Barnboken – Journal of Children's Literature Research
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Roni Natov, The Courage to Imagine: The Child Hero in Children’s Literature
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Åse Hedemark och Maria Karlsson (red.), Unga läser: Läsning, normer och demokrati
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Nina Goga and Bettina Kümmerling-Meibauer (red.), Maps and Mapping in Children's Literature: Landscapes, Seascapes and Cityscapes
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Bilden som gör förflutenhet: Den tecknade serien, medieekologi och minne i Maus och Vi kommer snart hem igen
No full textTitle: Imagining Pastness. Comics, Media ecology and Memory in Maus and Vi kommer snart hem igenThe ethical and epistemological challenges accompanying representations of the past have been at the center of historiography at least since the days of Leopold von Ranke in the mid-nineteenth century. The artifice of representational forms, as well as the ideological entanglements of the position of enunciation, has always been in conflict with Ranke’s historiographical goal of telling the past as “it really was”. In the heyday of postmodernism and in the wake of the so-called linguistic turn, the epistemological and ethical impact of representational forms was widely debated. This paper uses two concepts presented during the postmodernist debates – Linda Hutcheon’s “historiographical metafiction” and Hayden White’s “practical past” – in a discussion of two graphic narratives about the Holocaust, Art Spiegelman’s canonical Maus. A Survivor’s Tale (1986, 1991) and Vi kommer snart hem igen (2018) by Jessica Bab Bonde and Peter Bergting. Adapting Hutcheon’s and White’s concepts to a posthumanist and media-ecological conceptuality, in which the worldmaking power of media is highlighted as a co-productive or sympoietic process, the paper “Imaging Pastness. Comics, Media Ecology and Memory” shows how the past is not represented, but rather emerges from the embodied participation in the medium as memory technolog
Translating Landscape: Maria Parr’s Tonje Glimmerdal from an ecocritical perspective
No full textThe article examines two sets of illustrations of the children’s novel Tonje Glimmerdal (2009) by Norwegian author Maria Parr. The original version in Norwegian, illustrated by Åshild Irgens, and the translation into Spanish, illustrated by Zuzanna Celej, are examined. The aim is to show how the concepts of nature and landscape are modified in the translated version. This analysis illuminates how illustrations have an impact on texts, and how illustrations create new meanings. While the original novel is considered a winter pastoral as young protagonist Tonje lives in the mountains and finds her purpose in life in her homeland valley, Irgens’ illustrations foreground Tonje’s actions, whereas Celej’s work is more focused on the landscape. The different ways in which these two versions of the book depict the winter pastoral, and the image of nature, are analysed from an ecocritical perspective, especially following Carol Glotfelty’s and Greg Garrard’s approaches
