? On the Translation of Elena Favilli and Francesca Cavallo’s Good Night Stories for Rebel Girls
Abstract: This article investigates the translation of Good Night Stories for Rebel Girls: 100 Tales of Extraordinary Women, a children’s book written and published by Elena Favilli and Francesca Cavallo in 2016. Within the framework of Gideon Toury’s Descriptive Translation Studies and Katharina Reiss’ text typology, the study focuses on the Swedish translation Godnattsagor för rebelltjejer: 100 berättelser om fantastiska kvinnor from 2017, including comparisons with the Danish, French, and Norwegian translations, with a view to discover the differences between the text versions. Analysis shows that the Swedish translation is less source-text dependent than the other translations, downplaying the fairytalization of the stories and tending to strengthen the informative component of the text. Poetic language and metaphors are less apparent in the Swedish translation, while hedging, explicitation as well as specification of time, place and chronology contribute to making the text more factual. A further finding is that more adult language is used in the Swedish translation. The article ends by summarizing the main findings and discussing a few explanations for the adaptation of the Swedish translation with regard to its target language context
Introduction: Silence and Silencing in Children’s Literature
No full textIntroduction: Silence and Silencing in Children’s Literatur
The Queerness of the Man-Child: Narcissism and Silencing in Astrid Lindgren’s Karlson on the Roof Series
No full textThe literary man-child character can function as a subversive agent within the text to expose traditional ideologies and suggest alternate possibilities. Much beloved in Sweden, Karlson from Astrid Lindgren’s Karlson on the Roof trilogy (1955–1968) represents this kind of man-child character in texts for children, particularly through his queerness. The trilogy illuminates Karlson’s queerness by contrasting him with the normative reality of 20th-century Stockholm through his trademark narcissism, primal desires, and illogical or fallacious rhetoric that often invokes silence from children and adults within the story. Through the lens of Jack Halberstam’s queer subcultures, Karlson can be appreciated as a specific kind of literary man-child character that necessitates a legitimated queer visibility. This visibility is cultivated by his non-normative belief system and buttressed by his resistance to being silenced or kept secret from this normative world. Furthermore, Karlson’s queerness fuels his charisma, making him popular because of his behaviour, not despite it. Ultimately, his queerness as a man-child character disrupts traditional boundaries and delineations of the child/adult binary and allows the child reader to witness the vulnerabilities of normative institutions while also appreciating diversity in non-normative family structures
Tove Janssons bildebok Vem ska trösta knyttet? som heltedikt
No full textTove Jansson’s Picturebook Who Will Comfort Toffle? as a Heroic Poem
This article offers an analysis of Tove Jansson’s picturebook Vem ska trösta knyttet? (Who Will Comfort Toffle?) from 1960 as a heroic poem and dramatic monologue, representing an alternative reading to earlier studies of this picturebook as a coherent narrative. Drawing on theory about heroic poetry, poetry and picturebook analysis, we provide a reading that expands those interpretations of Vem ska trösta knyttet? that emphasize the romantic and psychological projects of the book when read as a narrative story. By reading Vem ska trösta knyttet? as a heroic poem, we explore the text as an uttered, ritualistic, and iterative event rather than solely a narrative with fictional characters. Read in the tradition of the heroic poem, Toffle is (still) the hero, where lyrical language and structures allow the reader to remember and retell the poem, letting Toffle’s deeds live on beyond the alleged time of events and the performative declaration by Toffle
