台灣少年小說的起步相較歐美各國遲緩，晚至1960年代才出現首批本土少年小說單行本，1990年代質量均佳的作品相繼出版，少年小說才深獲肯定。本研究旨在探討1960到2010年台灣地區少年小說出版發展的歷程，以及影響台灣少年小說出版發展的重要事件與因素，並且進一步探析少年小說書目歷年成長的變化情形。 本研究以歷史研究法為主，根據文獻史料分析，台灣地區少年小說出版發展可區分為四個階段：1960－1973年孕育萌芽期；1974－1987年成長茁壯期；1988－1996年交流拓展期；1997年迄今蓬勃發展期。台灣少年小說的出版發展與政治開放、經濟繁榮、社會多元化以及文化與教育水準的提升等社會變遷有密切的關係。最後挑選出台灣少年小說出版歷程中具有指標性意義的16件大事。 本研究兼採書目計量法，對台灣地區出版的少年小說創作出版品之出版年代、出版社、作者等書目資料進行統計分析，以供未來相關研究參考之用。研究結果歸納：(1)台灣少年小說出版量在1990年代急速成長；(2)1990年代以來大陸少年小說作品數呈現穩定的成長；(3)前十名重要的少年小說出版社：依序為九歌、文房、民生報社、幼獅、小魯、福地、小兵、台灣省政府教育廳、富春以及聯經出版社；(4)前五名重要的大陸少年小說出版社：依序為民生報社、九歌、聯經、風雲時代、小魯以及麥田出版社；(5)前十三名重要的少年小說作者：依序為李潼、沈石溪、管家琪、郭妮、李光福、溫小平、張之路、曹文軒、李淑真、黃海、鄭宗弦、周姚萍以及張友漁；(6)前六名重要的大陸少年小說作者：依序為沈石溪、郭妮、張之路、曹文軒、周銳以及秦文君；(7)少年小說作者生產力與80/20 定律驗證並不相符；(8)台灣少年小說出版發展歷程與出版年代的書目成長變化二者可相互呼應。 綜合研究結果，歸納建議：(1)對兒童書目資料庫的建議：早日成立一座國家兒童圖書館，專門負責建置兒童讀物書目資料庫；(2)對兒童圖書編目的建議：應將少年小說與故事書分開獨立編目，便於兒和童少年選讀適合自己的作品；(3)對出版社的建議：應採計畫出版；鼓勵作家展現本土風情的創作，培植寫作新秀；創作和翻譯作品並重，既可觀摩優秀作品又可滿足讀者需求；(4)對作者的建議：多閱讀優良中外少年小說作品，拓展國際視野；從歷史鄉土中尋找題材，持續不斷磨練寫作技巧，提升作品的品質；(5)對圖書館的建議：圖書館應竭盡所能搜羅優良的本土少年小說作品，並且定期舉辦閱讀推廣活動；(6)對相關研究者的建議：研究結果可供兒童文學界、出版社或圖書資訊服務單位作為參考。 / The start of Taiwan juvenile novels was comparably slower than European and American countries. It was as late as the 1960s when the first batch of local single-volume juvenile novels came out. Juvenile novels started to gain recognition until the 1990s when novels of high quality and high volume have been published. The study aims to discuss the process of publishing development for Taiwan juvenile novels between 1960 and 2010, and the important events and influence factors of the publishing development in Taiwan juvenile novels. The study further analyzed the changes in the growth of bibliography for juvenile novels over the years. The study is based on historical research. According to literature review and historical data, the development of Taiwan juvenile novel publication is divided into four periods: Nurturing Period from 1960-1973. Growing Period from 1974-1987. Exchange and Expansion Period from 1988-1996. Booming Period from 1997-current. The publishing development of Taiwan juvenile novels is closely related to the social changes in political opening, economic prosperity, social diversity, and enhancement in the cultural and educational level of the overall environment. The resercher Picked up 16 major events with indicators of significance in the developing process of publication in Taiwan juvenile novels. The study also employs Bibliometrics to conduct statistical analysis on bibliographical data including the year of publication, publisher and authors of juvenile novels published in Taiwan. The result will be used for reference in related studies in the future and is inferred below: 1.The amount of publication for Taiwan juvenile novels showed rapid growth in the 1990s. 2.The number of Chinese juvenile novels appeared in steady growth since 1990. 3.The top ten important juvenile novel publishers include the followings: namely Chiuko, Winfortune Co., Ltd. , Min Sheng Newspaper, Youth, Tien-Wei Publishing Company, Winfortune Co., Ltd., Xiaobin Publishing Company, The Department of Education, Taiwan Provincial Government, Fu Chun Publishing Company Limited, and Linking Books. 4.The top five important Chinese juvenile novel publishers include the followings: namely Min Sheng Newspaper, Chiuko, Linking Books, Storm and Stress Publishing, Tien-Wei Publishing Company, and Rye Field Publishing Company. 5.Top ten important juvenile novelists include the followings: namely Tong Li, Shixi Sheng, Jiaqi Guang, Ni Guo, Guangfu Li, Xiaoping Wen, Zhilu Zhang, Wenxuen Cao, Shuzhen Li, Hai Huang, Zhongxuen Zheng, Yaoping Zhou, and Youyu Zhang. 6.Top ten important Chinese juvenile novelists include the followings: Shixi Sheng, Ni Guo, Zhilu Zhang, Wenxuen Cao, Rui Zhou, and Wenjun Tai. 7.80/20 Rule is inapplicable to the distribution of juvenile novelists’ productivity. 8.The process of publication in Taiwan juvenile novels correspond with the changes in growth for the year of publication in bibliography. The proposed guidelines are summarized as follows. 1.Recommendation for children’s bibliographical database： Establish a national children’s library soon possible which bears the major responsibility of building the bibliographical database for children’s books. 