This thesis examines the book in the nineteenth century by way of an unusual corpus: movable and novelty books for children, drawn from the Opie Collection of Children’s Literature at the Bodleian Library. It argues that these items, which have been either ignored or actively dismissed by scholars of children’s literature, are of two-fold significance for the history of the book: they encourage a sense of the book as a constitutively (rather than an incidentally) material object, and they demand an understanding of reading as not just a mental activity, but a physical one as well. Each of the first five chapters of the thesis centres on a different format. The opening chapter discusses the Regency-era paper doll books produced by Samuel and Joseph Fuller, exposing the tension between form and content in these works. The second chapter looks at Victorian panorama books for children, showing how the panorama format affects space, time, and the structure of any text accompanying the image. The third chapter reads the pop-up book’s key tension—the tension between surface and depth in the pursuit of an illusion of three dimensions—in terms of flat, theatrical, and stereoscopic picture-making, three other nineteenth-century pictorial modes in which an illusion of three-dimensionality is important. The fourth chapter traces self-reflexive accounts of printing, publishing, and the material book in dissolving-view books produced by the German publisher and printer Ernest Nister at the end of the nineteenth century. The fifth chapter positions the late nineteenth-century mechanical books designed and illustrated by Lothar Meggendorfer in terms of two material analogies, the puppet and the mechanical toy or automaton. The final chapter synthesizes evidence as to how the movable book could and should be read from across formats, foregrounding in particular the ways in which the movable embodies reading.

The problems under study were the following: 1. To determine the distribution of social and ethnic groups among the characters in books that have been awarded the Newbery and Caldecott Medals, and to analyze the treatment of certain groups. 2. To compare the ethnic distribution of characters in fifteen early Newbery Award books with the ethnic distribution of characters in fifteen recent Newbery Award books. 3. To interpret the findings of this study in the light of the objectives of the elementary school library.

The main problem of this research was to discover if children's picture books over the last fifty years have depicted rural values more significantly than urban values. One-hundred and one children's picture books were systematically chosen for analysis. This study takes an overall view of the history of children's literature. Also included is a review of the current studies and literature most germain to this study. Content analysis was used as the technique of data analysis, A descriptive analysis of the sample is also given. The study supports the main hypothesis that rural set, tings and rural values do occur more often than non-rural settings and urban values in children's picture books.

This thesis analyses the dramatizations of larger epic units, which have appeared on the Czech national (or regional) shows of children's theatre since 1989. After characterizing the role of dramatic text created for the theatre played by children, the work attempts to establish the evaluation criteria for the dramatization of the investigated area. With regard to the artistic and educational objectives, the work compares the composition, language and thematic basis of selected texts. At the centre of attention are those means of adaptation which acquire particular significance especially in connection with a child actor; ways of creating adult characters, the depiction of the inner world of children's heroes etc. The main task of this text analysis is to answer the question about how far the authors were able to get within the narrow borders brought on by focusing on child actors up to fifteen years of age.

Within late twentieth and early twenty-first century children’s literature there is a significant interest amongst authors and readers for material which recreates the Arthurian myth. Many of these draw on medieval texts, and the canonical texts of the English tradition have been particularly influential. Yet within this intertextual discourse the influence of the Victorian works is noticeable. This thesis explores the relationship between contemporary children’s Arthuriana and the gendered and national ideologies of these earlier works. Using feminist critical discourse analysis, it discusses the evolution of Arthuriana for the child reader, with a particular focus on four contemporary texts: Michael Morpurgo’s (1994) Arthur, High King of Britain, Mary Hoffman’s (2000) Women of Camelot: Queens and Enchantresses at the Court of King Arthur, Diana Wynne Jones’ (1993) Hexwood and the BBC series Merlin (2008-2012). Exploring the historicist and fantasy genres opens up a discourse surrounding the psychology of myth which within the context of Arthurian literature creates a sense of a universal ‘truth’. This work reveals that authorial intent, in both historicist and fantasy narratives, is often undercut by implicit ideologies which reveal unconscious cultural assumptions. The cultural context at the time of textual production and consumption affects the representations of both the ideologies of gender and nation and yet the authority of myth and history combine to create a regressive depiction more in keeping with literature from the Victorian and post-World War II eras. This is explored through a review of the literature for children available since the Age of Reason, and the didactic model which has been prevalent throughout the Arthurian genre. This thesis explores why a regressive representation is appealing within a twenty-first century discourse through an engagement with theories of feminism(s) and postfeminism. This thesis ascertains why the psychology of myth affects the reimagining of Arthuriana, and explores the retrospective nature of intertextuality in order to reflect on the trend for regressive representations in children’s Arthurian literature.

