The presented diploma thesis maps the situation of contemporary child's reading. It deals with the factors which form the child reader externally (especially family, school and libraries, or the projects supporting child's reading). The main part of the thesis presents an analysis of the contemporary poetry for children. It examines how the books can influence the readers and motivate them for further reading. For the text analysis, the books of poetry which were awarded in competitions of Zlatá stuha or Magnesia Litera in 2013-2017 were selected as representative samples, namely Poetický slovníček dětem v příkladech, Všelijaké řečičky pro kluky a holčičky and Moře slané vody by Radek Malý, Tetovaná teta by Daniela Fischerová, Vynálezárium by Robin Král and Hlava v hlavě by David Böhm and Ondřej Buddeus. When analyzing the illustrations, attention was paid to the selected books that won the art category of Zlatá stuha and the competition Nejkrásnější česká kniha roku (The Most Beautiful Czech Book of the Year) and to the books representing the model production of the publishing houses of Běžíliška, Meander and series Raketa in publishing house Labyrint. An aspect of illustration was analyzed in the concertina books Rekomando and Ferdinande! by Robin Král and concertina book O čem sní by Petr...

The presented diploma thesis maps the situation of contemporary child's reading. It deals with the factors which form the child reader externally (especially family, school and libraries, or the projects supporting child's reading). The main part of the thesis presents an analysis of the contemporary poetry for children. It examines how the books can influence the readers and motivate them for further reading. For the text analysis, the books of poetry which were awarded in competitions of Zlatá stuha or Magnesia Litera in 2013-2017 were selected as representative samples, namely Poetický slovníček dětem v příkladech, Všelijaké řečičky pro kluky a holčičky and Moře slané vody by Radek Malý, Tetovaná teta by Daniela Fischerová, Vynálezárium by Robin Král and Hlava v hlavě by David Böhm and Ondřej Buddeus. When analyzing the illustrations, attention was paid to the selected books that won the art category of Zlatá stuha and the competition Nejkrásnější česká kniha roku (The Most Beautiful Czech Book of the Year) and to the books representing the model production of the publishing houses of Běžíliška, Meander and series Raketa in publishing house Labyrint. An aspect of illustration was analyzed in the concertina books Rekomando and Ferdinande! by Robin Král and concertina book O čem sní by Petr...

While over the years stakeholders such as publishers and academics have taken a keen interest in research into writing and publishing, they have been less concerned about research into indigenous children‟s literature. In this thesis a comprehensive examination of children‟s literature in the indigenous African languages of South Africa and in Zulu in particular, is presented. Qualitative research methods have been applied, using questionnaires and interviews to gain first-hand knowledge of problems and possible solutions to the dearth of original children‟s literature in the indigenous languages. The data obtained in this regard has proved invaluable to the researcher and, hopefully, will be so to others in the future. Oral folktales narrated before the influence of the missionaries qualify as children‟s literature. The transition from the oral performance of these folktales to the reading of written children‟s texts is discussed in detail. This is achieved by considering the milieu, themes, content, functions and values of this children‟s literature. The discussion of imilolozelo (lullabies) and izilandelo/izidlaliso (game songs) presents the genre of children‟s traditional oral poetry as a form of performance based not only on narrative but also on songs and/or chants interspersed with rhythmical movements to relay their message. Zulu school readers as modern literature for children are also examined by tracing their background and the development of original Zulu children‟s written literature since it was first recorded by the missionaries. Contents and themes of these early readers, dating from the 1800s, are examined and compared with a series of graded readers published in 1962 by C.L.S. Nyembezi. The sixth chapter of the thesis investigates Zulu children‟s picture books as contemporary literature. Various types of picture books and their functions are discussed. Research findings point to an urgent need for the training of African authors in the writing of age-appropriate books in indigenous African languages. Lastly, the study proves that it is feasible to regard traditional oral and modern indigenous texts as children‟s literature. / D. Litt. et Phil. (African Languages)

While over the years stakeholders such as publishers and academics have taken a keen interest in research into writing and publishing, they have been less concerned about research into indigenous children‟s literature. In this thesis a comprehensive examination of children‟s literature in the indigenous African languages of South Africa and in Zulu in particular, is presented. Qualitative research methods have been applied, using questionnaires and interviews to gain first-hand knowledge of problems and possible solutions to the dearth of original children‟s literature in the indigenous languages. The data obtained in this regard has proved invaluable to the researcher and, hopefully, will be so to others in the future. Oral folktales narrated before the influence of the missionaries qualify as children‟s literature. The transition from the oral performance of these folktales to the reading of written children‟s texts is discussed in detail. This is achieved by considering the milieu, themes, content, functions and values of this children‟s literature. The discussion of imilolozelo (lullabies) and izilandelo/izidlaliso (game songs) presents the genre of children‟s traditional oral poetry as a form of performance based not only on narrative but also on songs and/or chants interspersed with rhythmical movements to relay their message. Zulu school readers as modern literature for children are also examined by tracing their background and the development of original Zulu children‟s written literature since it was first recorded by the missionaries. Contents and themes of these early readers, dating from the 1800s, are examined and compared with a series of graded readers published in 1962 by C.L.S. Nyembezi. The sixth chapter of the thesis investigates Zulu children‟s picture books as contemporary literature. Various types of picture books and their functions are discussed. Research findings point to an urgent need for the training of African authors in the writing of age-appropriate books in indigenous African languages. Lastly, the study proves that it is feasible to regard traditional oral and modern indigenous texts as children‟s literature. / D. Litt. et Phil. (African Languages)