2.Recommendation for children’s library cataloguing： Juvenile novels and story books are recommended for separate and independent cataloguing so that children and youths could select the books suitable for their own reading requirement. 3.Recommendations for publishers: Publication should be planned and authors are encouraged to exhibit the creativity of local style while incubating the new talents in writing. Emphasize both on creativity and translated works that could offer observation of excellent works as well as satisfying reader needs. 4.Recommendations for authors： Read more excellent Chinese or foreign juvenile novels, expand international horizon, search for materials from history of localness, continue to discipline on writing skills, and improve work quality. 5.Recommendation for libraries：Libraries should do the best they could to collect outstanding local juvenile novels and hold reading promotional activities on a regular basis. 6.Recommendations for relevant researchers： The research results could be offered as reference to children’s literary circle, publishing companies or library information service units.

<p>The purpose of this dissertation is to study the fantastic in the tales of the Italian children’s author Gianni Rodari. This analysis is grounded in the hypothesis that the fantastic is primarily characterized by two <i>esthetic qualities</i>, play and lightness, both of which are manifested at different levels in these texts, as well as in the relation between children and adults.</p><p>As a background for the textual analysis in the present work, an introductory review is provided of previous research, followed by a historical and theoretical consideration of fantastical children’s literature, together with a study of Rodari’s own relation to the fantastic. For previous research, the results clearly indicate an arbitrary relationship to Rodari’s texts, such that the fantastic is admittedly recognized, but is often confused with the fairy-tale. However, the present review of the history of Italian fantastical literature for children indicates that Rodari is writing in a fantastical and humorous tradition that begins with <i>Pinocchio</i>, a tradition that is <i>inter alia </i>characterized by its ability to bridge the gap between children’s and adult literature. Based on theoretical definitions of the fairy-tale (Propp, Thompson, Lüthi) and the fantastic (Todorov, Rabkin, Jackson, Held), the present work presents its own model for the study of Rodari’s texts, which are also compared with the author’s own poetics,<i> The Grammar of Fantasy.</i></p><p>A narratological analysis of a tale with both a children’s and an adult version (in itself an example of <i>crosswriting</i>) demonstrates that the fantastic and the humoristic are given freer rein when Rodari is writing for children. This appears to be linked to his concept of the child as the ideal reader, a reader primarily defined by an open and unprejudiced attitude to literature, rather than by age <i>per se</i>. The dissertation’s study of play and lightness (lack of weight) clearly confirms the hypothesis that these elements are a major component of the fantastic in Rodari’s texts; the results nevertheless indicate that play dominates on the level of language, and lightness on that of content.</p><p>One of the most important results of this dissertation is that Rodari’s texts, in addition to possessing certain stylistic characteristics, do not demonstrate any deeper similarities to fairy tales. Instead, the author’s tales share numerous characteristics with the traditional concept of the fantastic such as a clear reaction to the supernatural element, and a particular interest in both the material nature of language and existential liminal regions. At the same time, the results indicate several specific characteristics that distinguish the fantastic in Rodari from that which is written for adults, such as its explicit grounding in the child’s everyday existence and imaginative world, as well as its backgrounding of frightening aspects, with prominence instead being given to playfulness.</p>