M.A. (Information Science) / Please refer to full text to view abstract

Reading and analysing different types of texts is a way for teachers to deal with the content of the school's values and mission. The aim of the study is to examine power relations between adults and children from the aspects of adult presence, adult guidance, and children's response, and whether the books follow the discourse of their time as regards power relations between adults and children. By making teachers aware of power relations in children's literature, we hope to be able to conduct a discussion with pupils about whether or not the power relationship complies with the school's values and mission. In the study four children's books are analysed: Bill i klämman, Emil i Lönneberga, Harry Potter och De Vises Sten and Guldmysteriet.The methods of critical discourse analysis and text analysis were used to analyse power relations between the characters in the books. The analysis shows that the two older books do not reflect power relations in keeping with their own historical time, whereas the two modern books do reflect their time. The analysis also shows that power relations between adults and children cannot be generalized, and that it is not always desirable for power relations in children's literature to decpit reality.

Orientador: João Luís Cardoso Tápias Ceccantini / Banca: Eliane Aparecida Galvão Ribeiro Ferreira / Banca: Thiago Alves Valente / Resumo: A pesquisa que dá corpo a esta dissertação de Mestrado foi desenvolvida no ano de 2017, no município de Nova América da Colina (PR), com duas turmas de quinto ano do Ensino Fundamental de uma escola pública municipal. Ancorada teoricamente na Estética da Recepção, tem seus fundamentos embasados nos estudos de Hans Robert Jauss (1979). O trabalho está organizado em duas grandes partes. Na primeira parte, são abordadas questões sobre literatura infantil, dados sobre a leitura no Brasil e o arcabouço teórico da pesquisa, assim como é realizada breve análise das quatro obras literárias infantojuvenis utilizadas no projeto e o levantamento de sua fortuna crítica. São elas: As Aventuras de Sargento Verde (2016), de Helena Gomes; O fantástico mistério de Feiurinha (1986), de Pedro Bandeira; O Picapau Amarelo (1939), de Monteiro Lobato; e O Sofá Estampado (1980), de Lygia Bojunga. Na segunda parte, é apresentada a pesquisa realizada sobre a recepção dessas obras pelos estudantes do Ensino Fundamental. O período de aplicação da pesquisa durou seis meses, sendo sugerida a leitura de uma obra por mês. Ao fim da leitura de cada obra, foram coletados registros das impressões de leitura dos alunos. Esses registros foram coletados de três formas. Houve um primeiro registro escrito contendo duas propostas: uma pergunta sobre o que os alunos acharam da obra e a produção de um breve resumo do que foi lido. Os outros dois registros consistiram na gravação de vídeos: uma entrevista coletiva com ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This research was developed in 2017, in Nova América da Colina (Paraná State), having as participants two classes composed of fifth year students of a public school. This work is theoretically guided by the Aesthetics of the Reception, based on Hans Robert Jauss (1979) studies. It is organized into two major parts. In the first part, questions about children's literature, data about reading in Brazil and the theoretical framework of the research are addressed, as well as a brief analysis of the four literary works for children used in the project and reviews. The books are The Adventures of Sergeant Green (2016), by Helena Gomes; The Fantastic Mystery of Uglilily (1986), by Pedro Bandeira; The Yellow Woodpecker (1939), by Monteiro Lobato; and The Chintz Sofa (1980), by Lygia Bojunga. In the second part, the research on the receptivity of these works by students of Elementary School is presented. The execution period of the research was of six months, and every reading was suggested to take one month each. At the end of the reading of each work, we collected records on reading impressions of the students. These records were collected in three ways. There was a first written record containing two proposals: a question about the students' opinions on the work, and also the production of a summary of what was read. The other two records consisted of videos: an interview with more general questions about the works with all the students was performed, as well as individual interviews, which were sampled with four children for each class and book. The individual interview had more specific questions focused on the literacy of each work read and others on various aspects related to the reading itself. Once the data were collected, transcribed, organized and processed, they were analyzed with the ... (Complete abstract click electronic access below) / Mestre

