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Contribution of postmodernism in literature
Postmodernism literary criticism
Postmodernism criticism in literature
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This assignment will begin by defining and looking at the history of the postmodern picture book. It will examine what defines these books and how it combines text, images, and paratext creating a story which has meaning for both adults and children. Analysing the picturebook ‘Voices in the Park’, by Anthony Browne will illustrate the use of text, images, and parody; also it is a good example of intertextuality and non-linear. It will use the postmodern picturebook ‘Where the Wild Things Are’ by Maurice Sendak to analyse the basis for their appeal to different age groups, looking in particular at their design and use of space. The assignment will conclude by identifying the elements needed for a successful postmodern picture book and how they appeal to both adult and children.
To define the term postmodern is very difficult, we can start off by saying it is representative of now, of today’s society. Bette Goldstone in, ‘Postmodern Experiments,’ describes it as being an example of societies ethical values, bestowing this to future generations. Goldstone recognises picture books as giving the author and reader a stage to be able to interpret the stories through the flexibility of pictures and words. Picturebooks are rapidly developing into a more, ‘Sophisticated genre,’ than has been before, (Goldstone, 2008, p.321).
A postmodern picture book is a specific genre of picture books. They are seen as being different from anything that came before; it could be described as requiring the reader's involvement with constructing the meaning of the text and imagery. Many of the books have little text and allow the reader and illustrations to tell the story as with, ‘Re-Zoom,’ by Istvan Banyai which has no text but is described by Goldsto...
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...tle frightening, which appeals to children. It reflects Max's imagination and his anger. The postmodern picturebook can be read over and over again, each time the reader will discover something new however old they are.
References
Browne, A. (1999 [1998]) Voices in the Park. London: Picture Corgi.
Browne, A, 2010, ‘The Children’s Laureate’ available http://www.childrenslaureate.org.uk/Anthony-Browne Accessed 10/03/11
Goldstone, B. (2009) ‘Postmodern Experiments’ in Maybin, J. and Watson, N. J. (eds) Children’s Literature: Approaches and Territories. Basingstoke, Palgrave Macmillan, pp. 321.
EA300 DVD 2, no 6 ‘An Introduction to Illustration: Martin Salisbury’.
EA 300 DVD 2, no 7 ‘Interview with Anthony Browne’.
Handler Spitz, H, 2010, Postmodern at Bedtime. Available:
http://www.tnr.com/book/review/postmodern-bedtime Accessed 13/03/2011
...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.
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?
Griffith, John, and Charles Frey. Classics of Children's Literature. 6th ed. New Jersey: Pearson Prentice Hall, 2005. 21-29, 322-374. Print.
... (eds), Children’s Literature Classic Text and Contemporary Trends, Basingstoke, Palgrave Macmillan in association with Open University
The Postmodernist movement begun after World War II in which, high and low culture are questionable in the view of society and Art. The postmodernist movement in literature creates a new set of ideals for fiction, such as the metafiction, the fable like representation in novels, the pastiche, irony, and satire. Fredric Jameson speaks about the movement and its theory in his essay “Postmodernism and Consumer Society”. He questions postmodernism in society as it creates the new societal norm of popular culture. On the other hand, Jean Baudrillard analyzes the simulacra of postmodernism in “The Precession of Simulacra”. Baudrillard speaks of the “truth” and “reality” also as a questionable representation for the reader. Yet, both critics agree that postmodernist literature is depthless. Spiegelman’s Maus series is a metafiction, which tells the story of Art Spiegelman’s journey of writing this novel through the present-day retelling of Vladek Spiegelman’s life during the Holocaust. However, as a postmodernist text, Jameson and Baudrillard calls it depthless and an “unreal” representation. Nevertheless, the representation of Maus presents the characteristics of a postmodernist text, but argues that it is not depthless because of the representation of an authoritative view, a historical continuum, and the text does not depict itself as a mode of pop culture.
Falconer, Rachel. The Crossover Novel: Contemporary Children’s Fiction and Its Adult Readership. New York: Routledge, 2009.
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
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.
In the 1950s, authors tended to follow common themes, these themes were summed up in an art called postmodernism. Postmodernism took place after the Cold War, themes changed drastically, and boundaries were broken down. Postmodern authors defined themselves by “avoiding traditional closure of themes or situations” (Postmodernism). Postmodernism tends to play with the mind, and give a new meaning to things, “Postmodern art often makes it a point of demonstrating in an obvious way the instability of meaning (Clayton)”. What makes postmodernism most unique is its unpredictable nature and “think o...
Postmodernism is a vague term that can describe a variety of disciplines that include, architecture, art, music, film, fashion, literature…etc. (Klages). In the case of “Videotape”, postmodern literature would be the main focus or area of study. This type of literature emerged in the era that succeeded World War II and relies heavily on the use of techniques such as, fragmentation, the creation of paradoxes, and questionable protagonists. Furthermore, postmodern literature also exudes ambiguity and critical thinking where the focus is mainly on the reader and his/her experience of the work rather than the content and form. Building upon that, the selected passag...
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
Postmodern literary criticism asserts that art, author, and audience can only be approached through a series of mediating contexts. "Novels, poems, and plays are neither timeless nor transcendent" (Jehlen 264). Even questions of canon must be considered within a such contexts. "Literature is not only a question of what we read but of who reads and who writes, and in what social circumstances...The canon itself is an historical event; it belongs to the history of the school" (Guillory 238,44).
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.
Both books are good for parents and children to share a new adventure in life changing experiences, whether the baby is not the baby anymore, but a big brother or sister or if the young child is not happy about who they are until they see that who they want to be is not what they expect. Literature can provide young children adventures they may never experience in their life time. For those young children, who do experience adventures in their life, they need good age appropriate literature in their lives to show them different ways on how to deal, cope, or function in their life. A child’s personality can be supported and nurtured if they are given opportunities to explore and learn from their environment, whether the learning is exploring or reading a good book.