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"Lullabies Fiction."
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Rocket-bye baby : a spaceflight lullaby
An imaginary journey through space as a child gets ready to go to sleep.
BOOK
TÜRK HALKININ ÇOCUK EDEBIYATININ FLASH SIIRI TÜRÜ VE ÖGRETIM YÖNTEMLERI/FLASH POETRY GENRE OF CHILDREN'S LITERATURE OF TURKIC PEOPLE AND THE METHODS OF TEACHING
The present study aims to explore the lullabies and rhymes of Turkic people, which are the types of flash poetry genre of children's literature by using typological analysis. Qualitative analysis techniques were used in this descriptive study. Data were collected via analyzing appropriate books and magazines in the sphere of children's literature by using the method of inner analysis. It should be noted and paid attention to the inner analysis of children's folklore and to remember the following conditions. First, must be identified the creator of the works and then by whom and how they are performed. For example, lullabies have been composed by parents and performed by them. A great number of children's literature works are based on customs and traditions of people. The flash poetry genres of children's literature of Turkic people take their origin from children's folklore. According to typological analysis of flash poetry of children's literature of Turkic people general genre and similar elements were determined.
Journal Article
Boy of mine
A little boy plays among the stars before his mother tucks him into bed for the night.
Book
TEXTUAL UNRELIABILITY, TRAUMA, AND THE FANTASTIC IN CHUCK PALAHNIUK'S \LULLABY\
[...]his main characters begin a journey of initiation, either psychic or physical or both, hoping to develop a new identity (compare Campbell 45-233). [...]Lullaby became a best-seller, earning for Palahniuk the 2003 Pacific Northwest Booksellers Association Award, as well as a nomination for the Bram Stoker Award for Best Novel in 2002, as recognition that his fiction had embraced explicit gothic characteristics.
Journal Article
Baya, baya, lulla-by-a
As a mother in rural India sings to her baby, a weaverbird builds a nest for its young.
Book
Fleas, Flies, and Friars
Medieval children lived in a world rich in poetry, from lullabies, nursery rhymes, and songs to riddles, tongue twisters, and nonsensical verses. They read or listened to stories in verse: ballads of Robin Hood, romances, and comic tales. Poems were composed to teach them how to behave, eat at meals, hunt game, and even learn Latin and French. InFleas, Flies, and Friars, Nicholas Orme, an expert on childhood in the Middle Ages, has gathered a wide variety of children's verse that circulated in England beginning in the 1400s, providing a way for modern readers of all ages to experience the medieval world through the eyes of its children.
In his delightful treasury of medieval children's verse, Orme does a masterful job of recovering a lively and largely unknown tradition, preserving the playfulness of the originals while clearly explaining their meaning, significance, or context. Poems written in Latin or French have been translated into English, and Middle English has been modernized.Fleas, Flies, and Friarshas five parts. The first two contain short lyrical pieces and fragments, together with excerpts from essays in verse that address childhood or were written for children. The third part presents poems for young people about behavior. The fourth contains three long stories and the fifth brings together verse relating to education and school life.
eBook
Nature's lullaby fills the night
\"Shh - listen. Can you hear the quiet, loving sounds of the nighttime world? From moths fluttering their powdery wings, to a nightingale's sweet trills, to swaying willow trees softly shushing, shushing everyone to sleep, this rhythmic, rhyming lullaby will soothe and calm little ones.\"--Publisher's description.
Book
Das dores de crescimento à dor de existir: representações literárias de adolescências feridas
The novels Ilha Teresa (2011), by Richard Zimler, and Lullabies for Little Criminals (2006), by Heather O'Neill, are analyzed and compared. The two novels belong to crossover fiction, due to similarities in their narrative perspective with a focus on the teenager world, the growth process and identity construction marked by conflicts and problems, proposing an individual and / or social universe of a dysphoric nature. The analysis identifies a non-exclusive trend of young peoples fiction (SILVA, 2012) or even of the crossover universe (BECKETT, 2009; FALCONER, 2009), although also present in canonic literature, coupled to specific narrative strategies of this production. The erasure of borders between expected readers, frequently intended by the author, opens up several possibilities of text readings, sometimes interpreted within the reproduction of contemporary reality, seeking acknowledgement and identification of young readers with recreated worlds and language, sometimes intersecting critical and problematizing reading, questioning the real and the experiences it provides, as adults usually do.
Journal Article
No more lullabies for foolish virgins. Angela Carter and \The Erl-King\
Angela Carter's fiction has been generally acclaimed for her \"Rabelaisian humor and linguistic exuberance.\" However, the same critics who praise these stylistic traits in Carter call attention to an alleged political weakness in the narrative strategies used by the British writer. The present study uses her story \"The Erl-King\", included in the collection The Bloody Chamber and Other Stories (1979), to explore Carter's intentional ambiguity in providing her fictional women with a voice of their own. Departing from an alternative musical discourse and subversive intertextual references to \"The Erl-King\" and \"Little Red Riding Hood\", Carter creates an illusory setting in the heart of the forest that both deconstructs the patriarchal subjugation of women and holds them hostage in a stagnant dream. This dyad justifies the contradictory opinions among her critics and endows Carter with her unique way of building an alternative type of feminism.
Journal Article
Mind your B-sides
[...] I return to B -sides compilations by Suede (Sci-Fi Lullabies), Nirvana (Incesticide) and the Manic Street Preachers (Lipstick Traces) at least as often as I do to their studio albums. With some notable exceptions (Arctic Monkeys, the Vaccines), few bands now produce B -sides and, on the occasions that they do, the results are rarely worth listening to.
Magazine Article