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Development of children's literature
Genre in children's literature is
Development of children's literature
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There are many different definitions of children’s literature and even varying definitions for literature and children! Before the nineteenth century, very few books were especially written for children. Since then, changing attitudes towards childhood and children’s development, along with the increased sophistication of print technology, have led to the development of children’s literature as a major industry. There is, however, no simple, straightforward definition of children’s literature that can be applied with equal validity at different times and in different contexts. Just as concepts of ‘child’, 'childhood’ and ‘literature’ have changed over time, so too have definitions of ‘children’s literature’. It is not a simple matter to define ‘childhood’ or ‘literature’. Some writers maintain that children’s literature differs from adult literature in degree only (Lukens, 1995); others (Lesnik- Oberstein, 1996) maintain that it differs in kind, that is, that the word ‘literature’ when used in the context of ‘children’s literature’ cannot necessarily be related in any straightforward way to the word ‘literature’ as used in other contexts. Thus, for example, Bottigheimer argues that children’s literature is “an important system of its own”. To complicate matters further, there are those who maintain that to be included in the category of ‘children’s literature’, writing must be of ‘good quality’. Thus, for example, Hillman would exclude from the category of ‘children’s literature’, writing that is “stodgy,” “too predictable,” or “too illogical.” Precisely how one determines whether a work meets these extremely vague criteria largely remains an open question.
Definitions of children’s literature can be assigned to three broad categ...
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...t are not produced in book format.
Townsend observes that “any line which is drawn to confine children and their books to their own special corner is an artificial one”, and therefore that “[the] only practical definition of a children’s book today—absurd as it sounds—is ‘a book which appears on the children’s list of a publisher”. Quote apart from the fact that, once again, the word ‘book’ appears in this definition, its usefulness is questionable. This definition would exclude works that appear in electronic format and are not listed in publisher’s catalogues. It would, however, include books designed for adults that have been adapted for children. In this respect, it can be aligned with the views of Weinreich and Bartlett who includes in his definition of children’s literature books originally written for adults that have been re-worked with children in mind.
...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.
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.
Margaret Wise Brown is not the only author that has been able to adjust her writing style to better suite different age levels for children. Another author that could fit into this category would be Ruth Krauss, author of “A Hole is to Dig,” and many more other great children’s books. Both of these authors’ genres could be categorized as simple and defining. For example, Margaret Wise Brown wrote the famous book, “Goodnight Moon” and compared to Ruth Krauss’s book, “A Hole is to dig”, it is easy to see these attributes of writing style.
Senick, Gerard J., and Hedblad, Alan. Children’s Literature Review: Excerpts from Reviews, and Commentary on Books for Children and Young People (Volumes 14, 34, 35). Detroit, Michigan: Gale Research, 1995..
High school students in many American schools first read this book in an English class, which has been a staple for many schools. A required reading assignment exposes many more people to the book. Even though the book is considered to be a children’s book by many, it is still enjoyed by people of all ages.
... (eds), Children’s Literature Classic Text and Contemporary Trends, Basingstoke, Palgrave Macmillan in association with Open University
Falconer, Rachel. The Crossover Novel: Contemporary Children’s Fiction and Its Adult Readership. New York: Routledge, 2009.
Richard Robinson, the President and CEO of Scholastic Inc., the world’s largest publisher and distributor of children’s books, said that a great children’s text contains a simple and original idea, is written with humour and makes the world more interesting. Despite being published in 1928, A.A. Milne’s The House At Pooh Corner remains a highly effective children’s text. The text meets the criteria set out by Richard Robinson and it has been able to do so through its good uses of literary elements such as style, themes and characters. Some examples of this can be linked to the works of various developmental theorists such as Jean Piaget, Lev Vygotsky and Erik Erikson.
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’...
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.
From the perspective I have at this stage in my journey in the early childhood education field, I would like to share what I have come to value and believe in regards to early learning and care by looking at my philosophy statement. To begin we will look at the statement and highlight three key features and find out why they are important to me, then we will see what they will look like in my practice, and lastly we will examine these ideas closely by looking at where they originated. By taking an in-depth look at my philosophy statement we will better understand the motivation behind my practice which I hope to continue to refine and refresh as I gain more knowledge and experience.
Northern Lights and Tom's Midnight Garden which are both prizewinning, children's books will be discussed in relation to David Rudd's 'defence' of the work of Enid Blyton. This will be achieved by answering the following questions and tying them into Rudd's essay. How can the success of a children’s book best be quantified? What criteria are used for judging children’s books? How do the chosen texts stand up to this criteria? Who are different groups that judge children's books and what criteria do each of them have? How have the criteria for judging the merits of children’s literature changed since the eighteenth century? What are the arguments for defending Enid Blyton? Finally, are the arguments presented sound, and if they are what impact does this have on how we judge children's books in general?
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.
In the American culture, the population prides itself on the freedom our country supplies. Recent years, media has become the infrastructure of how we communicate, notify the public, and advertise. It created a whole new world that we’ve come love, but has this love turned into an addiction? After watching the Consuming Kids video, I have to agree with some points that were made. Yes, kids are becoming addicted to consuming what they see through media. Yes, some of media is flooded with R-rated subjects that are inappropriate for kids. Although I understand how the producers of the short film see the bad in media, there is also pros that outweigh the cons. I do not agree with their Authoritarian view on mass media and how they disagree with the first
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.