3 research outputs found
Ethical musicality (Trondalen)
Get PDFThis is a review of the book "Ethical musicality" authored by Gro Trondalen.
Title: Ethical musicality Author: Gro Trondalen Publication year: 2023 Publisher: Routledge Pages: 106 ISBN: 978-1032111261
Processing emotions through the use of picturebooks
Get PDFMaster i barne- og ungdomslitteraturOppgåva er ein tekstanalyse av korleis bildebøkene Bak Mumme bor Moni (2000), Snill (2002) og Sinna Mann (2003) av Gro Dahle og Svein Nyhus framstiller sinne og korleis bøkene legg til rette for at barn og unge kan bli kjend med seg sjølv, forstå og bearbeide eigne kjensler. Bildeboka vert i dag sett som ein estetisk heilskap der tekst og bilde interagerer med kvarandre og med lesaren for å formidle eit innhald. Bildebokmaterialet i denne oppgåva representerer moderne bildebøker som gjennom tematikk og form formidler vonde, vanskelege og sterke kjensler. Bak Mumme bor Moni tematiserer eit demonisk barnesinne personifisert i figuren Moni og barnet sin kamp mot å lære seg å kjenne og temje sinnet sitt. Snill skildrar ei ung jente sin kamp mot snillheits- og perfeksjonstyranniet der ho må lære seg å bli sint for å bli fri. Sinna Mann skildrar ein valdeleg far sitt skremmande sinne og sonen si redsle og utryggleik i ein ustabil kvardag. Bildebøkene skildrar ulike aspekt ved sinnekjensla. Oppgåva skildrar korleis barn og unge kan involvere seg med dei fiktive karakterane og «prøve på» karakterane sine tankar og kjensler ved hjelp av theory of mind og på denne måten utvikle både sjølvinnsikt, emosjonell kompetanse i tillegg til sosiale kompetanse. Generell kognitiv litteraturteori, litteraturprofessorane Maria Nikolajeva og Lisa Zunshine samt transaksjonsteoretikar Louise M. Rosenblatt dannar det teoretiske grunnlaget for oppgåva. I tillegg er teori knytt til bildebokanalyse viktige reiskapar i møte med bildebøkene. Ved å støtte meg til Nikolajeva sitt omgrep emotion ekphrasis, Zunshine si skildring av lesaren si mind-reading i møte med litterære karakterar ved hjelp av theory of mind og Rosenblatt si forståing av ulike lesemåtar har eg sett korleis bildebøkene potensielt kan engasjere ulike lesarar både kognitivt og affektivt. Bildebøkene formidlar sinnekjensla gjennom det verbale og det visuelle og ikonoteksten framstår i alle bøkene som ekspressiv, ekspanderande og med tolkingsrom for lesaren. Gjennom analysane har eg funne ut at lesaren sin ToM ligg til grunn for lesaren sine fortolkingar av visuelle og verbale ekfrasar for emosjonar og at fortolkingane er avhengig av lesarane sin førkunnskap og erfaringar. «Bildeboktrilogien» framstår som ambivalent med stort potensiale for stimulere lesarar på ulike nivå.The thesis is an analysis of how the picturebooks Behind Mumme lives Moni (Bak Mumme bor Moni, 2000), Nice (Snill, 2002) and Angry Man (Sinna Mann, 2003) by author Gro Dahle and illustrator Svein Nyhus, portray anger through the iconotext dynamics of the books, and also how the books facilitate enhanced knowledge of one self and processing of the one's own emotions. Picturebooks today are considered an aesthetic whole where text and illustrations are closely intertwined and interact with each other and with the reader. The picturebooks mentioned above are psychologial crossover books for both children and adults. They all represent the postmodern picturebook which typically deals with difficult emotions. Behind Mumme lives Moni is about the demonic anger of a sensitive young boy personified in the character Moni. The book portrays the boy's struggle to free himself from Moni and the uncontrollable fists he causes. Nice depicts a nice, perfect girl whose niceness causes her to become invisible and her subsequent struggle out of the perfection tyranny. Little Lussi must master the act of getting angry to free herself from rigid roles limitations, and expectations. Angry Man, on the other hand, portrays a violent father and his terrified son, thus theming domestic violence and destructive family dynamics. The thesis examines how young readers can involve themselves emphatic with the fictional characters and engage in mind-reading by ascribing to a character certain thoughts and emotions based on observable behavior. This way the reader develop self-knowledge, emotional, and social competence through introspection and reflection. Cognitive criticism and literature professors Maria Nikolajeva and Lisa Zunshine, as well as transaction theorist Louise M. Rosenblatt make up the theoretical foundation of the thesis. In addition, theory regarding the picturebook genre provide relevant tools when analyzing the picturebooks of current interest. The concept of emotion ekphrasis, developed by Nikolajeva, along side Zunshine's depiction of the readers' mind-reading ability when facing a fictional character by activating their Theory of Mind provide interesting approaches to the psychological picturebooks. Moreover, Rosenblatt's transactional theory of literature emphasizes the literary experience as a give-and-take relationship between the text and the reader, where the reader continually changes between 'reading for purpose' and 'reading for aesthetic experience', is an important perspective concerning this thesis statement
Gro Dahle und das Böse im norwegischen Bilderbuch
No full textDie vorliegende Diplomarbeit beschäftigt sich mit dem Thema der Vermittlung von Emotionen in Bilderbüchern. Sie baut auf der Annahme auf, dass ein Zusammenhang zwischen Märchen und Emotionen besteht, wie z.B. von C. G. Jung, Bruno Bettelheim und anderen besprochen. Diese Arbeit zeigt anhand der Analyse des Bilderbuches Sinna Mann, verfasst von der norwegischen Autorin Gro Dahle, dass es diese Verbindung nicht mit dem Inhalt einzelner Märchen zu tun hat, sondern mit Struktur, Aufbau und Charakteristiken. Das Bilderbuch Sinna Mann handelt von dem ca. vierjährigen Jungen Boj, der mit seinem aggressiven Vater und seiner Mutter in einem Haus lebt. Boj beschließt Hilfe zu holen und schreibt einen Brief an den König, welcher auch kommt und den Vater mit auf sein Schloss nimmt, wo dieser sich mit seiner Aggression auseinandersetzen kann. Die Aggression ist dabei als eigenständige Person, der Sinna Mann, dargestellt.
