Barnboken – Journal of Children's Literature Research
Not a member yet
527 research outputs found
Sort by
Från romantik till normkritik: Visuell kommunikation inom digitala fangemenskaper
No full textTitle: From Romance to Norm-Criticism. Visual Communication in Digital Fan Communities Fans and fan communities play an important part in today’s participatory culture. A central aspect of fans engagement in fictional worlds are the fan made artworks, for example fan fiction, fan art or fan vids, inspired by the original story and shared within the community. The article examines fan art related to the fictional worlds of the Engelsfors trilogy (2011–2013) by Sara Bergmark Elfgren and Mats Strandberg, and J. K. Rowling’s Harry Potter series (1997–2007). The analysis comprises two different motifs, both related to common repertoires for fan interpretation. “Shipping” is the term for fan’s engagement in a specific romantic relationship. In this article, I discuss the romance between Linnéa and Vanessa (the Engelsfors trilogy). The other motif, “racebending”, refers to artworks where fans change the race or ethnicity of one or more character. I analyse fan art were Hermione (Harry Potter) is depicted as black. Fans publish their artworks within the communities where the participants share knowledge, experiences, and emotions connected to the fictional world. My discussion focuses on how fan art functions as visual communication within these specific contexts. While fan fiction is usually described as adding to or transforming the fictional universe, fan art can also be said to highlight or underline specific aspects of the story or the reading experience by giving them visual representation.
Anna Katarina Gutierrez, Mixed Magic: Global-Local Dialogues in Fairy Tales for Young Readers
No full textReview/Recensio
”Men kläder det vill ingen hava på: ’Ack, mamma, låt oss alltid nakna gå!’” Mollie Faustmans gestaltning av nakna barn
No full textTitle: “But no one wants to wear clothes: Oh mother, let us always go naked!” Mollie Faustman’s Portrayal of Naked ChildrenThe Swedish modernist artist Mollie Faustman (1883–1966) depicted the child throughout her artistic practice as a painter, as a writer for adults as well as for children, and in her narratives she made picture and text interact. The focus of this article is the nude and the naked child in Faustman’s writing for adults (causerie) and children (cartoons) for the daily newspaper Dagens Nyheter in the 1920s. The preschool girl Tuttan and her younger brother Putte appear in both types of narrative. The article discusses the naked child body in terms of vitalism and naturism, and within the context of both literary and art criticism. The iconotext reading shows the complexity of how Faustman uses the naked body to embrace a vast spectrum of feelings. In the cartoons, she portrays and visualizes the siblings’ rivaly and play in the portrayal of their naked bodies. In her texts for adults, on the other hand, the naked and naïve body functions as an image of mother love.
Kenneth B. Kidd & Joseph T. Thomas, JR. (red.), Prizing Children's Literature: The Cultural Politics of Children’s Book Awards
No full textReview/Recensio
Helle Strandgaard Jensen, From Superman to Social Realism: Children’s Media and Scandinavian Childhood
No full textReview/Recensio
Phil Nel, Was The Cat in The Hat Black?: The Hidden Racism of Children’s Literature, and the Need for Diverse Books
No full textReview/Recensio
Kjell Gredes Hugo och Josefin: Ett barnkulturellt uttryck i samtiden och en barnfilm för framtiden
No full textTitle: Kjell Grede’s Hugo and Josephine. An Expression of Children’s Culture of Its Time and a Children’s Film of TomorrowThe debut feature film of director Kjell Grede, Hugo and Josephine (1967), is an adaptation of Maria Gripe’s literary trilogy and is often referred to as the best Swedish children’s film ever made. Upon its premiere, the film was very well received by the critics, but some also claimed that it wasn’t suitable for children. This article uses this ambivalence towards Hugo and Josephine as its starting point and demonstrates, via adaptation studies, film studies and childhood studies, how the film transgresses children’s film conventions.For example, my analysis of the film form reveals that Hugo and Josephine is a story largely taking place inside the protagonist. Therefore, it should not be seen as a realistic depiction of a series of events, but rather as a formation of a child’s apprehension of the same events. This filmic mode, which I term “a child’s realism”, can be interpreted through the liminal spacetime as well as hyperbolic and phantasmic occurrences. Also, the film thematises childhood as a social construction by presenting different ways of being a child and an adult respectively.In this way, Hugo and Josephine transgresses the children’s film conventions of the time and, concurrently, puts into question the boundaries between childhood and adulthood as well as the rigid division between fine arts for children and adults respectively. These social and artistic issues were highly topical towards the end of the 1960’s, and therefore Grede’s film is characteristic for its time. But simultaneously, it forebodes the artistically and thematically seminal Swedish films and TV series for children of the 1970’s
