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History of trends in children's literature
History of trends in children's literature
Overview of Children's Literature
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Children's Literature is becoming more and more important in today's society. "Talking animals", characters once taboo in literature, are now widely accepted as a means of teaching and entertaining young children. Interestingly, these anthropomorphic characters connect with children and become more beloved than human or child characters. Now with our new technology, even films are being made regarding talking animals. Our paper will try and answer questions related to this topic, such as the motive of a writer to write talking animal stories for children, when the idea for such writing began, why these stories are popular with children, whether they have any teaching value, and how they influence culture today. We decided to use the most popular and representative work as an example to explore our questions regarding the popularity and importance of talking animal stories, and so we chose Winnie-the-Pooh to sufficiently express that talking animal stories have a great importance to the modern world and are beneficial to children in their rites of passage into the adult world, a world that is reflected within these beloved works.
Children’s Literature is a relatively new genre of literature in comparison, developing with the ideas of childhood and its psychological stages. “It was not until around the eighteenth century that children’s literature as we know it-books written and published specifically for children’s enjoyment as well as their edification-finally emerged.” (Russell 8) Talking animals in children’s literature is a motif that has only begun to appear in the last two centuries due to religious attempts to stop children from hearing stories that broke the laws of nature, or God. “…most writers of the time cond...
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...childhood days. That is how important a anthropomorphic children’s book can be.
Talking animals in Children’s Literature may have grown quickly. But it is not a passing fad. The reasons behind the popularity and importance of talking animal stories can be easily summarized. Winnie-the-Pooh marks the beginning of these embraced stories of talking animals for children, we can only wish that works later written will be half as valuable as it has become. But we do know that it is through these works that attract children instantaneously that children learn about the ways of the grown-ups and valuable moral lessons they will need throughout life. Winnie-the-Pooh was successful in doing just that, and by a brief study of Winnie-the-Pooh we understand that talking animals can hold such a great importance to the children today and the adults looking back on their childhoods.
They need to see how characters in books handle the same fears, interests, and concerns that they experience” in the book of Corduroy children may reflect how sometimes they want something but their parents cannot afford it, how will they obtain what they want? (para.11). through the storytelling the teacher may ask the children what they will do in this case. Children may interact in the storytelling. This book has discussion points in which the children may ask questions and use their problem solving skills. Susan Sherwood shares in the article Good Books for Dramatic Storytelling for Young Children that “the best ones appeal to children's lives and interests, such as families, animals, communities and humor”, Corduroy fits this criteria children love stuffed animals, and they will be interested in knowing how the little girl gets to take Corduroy home
Many of Margaret Wise Brown’s most famous books have animals as the main character. For example, Runaway Bunny and Goodnight Moon, two of her most popular books, feature rabbits as the main characters. Further, in Goodnight Moon, the animal’s behavior is parallel to that of humans. For example, the motherly figure on the rocking chair is reading to the young rabbit as many parents do to their children. Additionally, Brown adds a humorous element as the young rabbit seems to have pets.
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?
This week we read about Picture books and we were assigned to read The Tale of Peter Rabbit by Beatrice Potter and Where The Wild Things Are by Maurice Sendak. I really enjoyed reading these children’s books because I do not remember reading The Tale of Peter Rabbit, but reading it now I really got to appreciate the story, enjoy the illustrations and the story. I vaguely remember reading Where The Wild Things Are, so I am glad that I was able to reread it because I think that it is a very cute and enjoyable story for younger children While reading Chapter 3 from the textbook, “The Tale of Peter Rabbit,” and “Where The Wild Things Are” I formed several different observations. The first observation that I formed while reading this week
Frederick, a children’s book written by Leo Lionni, is considered a classic in this genre. It received the Caldecott Honor, was an ALA Notable Children’s Book, and was a New York Times Best Illustrated Children’s Book of the Year. The book is a fable of a mouse, Frederick, who is the dreamer in a group of tiny field mice. Frederick, the main character, demonstrates the importance of dreams and imagination by giving his fellow field mice a feeling of comfort through his memories of warmth, color, and words during a drab cold winter. Through Frederick’s supply of memories, the mice were able to make it through a hard time. Through the narrative style and structure, Lionni finds a way for children and adults alike to find a message on their own and learn from someone as small as a tiny field mouse.