Abstract Research on the translation of children’s literature in South Africa is currently in its nascent stages. This study aims to provide a comprehensive descriptive overview of current practices in the translation of children’s literature in South Africa, particularly against the backdrop of the educational context. It espouses a broadly causal view of translation, but also encompasses a comparative and process model (see Chesterman, 2000). Translation is used to a significant degree in the production of children’s books in South Africa. However, it is not clear exactly to what degree translation is utilised, nor is there any information available about how translation contributes to the production of children’s books in South Africa. This study addresses these questions. Based on survey research among publishers, and the analysis of publishing data, it finds that there are significant differences between the ways in which translation is used in the production of children’s books in the various languages in South Africa. Specifically, translation is used much more extensively in the African languages than in Afrikaans and English, with a correspondingly lower incidence of original production in the African languages. Furthermore, the educational discourse has a profound effect on the uses of translation in the production of children’s books in South Africa. However, the educational discourse has a greater determining effect on the production of books for children in the African languages than in Afrikaans and English. Theoretical discourse surrounding domestication and foreignisation is particularly problematic in the South African context, and findings from a survey among translators indicate that translators from different language groups have different opinions about whether children’s books should be translated using domesticating or foreignising approaches. The above findings broadly deal with the contextual dimension. They are concerned with how social, ideological and material factors and discourses affect the ways in which translation is used in the production of children’s books in South Africa. At this point the matter of translation theory is introduced. It is questioned to what degree contemporary context-oriented translation theory manages to provide a satisfactory explanation of the South African situation. It is argued that polysystem theory and Toury’s (1995) concept of translation norms provides some explanation of the translational dynamics evident in the production of children’s books in the different languages in South Africa. However, some aspects of the South African situation do not neatly “fit” into polysystem theory, and some parts of the theory therefore have to be mediated or reconsidered, particularly utilising postcolonial and more ideologically sensitive perspectives, to satisfactorily account for the South African situation. This reconsideration leads to a conception of the relationship between translation and its context that is less binary and determinist, with a greater emphasis on hybridity and fluidity. This contextual dimension of the study spills over into the textual dimension. All of the above contextual and process-oriented factors finally find their precipitation in actual translations. By means of close analysis of a sample of 42 (21 translations and their source texts) English and Afrikaans children’s books intended for leisure reading and for educational reading, this part of the study investigates the norms evident in the selection of children’s books for translation, as well as the operational norms evident from the translations. The key questions here are why particular texts are selected for translation, and how cultural markers in these texts are handled in translation. The analysis demonstrates that the selection of books for translation (preliminary translation norms) is dependent on contextual as well as textual factors, with ideology and function playing particularly important roles. These roles differ for different types of books, books of different origins, and books in different language pairs. In terms of the operational norms, translators’ opinions about domestication and foreignisation do not necessarily correspond to translation practices. Rather than an exclusive, binary adherence to domesticating and foreignising approaches, analyses of the operational norms evident in translated children’s books demonstrate a hybridised mix of domesticating and foreignising strategies, which vary according to the type of book, the origin of the book, and the language pair involved in the translation process.

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