Barnboken – Journal of Children's Literature Research
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Helene Ehriander och Eva Söderberg (red.), Mer om Astrid Lindgren: Författaren, förläggaren och filmskaparen
No full textReview/Recensio
Att känna sig som en läsare: Läsa-själv-böcker och lättläst i Barnbiblioteket Saga under 1940-talet
No full textTheme: The Children’s Library Saga and the Swedish Teachers’ Magazine’s Publishing House. Logo: The Swedish Institute for Children's Books
Feeling Like a Reader: Independent Readers and Easy Readers in Barnbiblioteket Saga during the 1940s
In 1935, Signe Wranér succeeded Amanda Hammarlund as editor of the book series Barnbiblioteket Saga at Svensk läraretidnings förlag, initiating a shift in the publication profile. Following Annette Wannamaker and Jennifer Miskec, this article explores the development of “Independent Readers” and “Easy Readers” in the series during the 1940s. Our conclusions are that the publishing house focused on two key approaches: linguistic adaptation, exemplified by Ingrid Wallerström, and psychological alignment, as seen in works by Kaj Juel Nielsen and Bodil Farup. These books featured simplified language, larger text, and thematic affiliation with contemporary views on child psychology and pedagogy – empowering the reader on a formal as well as a thematic level. The study also shows that this part of the book series was aimed at both the youngest schoolchildren and pupils in special education, blurring the lines between Independent Readers and Easy Readers. By analyzing books, correspondence, and manuscripts, the study contextualizes these publications within historical debates on education and children's literature, offering new insights into the history of Swedish children’s literature
Hanna Dymel-Trzebiatowska, Philosophical and Translatological Wanderings in Moominvalley
No full textReview/Recensio
Kritikk og barnelitteratur: En kvantitativ og kvalitativ studie av konsekrasjonsmarkører
No full textTheme: Children's Literature Reviews - How, Where and Who? Ill. Jenny Nyström from Barnkammarens bok, 1882.
Critique and Children's Books: A Quantitative and Qualitative Study of Consecration Markers
It is a common practice that books of fiction for adults contain excerpts of reviews and other quality markers on their covers. This article investigates to what extent so-called consecration markers are used on the covers of children’s picturebooks (3–6 years) in Denmark, Norway, and Sweden. We study where the consecration markers are positioned – on the front cover or on the back. We also examine whether there are any differences between the Danish, Norwegian, and Swedish literary systems regarding the use of consecration markers. In addition, we investigate who the agents behind them are. Are they critics, “ordinary readers” or other consecrators? Using a corpus of some 5,200 book covers (front and back), collected in libraries in Denmark, Norway, and Sweden, as a point of departure, we conduct both quantitative and qualitative analyses. Our results show that the use of consecration markers is much more widespread in Sweden than in Norway and Denmark. For the Norwegian and Swedish corpora, our results demonstrate that the typical consecration marker is an excerpt from a critic, positioned on the back cover of the picturebook. For the Danish corpus, the mention of prizes is seen as the most important consecration marker. Our study also shows that for translated books, the critic is in most cases from the target culture
Louise Almqvist, Störande litteraturundervisning: Litteratur, demokrati och värdegrundsarbete
No full textReview/Recensio
”En obotlig surgurka” : Litteraturkritikkens vurderinger av humoren i Astrid Lindgrens Pippi-bøker i Sverige og Norge
No full textTheme: Children's Literature Reviews - How, Where and Who? Ill. Jenny Nyström from Barnkammarens bok, 1882.
”An incurable grouch”: The Critical Assessment of Humour in Astrid Lindgren’s Pippi Books in Sweden and Norway
Astrid Lindgren’s books about Pippi Longstocking were immediately successful in Sweden and Norway. At the same time, they caused a moral panic among some Swedish literary critics. In this article, I examine the Pippi trilogy’s reception in Sweden and Norway from a new perspective. Firstly, I provide an overview of the reception of the first three Pippi books (published in 1945, 1946, and 1948) in Swedish and Norwegian newspapers to uncover and compare national trends. Secondly, I discuss the reviewers’ assessments of the books’ humour. Research on both literary humour and literary criticism have experienced a resurgence in recent years. Still, the assessment of humour in literary reviews and the particular challenges of reviewing children’s literature need further exploration. Through a humour-theoretical analysis, I discuss how Lindgren’s first critics understood humour and the role humour played as a literary critical criterion. The examination reveals that the humour was seen as a central criterion by both Swedish and Norwegian critics. However, the Swedish reception, while more professional, was more often marked by moral and aesthetic reservations regarding the critics’ understanding of the humour. In the reviews I study, the humour was mainly paraphrased and demonstrated, rather than discussed and analysed. But in a small selection of observations and literary comparisons, we may find entry points to a deeper understanding of why Pippi is so funny
Introduktion: Flerspråkighet och barnlitteratur – nya perspektiv
No full text Theme: Multilingualism and Children's Literature. Ill. Henry Lyman Saÿen - Child Reading (1915–1918). Smithsonian American Art Museum, object number 1968.19.11.
Introduktion: Flerspråkighet och barnlitteratur – nya perspekti
Mödrar som mördar: Mylingen, änglamakerskan och modrandet
No full textTheme: Motherhood and Mothering. Ill. ©Stina Wirsén
Mothers That Murder: The Myling, Baby Farmers, and Mothering
In contemporary Swedish children’s literature, mylings and baby farmers make frequent appearances. A myling is the ghost of a murdered child, destined to haunt and expose its assassin. Baby farmers were women paid to take care of unwanted children but sometimes killed them, either directly or through neglect. Both motifs indirectly address issues of motherhood and mothering, and the aim of this article is to discuss how they are represented in children’s literature. In research about motherhood, being a mother is often distinguished from the act of mothering. Motherhood is associated with a biological discourse whilst mothering refers to social practices of care that are associated with the mother but may also be carried out by other people. Both mylings and baby farmers address this distinction but in various ways. In folklore about mylings, the biological mother is traditionally singled out as the infant’s killer. This misogynistic discourse is, to some extent, renegotiated in contemporary non-fictional works about Nordic mythology for children. In fictional works, though, the mother is still portrayed as the sole caregiver for the child and the only one to blame for its death, thus disregarding the distinction between motherhood and mothering. Baby farmers are neither mothers nor are they mothering. Children’s novels set in the past describe the baby farmer as part of a societal industry where a discrepancy between motherhood and mothering is displayed: children are born but not cared for. However, the burden of guilt is shared amongst various social actors, including the fathers. In Gothic fiction set in a contemporaneous society, the baby farmer reveals a deficit in mothering altogether and offers neglect – an anti-mothering – in its place