Owl's character as knowledge over amusement may be boring to children listening to his intellectual rambles e.g. Roo's boredom with the encyclopedia. Hence, characters like Winnie the Pooh, who brings amusement, may seem more attractive than Owl. While the character of CR is used to demonstrate the relationship between children and adults by the use of many parallels, speech and actions, it is the animals that represent the author's construction of different types of childhood. In addition to this, the animals are also the providers of amusement and entertainment which draw children's love and interest.
Though the evils of the world may discourage us from reaching our full potential, fairytales such as Little Snow-White by Jacob and Wilhelm Grimm teach us that good will always triumph over evil. As many tales of its kind, Little Snow-White uses a number of literary devices to attract a younger audience and communicate to them a lesson or moral that will remain with them throughout their lives. Since children have such an abstract stream of thought, it is vital to use language and devices that will appeal to them as to keep them interested in the story.
Anderson, Hans. Wonderful Stories for Children. London: Chapman and Hall 186 Strand, 1846. 64-75. eBook.
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 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.
Hearing a depiction of Watership Down, you might justly conjecture that it is a children’s book, a kind of fable with talking animals reminiscent to Beatrix Potter's work. Not an entirely untrue deduction, as Adams conceived his characters and settings for Watership Down from stories he would tell his children on long drives through the countryside. What sets Watership Down apart from comparable children's literature is its length--in paperback it i...
We all grew up hoping that we were the princesses who met the dreamy prince and lived ‘happily ever after’ like in a fairytale.People debate over whether or not Disney fairytales are beneficial for children. Like Melissa Taylor the author of the piece ‘10 reasons why kids need to read non disney fairy tales’, I am against disneyfied fairy tales. In this essay I will argue on why kids should not only watch disney fairytales but also the real versions.
“I am Beto” of Anh Nguyen is a book written for both adults and children. Anh Nguyen is a Vietnamese well-known author for writing books for children and teenagers. “I am Beto” is one of his successful works, and this is the first time he has written a book through a dog’s narrative. The author borrowed the narrative voice of a dog to tell us stories of colorful life. There, you will find yourself in familiar and simple situations, sometimes you encounter childhood moments that you have experienced. By writing a skillful story, the author has made us laugh a few times because of the guts of Beto, and sometimes quietly thinking about the thought of a puppy about life.
What kid hasn’t heard of Dr. Seuss? From “One fish, two fish, red fish, blue fish” to “A person’s a person, no matter how small” to “From there to here, from here to there, funny things are everywhere”, Dr. Seuss has filled the lives of children with whimsical stories and ideas. (8) Using casual dialect and everyday objects, he was able to spark the imagination of others. All the while, he instilled lessons into his writings. It is not a surprise that Dr. Seuss received an award for a “Lifetime of Contribution to Children’s Literature”. His work will be read and enjoyed for decades to come. All in all, no matter which Dr. Seuss story that the reader might select, his or her imagination will be sparked, and the reader will surely be entertained.
The construction of children’s literature was a gradual process. For a long period of time children’s books were frowned upon. The stories were said to be vulgar and frightening. Adults censored children’s ears to stories of daily life, tales with improbable endings were not to be heard. It was not until the mid 1800s that stories of fairies and princesses began to be recognized. Although children’s literature was accepted, the books were not available for all children. With limited access to education, few public libraries, and the books’ costs, these texts were only available to the middle and high- class. As public education and libraries grew so did the accessibility of books and their popularity. They no longer were considered offensive, but rather cherished and loved by many children. Children’s literature became orthodox and a revolution began, changing literature as it was known.