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Main themes seen in the freedom writers
Main themes seen in the freedom writers
Main themes seen in the freedom writers
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Children’s literature is, as Peter Hunt argued, a ‘remarkable area of writing: it is one of the roots of western culture, it is enjoyed passionately by adults as well as children, and it has exercised huge talents over hundreds of years’. Children’s literature is good quality books for children from birth to adolescence, coating topics about importance and interests to children of those ages, through prose and poetry, fiction and non-fiction. Children’s literature is probably the most exciting and vibrant of all literary studies, and its wide range of texts, from novels to picture books, and from oral forms to multimedia and the internet, presents a huge challenge. The important theme in children’s literature is the tension between the popular and the prestigious, or in other …show more content…
Philip Pullman’s His Dark Materials, the popular fantasy trilogy novel talks about the journey and adventures of an adolescent protagonist Lyra through parallel worlds, this novel explores the relationship between stories, and religious identity by building the concept or idea of religious narrative identity. Margaret and Michael Rustin considers Northern lights as an examination of domestic family relationships. Pullman influenced by the idea or the concept of the myth of the fall from John Milton’s ‘Lost Paradis’. Pullman discussed in Northern Lights many themes such as, love, religion, fantasy, science, domestic family atmosphere, realism, and the religious authority on society. He put all his ideologies in Northern Lights, concepts of freedom that takes you to the knowledge, the importance of sex to maturation, and how can a child transmit from innocent to experience. Pullman embodies himself and his ideologies in Lyra’s character, also he called Lyra ’Eve again’ to reinforce her role as disobedient liberator of humanity through knowledge. “His Dark Materials” concerns the nature of
In Chapter 2 of Children’s Books in Children’s Hands: A Brief Introduction to their Literature, the authors talk about the 12 main elements of a literary work: genre, plot, setting, characterization, theme, point of view, intersexuality, tone, mood, style, voice, and the stance of the implied reader (Temple, Martinez, and Yokota 24). All of these literary elements capture the reader’s imagination and creates a successful piece of literature. However, the authors stress the importance of genre in Chapter 2, so I will briefly go over the different types of genres there are in literature and how it affects the readers greatly.
In a country like the United States of America, with a history of every individual having an equal opportunity to reach their dreams, it becomes harder and harder to grasp the reality that equal opportunity is diminishing as the years go on. The book Our Kids by Robert Putnam illustrates this reality and compares life during the 1950’s and today’s society and how it has gradually gotten to a point of inequality. In particular, he goes into two touching stories, one that shows the changes in the communities we live in and another that illustrates the change of family structure. In the end he shows how both stories contribute to the American dream slipping away from our hands.
In conclusion, critical evaluation of what makes a book good or bad depends on the selection criteria and agenda of those making the evaluation. The prizes have been criticised through the years and the selection committees have risen to this by changing the selection process, even if this change has been slow. Children’s Literature is in flux due to the ever-changing ideas and perceptions of childhood. Children’s books seen as prestigious today may become, like Blyton, unpalatable to the critics of tomorrow.
After a four week survey of a multitude of children’s book authors and illustrators, and learning to analyze their works and the methods used to make them effective literary pieces for children, it is certainly appropriate to apply these new skills to evaluate a single author’s works. Specifically, this paper focuses on the life and works of Ezra Jack Keats, a writer and illustrator of books for children who single handedly expanded the point of view of the genre to include the experiences of multicultural children with his Caldecott Award winning book “Snowy Day.” The creation of Peter as a character is ground breaking in and of itself, but after reading the text the reader is driven to wonder why “Peter” was created. Was he a vehicle for political commentary as some might suggest or was he simply another “childhood” that had; until that time, been ignored? If so, what inspired him to move in this direction?
Philosopher Friedrich Nietzsche (1844-1900) believed it was ‘natural for a “master race” of conquerors to have a mythology based on the “master morality” – in which the strong and powerful deserve to be victorious. Inversely, it was also natural for a “slave race” to have a mythology based on the “slave morality” – in which the meek shall inherit the earth.” (Indick, 2004, p.197). The all powerful, infallible ‘Superman’ hero, named ubermensch, is still present in modern stories, in super hero films for example. However, children are hardly ever in charge, and have to answer to their parents, teachers and other authority figures within society, so it seems unlikely they will relate to the ‘master morality’ of the ubermensch, as they often lack power and authority within their own society. Therefore, the underdog hero, or ‘untermensch’ is of a greater appeal to children, especially when these characters are victorious against powerful adult characters as the story progresses.