In dieser Diplomarbeit werden sowohl Struktur des Zaubermärchens nach Vladimir Propp als auch märchenhafte Merkmale nach Max Lüthi in Dahles Bilderbuch nachgewiesen. Weiters wird diskutiert, warum diese Strukturen und Merkmale dem kognitiven Entwicklungsstand von Kindern im Vorschulalter entgegenkommen. Ein abschließendes Kapitel handelt von Dahles Arbeit mit Märchen und Wirklichkeit und davon, wie sie eine reale Problemstellung in eine märchenhafte Ebene hebt und dadurch ein schwieriges Tabuthema für junge Kinder verständlich aufbereitet.This paper is about how emotions, especially negative ones, are explained to childern in picturebooks. There is not a lot of literature to be found about this topic but the connection between emotions and fairy tales or folk tales has been known for quite a while and is used for example in psychotherapy. This paper shows that not only fairytales have the ability to teach children about negative emotions but also other books that work on a folk tale structure and with folk tale characteristics. These elements help the child to comprehend on its level of cognition and don’t confuse or expect ways of thinking that they haven’t learned yet. This concernes for example the ability to think of people as beings with a complex way to feel and think, or taking past and future actions into account on the present ones as motivating forces.
The Norwegian author Gro Dahle wrote a picturebook on a very difficult emotional topic – family violence – using folktale aspects as an explanatory source to make it understandable to kids. Sinna Mann is a picture book for every age and works on different levels for different stages of cognitive development. In this paper only the lowest level, the one for the youngest children is analysed. First folk tale structure and characteristics are prooved using Vladimir Propp’s Morphology of the Folk Tale and Max Lüthi’s The European Folktale as main literature. (Chapter 4 and 5) The characters mother, father and the young boy Boj represent the initial situation that is typical for folk tales. The agression is depicted as a person on its own who lives inside the father and takes over his body to hit and hurt. This Sinna Mann – the Angry Man – is the villain in the picturebook, the one that needs to be fought. The way of making the Angry Man a different person than the father is a very clever way to take anway at least some of the father’s guilt and allows the father to stay the guide and positive figure he needs to be for the boy.
The initial situation, explaining an actual situation, has folk tale characteristics as well as realistic characteristics. Elaborations and explanations that are not typical for folk tales are found but the basic structure is Propp’s folk tale structure. At some point of the story, Boj desides to leave and look for help. It is not exactly clear whether he leaves for real or only in his phantasy but what is sure is that the story is lifted to a more phantastical level with more strict folk tale characteristics. On this level Boj meets the Donors, magical figures that test him and from whom he gets the magical agents. These Donors are, besides plants and animals, a woman from next door giving him the task to tell about the Angry Man. Boj writes a letter to the King, who appears shortly after and takes the father to his castle where he can talk to the Angry Man, become friends with him and be the good father the boy needs. The women from next door and the king are purposely chosen as figures that can be real as well as phantastic to make the story work on both the phantastic and the realistic level.
The second main part of the paper, after having shown the folk tale elements in Sinna Mann, deals with the question of why these elements work so well for explainig emotions to kids. The main book used in this chapter is Charlotte Buehlers The Fairy Tale and the Child’s Imagination, showing which elements of the folk tales are the ones that make them work so well for children. Again, it is shown that exactly those elements are the ones that are found in Sinna Mann as well. Buehlers findings are underpinned and extended with newer researches for example on Theory of Mind and the concept of time in children’s comprehension. In the last chapter of the paper, non folk tale charachteristics of the analysed picturebook are described, that work on the level for the youngest. These are for example the connection between emotions and physical sensations.
This paper shows that there are ways to teach children about negative emotions without scaring them or putting them in danger and that folk tale structure and characteristics are an excellent way to do so. It shows why these ways work so well on children and how it is possible to deal with realitsic and tragic topics in a way children can understand and handle