<p>A close reading of a series of books by Eoin Colfer that enjoyed universal success showed a change in the language between the books especially with respect to minor linguistic features such as choice of location and abstract vs. concrete language. The books are about the boy Artemis Fowl, and were presumably conceived as children’s books.</p><p>My original thesis was that the writer could not be sure of the success of the first book, but would definitely be aware of a worldwide audience for at least his third book, due to, for example, questions raised by the translators. If the original audience was expected to be Irish, or British, with very much the same cultural background as the author’s, the imagined subsequent audiences would change with success. My hope was to be able to show this by comparing linguistic features. And indeed, even though some changes could be due to coincidence there was a specific pattern evolving in the series, in that the originally Irish cultural background became less exclusive and more universal. The writer also used more details concerning locations, with added words to specify a place. What could thus be expected in the translated versions would be omissions and additions in especially the first book, but less need for that in later books. This, however, could not be proven in the Swedish translations. I thus conclude that the books became easier to follow for a wider, in this case Swedish, audience mostly because of efforts by the author and less because of the translator.</p>

The purpose of this dissertation is to study the fantastic in the tales of the Italian children’s author Gianni Rodari. This analysis is grounded in the hypothesis that the fantastic is primarily characterized by two esthetic qualities, play and lightness, both of which are manifested at different levels in these texts, as well as in the relation between children and adults. As a background for the textual analysis in the present work, an introductory review is provided of previous research, followed by a historical and theoretical consideration of fantastical children’s literature, together with a study of Rodari’s own relation to the fantastic. For previous research, the results clearly indicate an arbitrary relationship to Rodari’s texts, such that the fantastic is admittedly recognized, but is often confused with the fairy-tale. However, the present review of the history of Italian fantastical literature for children indicates that Rodari is writing in a fantastical and humorous tradition that begins with Pinocchio, a tradition that is inter alia characterized by its ability to bridge the gap between children’s and adult literature. Based on theoretical definitions of the fairy-tale (Propp, Thompson, Lüthi) and the fantastic (Todorov, Rabkin, Jackson, Held), the present work presents its own model for the study of Rodari’s texts, which are also compared with the author’s own poetics, The Grammar of Fantasy. A narratological analysis of a tale with both a children’s and an adult version (in itself an example of crosswriting) demonstrates that the fantastic and the humoristic are given freer rein when Rodari is writing for children. This appears to be linked to his concept of the child as the ideal reader, a reader primarily defined by an open and unprejudiced attitude to literature, rather than by age per se. The dissertation’s study of play and lightness (lack of weight) clearly confirms the hypothesis that these elements are a major component of the fantastic in Rodari’s texts; the results nevertheless indicate that play dominates on the level of language, and lightness on that of content. One of the most important results of this dissertation is that Rodari’s texts, in addition to possessing certain stylistic characteristics, do not demonstrate any deeper similarities to fairy tales. Instead, the author’s tales share numerous characteristics with the traditional concept of the fantastic such as a clear reaction to the supernatural element, and a particular interest in both the material nature of language and existential liminal regions. At the same time, the results indicate several specific characteristics that distinguish the fantastic in Rodari from that which is written for adults, such as its explicit grounding in the child’s everyday existence and imaginative world, as well as its backgrounding of frightening aspects, with prominence instead being given to playfulness.