Whalley, J. (2009) ‘Texts and Pictures: A History’ in Montgomery H and Watson N (eds), Children’s Literature Classic Texts and Contemporary Trends, Basingstoke, Palgrave Macmillan in association with Open University, pp.299-310
Pullman's first novel from the His Dark Materials collection, The Golden Compass has many imaginary and realistic modern-day aspects of the world he envisions; such as Daemons, Dust, and the Alethiometer. The Golden Compass takes place in an alternate universe with definite similarities to that of our own Earth. Slight differences, however, define this innovative and beautiful world Pullman has created for his audience. A key difference between the two worlds is the existence and association of Daemons with Humans. These otherworldly creatures known as Daemons are the window to a person's soul. They expose you for who you really are as a person in the world. Daemons are representation of the emotional and mental state of a person, especially the humans' ‟ souls" which can communicate with their "owners”. Ultimately, revealing their true inner self, intentions and a way of life. Daemons are important throughout the entire novel, because it gives us a look under the mask of each main character presented to us in the novel. This relationship between daemon and human can be observed heavily through Lyra, the main protagonist and her daemon; Pantalaimon and Lord Asriel and his daemon; Stelmaria the Snow Leopard and finally, Mrs. Coulter with her daemon, The Golden Monkey. Daemons associated with different lifestyles and mindsets of their owner. They not only help their predestined owner with various tasks and devising plans, as shown from Lyra, but as well are an external representation of themselves that understand the owner's motives and thinking shown by Mrs. Coulter.
In Kenneth Grahame’s The Wind in the Willows and Frances Hodgson Burnett’s The Secret Garden nature and its fantastical elements are crucial in making their novels the iconic children literary tales they are presently. However due to these fantastical elements both authors criticized for their romanticized view of nature and idealized depictions of childhood within nature. Scholarly critics Jacqueline Rose and Humphrey Carpenter argue that in creating idealistic narrative worlds both authors lose their ability to represent childhood in a realistic way and instead let their works become escape outlets rather than true depictions of childhood. In doing so these books are no longer true children’s literature, but simply ideals born out of an authors
Children literature is a term that refers to the texts written for children. The artist uses creative ways to ensure that children are provided with educational books, touching on a variety of themes. This paper will include comparison of two characters from the two texts, “Hana's Suitcase: A True Story,” authored by Karen Levine and “Charlotte’s Web,” written by E.B. White, with the aim of understanding ways in which problems are solvable as indicated by selected characters.
...ia J. Campbell. New York: Twayne Publishers, 1996. 39-65. Rpt. in Children's Literature Review. Ed. Scot Peacock. Vol. 82. Detroit: Gale, 2003. Literature Resources from Gale. Web. 14 Jan. 2014.
The opening of Kathleen O’Neil’s article is a discussion of children’s picture books being used throughout history as tools to teach children cultural expectations. O’Neil mentions that children’...
Writing has been an important part of every culture from the beginning of time. The illustrations of cavemen have evolved immensely. Today, there are millions of published books. In fact, there are over four hundred books published every month. What happens when these books turn into something more? Is there racism in our children's literature? Ironically, the renowned great works of our past is full of racism. The question that remains, how do we teach our children the great lesson that these brave authors intended?
... (eds), Children’s Literature Classic Text and Contemporary Trends, Basingstoke, Palgrave Macmillan in association with Open University
The Tale of Peter Rabbit and Voices in the Park were published at either end of the twentieth century, a period which witnessed the creation of the modern picturebook for children. They are both extremely prestigious examples of picturebooks of their type, the one very traditional, the other surrealist and postmodern. The definition of ‘picturebook’ used here is Bader’s: ‘an art form [which] hinges on the interdependence of pictures and words, on the simultaneous display of two facing pages, and on the drama of the turning of the page’ (Bader, quoted in Montgomery, 2009, p. 211). In contrast with a simple illustrated book, the picturebook can use all of the technology available to it to produce an indistinguishable whole, the meaning and value of which is dependent on the interplay between all or any of these aspects. Moebius’s claim that they can ‘portray the intangible and invisible[…], ideas that escape easy definition in pictures or words’ is particularly relevant to these two works. Potter’s book is, beneath its didactic Victorian narrative, remarkably subtle and subversive in its attitudes towards childhood, and its message to its child readers. Browne’s Voices in the Park, on the other hand, dispenses with any textual narrative; by his use of the devices of postmodernism, visual intertextuality and metaphor, he creates a work of infinite interpretation, in which the active involvement of the reader is key.
Literature has been part of society since pen met paper. It has recorded history, retold fables, and entertained adults for centuries. Literature intended for children, however, is a recent development. Though children’s literature is young, the texts can be separated into two categories by age. The exact splitting point is debatable, but as technology revolutionized in the mid-twentieth century is the dividing point between classic and contemporary. Today’s children’s literature is extraordinarily different from the classics that it evolved from, but yet as classic was transformed into modern, the literature kept many common features.