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"O'Sullivan, Emer"
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Comparative Children's Literature
The most striking change in children's culture, including children's literature, over the last few decades has been its commercialization and globalization (O'Sullivan, Comparative Children's Literature 149–52). The children's book industry in the United States, the leading market, is increasingly dominated by a handful of large media conglomerates whose publishing operations are small sections of their entertainment businesses. As a consequence, as Daniel Hade observes, “the mass marketplace selects which books will survive, and thus the children's book becomes less a cultural and intellectual object and more an entertainment looking for mass appeal” (511). The influence of these multimedia giants is immense: manufacturing mass-produced goods for children, they sell their products beyond the borders of individual countries, further changing and globalizing what were once regionally contained children's cultures. As a discipline that engages with phenomena that transcend cultural and linguistic borders and also with specific social, literary, and linguistic contexts, comparative children's literature is a natural site in which to tease out the implications of these recent developments.
Journal Article
Historical dictionary of children's literature
\"Historical Ditionary of Children's Literature, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 700 cross-referenced entries. This book is an excellent resource for students, researchers, and anyone wanting to know more about children's literature\"-- Provided by publisher.
Book
Historical dictionary of children's literature
Children's literature comes from a number of different sources-folklore (folk- and fairy tales), books originally for adults and subsequently adapted for children, and material authored specifically for them-and its audience ranges from infants through middle graders to young adults (readers from about 12 to 18 years old). Its forms include picturebooks, pop-up books, anthologies, novels, merchandising tie-ins, novelizations, and multimedia texts, and its genres include adventure stories, drama, science fiction, poetry, and information books. The Historical Dictionary of Children's Literature relates the history of children's literature through a chronology, an introductory essay, appendixes, a bibliography, and over 500 cross-referenced dictionary entries on authors, books, and genres. Some of the most legendary names in all of literature are covered in this important reference, including Hans Christian Anderson, L. Frank Baum, Lewis Carroll, Roald Dahl, Charles Dickens, C.S. Lewis, Beatrix Potter, J.K. Rowling, Robert Louis Stevenson, Mark Twain, J.R.R. Tolkien, Jules Verne, and E.B. White.
eBook
Narratology meets Translation Studies, or, The Voice of the Translator in Children’s Literature
Abstract
When critics identify ‘manipulations’ in translations, these are often described and analysed in terms of the differing norms governing the source and the target languages, cultures and literatures. This article focuses on the agent of the translation, the translator, and her/his presence in the translated text. It presents a theoretical and analytical tool, a communicative model of translation, using the category of the implied translator, the creator of a new text for readers of the target text. This model links the theoretical fields of narratology and translation studies and helps to identify the agent of ‘change’ and the level of communication in which the most significant modifications take place. It is a model applicable to all translated narrated literature but, as examples illustrate, due to the asymmetrical communication in and around children’s literature, the implied translator as he/she becomes visible or audible as the narrator of the translation, is particularly tangible in translated children’s literature.
Journal Article
Internationalism, the universal child and the world of children’s literature
Children’s books keep alive a sense of nationality; but they also keep alive a sense of humanity. Semiotic models of literary history would seem to have little in common with Hazard’s Romantic notion of universal childhood. Paul Hazard’s concept of literature as an agent of communication between the children of the whole world was enthusiastically adopted, especially in post-war Western Germany and America. International understanding through children’s books was one of the most discussed topics among German-language children’s literature professionals in the 1950s and 1960s. On the pragmatic level, many people motivated by the concept of internationalism made important and lasting contributions towards a practical international understanding through children’s literature, as the case of Jella Lepman shows. The vision of the universal child, the same the world over, refuses to acknowledge difficulties and contradictions in relation to childhood, offering in their place a glorification of the child.
Book Chapter
Comparative children’s literature
Comparative literature is concerned with the study of literature and literary theory and criticism in an international context and with literary texts in relation to other media and disciplines; it is dedicated to ‘the cross-cultural and interdisciplinary study of literature and culture’. The founding father of comparative children’s literature is Paul Hazard, the leading French comparatist, who with Les Livres, les enfants et les hommes published a study of children’s literature in 1932, a time when children’s literature hardly existed for mainstream academic criticism. Comparative children’s literature concerns itself with general theoretical issues in children’s literature, especially questions pertaining to the system itself, its particular structure of communication, and the social, economic and cultural conditions which have to prevail in order for a children’s literature to develop. Furthermore, comparative children’s literature addresses all relevant intercultural phenomena, such as contact and transfer between literatures, and the representation of self-images and images of other cultures in the literature of a given language.
Book Chapter
Historical Dictionary of Children's Literature. Historical Dictionaries of Literature and the Arts
Children's literature comes from a number of different sources--folklore (folk- and fairy tales), books originally for adults and subsequently adapted for children, and material authored specifically for them--and its audience ranges from infants through middle graders to young adults (readers from about 12 to 18 years old). Its forms include picturebooks, pop-up books, anthologies, novels, merchandising tie-ins, novelizations, and multimedia texts, and its genres include adventure stories, drama, science fiction, poetry, and information books. The \"Historical Dictionary of Children's Literature\" relates the history of children's literature through a chronology, an introductory essay, appendixes, a bibliography, and over 500 cross-referenced dictionary entries on authors, books, and genres. Some of the most legendary names in all of literature are covered in this important reference, including Hans Christian Anderson, L. Frank Baum, Lewis Carroll, Roald Dahl, Charles Dickens, C.S. Lewis, Beatrix Potter, J.K. Rowling, Robert Louis Stevenson, Mark Twain, J.R.R. Tolkien, Jules Verne, and E.B. White.
Book