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Characteristics of children's literature and their value in child development
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Advances in technology and cultural developments over the last few decades have led to an increased production of multimodal texts (McIntyre and Busse 2010, pg.433). As these multimodal texts have developed, it can be said that the field of stylistics has needed to develop the tools for analysing the effects these texts create (Jeffries and McIntyre 2010, pg.194). Multimodal stylistics is a relatively new branch of stylistics and with the focus of multimodal stylistics being the meaning that is made through multi-semiotic modes the scope can be extended beyond literary texts to include analyses of film and drama (Norgaard et al. 2010, pg.30).
Analysis of literary texts are being undertaken by scholars such as Norgaard (2009) whose research looks at typography and other semiotic modes, and Gibbons (2011 to be published) whose research looks at cognitive poetics. Gibbons (2011, pg.2) explains ‘multimodal printed literature’ can include children’s picture books, however as yet there has been no attention paid to this area. Therefore this essay investigates original ground in multimodal stylistics by examining ‘Sir Charlie Stinky Socks and the Really Big Adventure’, a children’s book aimed at children over the age of three (Egmont 2011, online) using multimodal stylistics.
Page (2010, pg.4) explains that ‘multimodality insists on the multiple integration of semiotic resources in all communicative events’. Multimodality is a part of everyday life, any conversation we have, consists of gesture, intonation and language (Gibbons 2011, pg.12). McIntyre and Busse (2010, pg.436) explain that although the word multimodal implies the existence of a ‘mono-modes’, these cannot exist. Even written verbal language can be multimoda...
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JEFFRIES, L. and MCINTYRE, D. (2010) Stylistics. Cambridge: Cambridge University Press.
MCINTYRE, D. and BUSSE, B. (eds.) (2010) Language and Style. Basingstoke: Palgrave Macmillan.
NORGAARD, N. (2009) The Semiotics of Typography in Literary Texts. A Multimodal Approach. Orbis Litterarum. 64: 2 141-160 [WWW] Available from: http://onlinelibrary.wiley.com/doi/10.1111/j.1600-0730.2008.00949.x/full [Accessed 03/04/2011]
PAGE, R. (eds.) (2010) New Perspectives on Narrative and Multimodality. Abingdon: Routledge. (Gibbons and Norgaard feature in this book, how do you reference them??)
GIBBONS, A. (2010)
NORGAARD, N. (2010)
Hall, C. (2008) ‘Imagination and multimodality: reading, picturebooks and anxieties about childhood’, in Sipes, L. and Pantaleo, S. (eds) Postmodern Picturebooks: Play, Parody, and Self-Referentiality, New York; London: Routledge, pp.130-146.
Piper’s use of imagery in this way gives the opportunity for the reader to experience “first hand” the power of words, and inspires the reader to be free from the fear of writing.
D'hoker, Elke, and Gunther Martens, eds. Narrative unreliability in the twentieth-century first-person novel. Vol. 14. Walter de Gruyter, 2008.
Tan, Amy. “Two Kinds.” Exploring Literature: Writing and Arguing About Fiction, Poetry, Drama and The Essay.4th e. Ed. Frank Madden. New York: Pearson Longman, 2009. 253-261. Print.
I chose to read and comment on Barbara Kiefer’s “Envisioning Experience: The Potential of Picture Books.” Kiefer’s main point in writing this essay was to get the message across that children enjoy picture books that allow them to identify and make connections with the characters or the plots, and that while reading and analyzing the pictures, they gain a better sense of aesthetics and how to interpret them.
Author’s style is defined as the distinct literary manner that makes his or her expression of content unique from other authors; Katherine Anne Porter and Emily Dickinson have different styles that contribute to a better understanding of the themes of their work. In “The Jilting of Granny Weatherall” Porter uses the strea...
Tan, Amy. "Two Kinds". Literature, Reading Reacting,Writing. 5th ed. Ed. Laurie G. Kirszner and Stephen R. Mandell. Boston: Heinle, 2004.
The Russian writer Ivan Turgenev wrote in Fathers and Sons in 1862, "A picture shows me at a glance what it takes dozens of pages of a book to expound” (Turgenev 196). Mark Twain was a living testament to that belief because iillustrations were an integral part of Mark Twain’s published work. They embellished his stories, informed the reader, and often reflected his humor. However, today’s fictional novels rarely include illustrations beyond the cover and fly leaf. This lack of illustrations has become more the norm in the digital publishing world because the illustrations often do not translate well to the digital format. My research paper will delineate the reasons that illustrations were relevant and necessary for the 19th century publication and why they are less relevant in the digital age. I will show that illustrations played an essential part in the success of Mark Twain’s books (1) because he made them an integral part of his writing, giving clarity to his written words; (2) because of the subscription publishing model of his era, and, (3) because of Twain’s dependence on them to describe his characters. However, the digital and audio publishing market of today has lessened the impact of illustrations in modern literary works. In Twain’s 19th century era, books were often a work of art as well as a literary treasure. The books I read today on my e-reader or listen to on “Audible” versions -- even Twain’s books -- almost never have a visual impact like Twain’s books had in the 19th century.
Falconer, Rachel. The Crossover Novel: Contemporary Children’s Fiction and Its Adult Readership. New York: Routledge, 2009.
‘Some idea of a child or childhood motivates writers and determines both the form and content of what they write.’ -- Hunt The above statement is incomplete, as Hunt not only states that the writer has an idea of a child but in the concluding part, he states that the reader also has their own assumptions and perceptions of a child and childhood. Therefore, in order to consider Hunt’s statement, this essay will look at the different ideologies surrounding the concept of a child and childhood, the form and content in which writers inform the reader about their ideas of childhood concluding with what the selected set books state about childhood in particular gender. The set books used are Voices In The Park by Browne, Mortal Engines by Reeve and Little Women by Alcott to illustrate different formats, authorial craft and concepts about childhood. For clarity, the page numbers used in Voices In The Park are ordinal (1-30) starting at Voice 1.
This paper focuses on two books, the picture book and realistic novel. I am hopeful while doing a critical analysis of these two books that it would help me to create an effective mini library in my future classroom. I would like to use it as a helpful tool to teach children how to compare the differences and similarities of the two genres and many more. I have chosen Corduroy as my picture book and Because of Winn-Dixie as my realistic novel to write on this written critique because it signifies the moral lessons about family importance and friendship.
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.
A children book is an extremely substantial and significant form of literature. It educates, affects and amuses at the same time. Although its main audience are the small children, the majority of adults in fact enjoy this type of literature as much as children do. This can be explained by the capacity of children literature to deal with great themes and topics that are too large for adult fiction. (Philip Pullman) For its great importance, the style and technique by which it is produced, is a major concern for both of the authors and critics. One technique has a particular impact in the children book, that is to say, illustration. Bearing the visual nature of children in mind, we understand that their books should be delivered with
Novels of the 1950s such as Crucifixus Exam by Walter M. Miller, Jr. had a very complex style of writing that was almost poetic and often focused on something small with very much detail. On the other hand later writings like James Patterson’s Maximum Ride have almost all child characters who are quite relatable for anyone 10-17 years old. The writing is also very young, straightforward, and direct to the readers for a much more “kid-like” reading experie...
Kirszner, Laurie G., and Stephen R. Mandell. Literature: Reading, Reacting, Writing. Compact 8th. Boston: Wadsworth Cengage Learning, 2011. Print.