In 1923, the poet Kitahara Hakushū wrote an essay entitled “Dōyō shikan” 童謡私観 or “Philosophy of Dōyō.” In it, he described a perspective on children that valued their innately creative potential. Hakushū felt that this potential was something that every child had and that could be enriched and drawn out through dōyō 童謡 (children's songs.) Hakushū’s views in this sense challenged the prevailing attitudes in the Taishō period toward children and toward the function that children’s songs and poetry should serve. Despite Hakushū’s prominence as a poet, the “Dōyō shikan” has never been translated or closely analyzed in English. The analysis of the “Dōyō shikan” provides a lens through which to view Hakushū’s poetry for children. The principles that Hakushū described in this essay for writing dōyō can be seen both in Hakushū’s own work and the work of children who submitted poetry to Akai tori, a literary magazine for which Hakushū managed poetry. Those principles stressed the need for the poet to replicate the child’s voice, mind, and imagination for the purpose of writing dōyō that were creative, artistic, and meaningful to children.

Submitted by Johnny Rodrigues (johnnyrodrigues@ufcg.edu.br) on 2018-09-26T13:58:21Z No. of bitstreams: 1 MASSILLANIA FERREIRA GOMES - DISSERTAÇÃO POSLE 2008..pdf: 10069684 bytes, checksum: d89e7928b034ee3b76f0a823ba6c322c (MD5) / Made available in DSpace on 2018-09-26T13:58:21Z (GMT). No. of bitstreams: 1 MASSILLANIA FERREIRA GOMES - DISSERTAÇÃO POSLE 2008..pdf: 10069684 bytes, checksum: d89e7928b034ee3b76f0a823ba6c322c (MD5) Previous issue date: 2008-03 / Nesta dissertação, buscou-se refletir a respeito de uma experiência com o livro Exercícios de ser criança (1999), de Manoel de Barros, realizada com alunos de uma 4a série do Ensino Fundamental, numa escola pública da cidade de Campina Grande. Neste trabalho, foram analisados os caminhos percorridos, tanto pela pesquisadora quanto pelo poeta, para proporcionar às crianças uma experiência sensível com a narrativa "O menino que carregava água na peneira". Primeiramente, observou-se o modo como o autor faz uso, em sua poesia infantil, de várias características de sua obra para adultos - a exemplo da valorização da inventividade do ser-poeta. encontrado nas crianças, o gosto por coisas miúdas, além do uso peculiar que é atribuído à água, à imaginação, à brincadeira a partir de brinquedos, etc. Como bases teóricas foram utilizadas, por exemplo, teorias de Bachelard (2002), Kishimoto (1999), Held (1990), Camargo (1990), Bosi (2000), que auxiliaram na análise das qualidades textuais e imagéticas do livro. As leituras de Cosson (2006) e Pinheiro (2000, 2002 e 2003) apontaram para a necessidade de não se exigir estritamente dos alunos que fizessem interpretações do texto do poeta Manoel de Barros, o que atendeu à perspectiva poética do autor. Já leituras de textos como os de Iser (1979) e Jauss (1979) auxiliaram na elaboração de uma sequência de leitura que levasse em conta as experiências de mundo do aluno, sua criatividade, elementos estes que contribuem para uma leitura ao mesmo tempo individual e coletiva do texto poético. A partir desse trabalho sensível com a poesia, põde-se observar o quão necessário se faz o texto poético para a formação humana dos alunos. / Due to the necessity to do some work on Manoel de Barros' poetry in Júnior High School, we have attempted, in this dissertation, to reflect on an experiment with the book "Exercícios de ser criança" (1999) ( Exercises on being a child ), performed with some 4th grade students, at a public school in the city of Campina Grande. In this work, we analysed the routes taken by both the researcher and the poet, in order to provide children with a sensitive experience involving the narrative "O menino que carregava água na peneira" (The boy who carried water on the sieve). We observed the way the author uses, in his children's poetry, several characteristics of his work for adults, as for example, the valuation of the poet being found in the child, the appreciation of tiny things, besides the peculiar use which is attributed to water, to imagination, to toy play, and so on. As a theoretical background, we used the theories from Bachelard (2002), Kishimoto (1999), Held (1990), Camargo (1990), Bosi (2000), which helped with the analysis of the textual and imagetic qualities of the book. Readings from Cosson (2006) and Pinheiro (2000, 2002 and 2003) pointed to the need for not strictly requiring of the students that they interpret the texts by the poet Manoel de Barros, something which fulfils the autho^s poetic perspective. Now, readings from Iser ( 1979 ) and Jauss ( 1979 ) helped in producing a reading sequence which would take into account the studenfs world experience, his/her creativity, elements which contribute to the reading of the poetic text which is at the same time individual and collective. From this sensitive work on poetry, we could perceive how necessary the poetic text is for the students' humane education.

The thesis deals with recent Czech translations of children's poetry in English and their addressees. In the first part, we describe the terminological issues related to the terms dětská literatura and dětská poezie (and their English equivalents), focus on the specific features of children's poetry and the process of translating children's literature, and finally outline the history of children's poetry in the Czech lands, the United Kingdom and the USA. In the second part, we compare target texts with their source texts in terms of content (proper nouns, puns etc.) and form (rhythm, rhyme etc.), thereby showing the strategies the translators used. Finally, we also comment on the issues pertaining to the publishing of children's literature and describe the origination of the Czech translation of Shel Silverstein's A Light in the Attic. Keywords: children's literature, children's poetry, translation, translation analysis, Shel Silverstein, Robert Browning, Robert Louis Stevenson, Alexander Milne, Thomas Stearns Eliot, Lewis Carroll, Norman Lindsay