I den stora hen-debatten under 2012 saknades barnens perspektiv. Syftet med denna uppsats är att belysa det genom att ta reda på vilka pronomen förskolebarn använder i sitt samtalande om barnboken Kivi och monsterhund som endast innehåller könsneutrala pronomen. Materialinsamlingen gjordes genom barnintervjuer i fokusgrupper där fyra- och femåriga förskolebarn fick samtala om boken och som analyseringsmetod har en mestadels kvantitativ metod använts för att ta reda på pronomenens frekvens. Resultaten visar att barnen inte reagerade nämnvärt på hen och använde det inte heller själva. Kivi omnämndes av barnen som han medan monsterhunden refererades till som den eller han.  Hypotesen att barnen skulle tillskriva Kivi sitt eget kön visade sig inte stämma då skillnaderna i pronomenanvändning pojkar och flickor emellan var minimala. Resultaten kan bero på att mannen ses som norm och kvinnor som ”det Andra” (de Beauvoir 2002) samt att barnlitteraturen domineras av pojkar. Resultaten överensstämmer också med tidigare forskning av Merrit &amp; Kok (1995) som visar att karaktärer med könsneutrala namn tenderar att tillskrivas manligt kön. / In the great debate over the gender-neutral pronoun hen in 2012, the perspective of the children was missing. The aim of this bachelor essay is to shed light on that perspective by investigating which pronouns pre-school children use in conversation about the children’s book Kivi och monsterhund which contains only gender-neutral pronouns. The material was obtained through children’s interviews in focus groups where four- and five-year-old pre-school children talked about the book and the material was analyzed by using a mostly quantitative method to find out the frequency of the used pronouns. The results show that the children scarcely reacted to hen nor did they use it themselves. Kivi was referred to by the children as he while monsterhunden (the monster dog) was referred to as it or he. The hypothesis that the children would ascribe Kivi their own gender proved to be incorrect as the differences in use of pronouns between boys and girls were minimal. The results may be an effect of the man being viewed as the norm and women as “the Other” (de Beauvoir 2002) and the dominance of boys in children’s literature. The results also correlate to previous research by Merrit &amp; Kok (1995) that show that characters with gender-neutral names tend to be ascribed male gender.

While numerous studies on academic writers composing for non-academic audiences exist, few if any studies address academic writers composing biographies for children. This self-reflective case study of a Eudora Welty biography for children provides insight into how an academic writer can effectively write in a specific genre (biography) for a specific audience (children) and into practical rhetorical choices such as choosing photographs and designing page layouts. The study also offers triangulated data regarding essential criteria of quality children’s literature as identified by experts in the field (editors, publishers, award committee members, scholars, and authors). The author’s findings include sixty-eight of the most often cited criteria, such as accuracy and the use of documented evidence, that serve as guidelines and a means of evaluating biographies written for children.

The Grimm Brothers’ Little Briar-Rose is a beloved fairytale, which is more commonly known as Sleeping Beauty. What began as a Volksmärchen, is now a world famous and beloved Kunstmärchen. The Brothers collected and adapted the tale, incorporating their own literary style, helping to develop a literary Germanic cultural history. In this thesis I analyze how the tale evolves from the original oral tale to the literary story, and how various perspectives of culture and authors, with particular audiences in mind, adapt their versions. Historical background of the Grimms and their influences, an analysis of how the story was revised by the Grimms in the 1812 and 1857 editions, how American children’s versions compare to the Grimms’ version and how Jane Yolen’s version of Sleeping Beauty meets the structural and cultural expectations of the Grimms’ tale are examined.

This study analyses five different picture books from the last few decades. The aim of the analysis was to investigate how relations between children and adults are presented in the picture books. One way to achieve this has been to focus on the adults’ presence or absence in the narrative, and also what kind of authority the adult(s) can have in the action and how it can affect relations between children and adults. The idea is that this degree project can be adapted for practical use in school. It is hoped that teachers will receive inspiration for how they can work on the topic of relations between children and adults with the aid of picture books.A literary analysis which embraces the interplay between text and image, and with a focus on the different characters, has been used to analyse the picture books. The analysis shows that the absence and presence of the adults is depicted in different ways and can be divided into different groups: always absent, partly absent, physically present but absent in mind, and present. Another finding is that, in three of the five books, some adult character is portrayed as an authority, and this too affects how relations between the children and the adults are depicted.

Submitted by FRANCIELE RUIZ PASQUIM null (franpedago@yahoo.com.br) on 2018-01-04T04:08:52Z No. of bitstreams: 1 2017 TESE FRANCIELE RUIZ PASQUIM.pdf: 3258190 bytes, checksum: 212912461ffbeb0b54aa68038005bfcd (MD5) / Approved for entry into archive by Telma Jaqueline Dias Silveira null (telmasbl@marilia.unesp.br) on 2018-01-04T12:44:10Z (GMT) No. of bitstreams: 1 pasquim_fr_dr_mar.pdf: 3258190 bytes, checksum: 212912461ffbeb0b54aa68038005bfcd (MD5) / Made available in DSpace on 2018-01-04T12:44:10Z (GMT). No. of bitstreams: 1 pasquim_fr_dr_mar.pdf: 3258190 bytes, checksum: 212912461ffbeb0b54aa68038005bfcd (MD5) Previous issue date: 2017-12-04 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Dans cette thèse, sont présentés les résultats de recherche de Doctorat en Éducation, lièe au Projet Intégreé de Recherche “Histoire de l’Enseignement de Langue at Littérature au Brésil”, tous coordonnés par Maria do Rosário Longo Mortatti. Afin de comprendre la contribution de l'enseignante et bibliothécaire brésilienne Lenyra Camargo Fraccaroli (1908-1991) à l'histoire de la littérature pour les enfants au Brésil, sa conception de la littérature pour les enfants est formulée, pendant plus de 50 ans de sa carrière. professionnelle, en tant que bibliothécaire pédagogique, pour la formation culturelle des enfants, à travers la création de bibliothèques pour les enfants dans l'état de São Paulo. L’Enseignant formé Escola Normal de São Paulo en 1932, et bibliothécaire à Escola de Sociologia e Política de São Paulo, en 1943, il a travaillé à la bibliothèque pour les enfants municipale à São Paulo depuis 25 ans, et après sa retraite en tant que membre de différentes institutions en relation avec la lecture, les livres et les enfants, y compris Academia de Literatura Infantil e Juvenil (ABLIJ), dont elle a été la fondatrice et la présidente. Par une approche historique, centrée dans recherche documentaire et bibliographique, mis au point par la recherche des procédures, la récupération, la réunion, la sélection et la commande des sources documentaires, a élaboré un outil de recherche contenant 280 références textes écrits par Fraccaroli et références de texte d'autres auteurs qui traitent des aspects de leur vie et de leur performance professionnelle. Parmis les textes Fraccaroli assemblés ont été choisis comme corpus d'analyse de sa configuration textuelle, ce qui suit: “Como despertar na infância o prazer pela leitura, tornando-a um hábito” (1975) e “Bibliotecas infantis” (1976) e Bibliografia de literatura infantil em língua portuguesa (1953).En raison de son expérience en tant que bibliothécaire des enseignants, sur la base des études de psychologie de l'éducation du XXe siècle, Fraccaroli a rencontré dans cette catalogue, 1843 livres disponibles sur le marché de l'édition brésilienne du temps, ce qui indique la détermination de l'âge auquel chaque destiné . Selon Fraccaroli, les livres de la littérature pour enfants devraient être adaptés au développement de la psyché de l'enfant, passant de “leitura recreativa” pour “leituras de níveis mais elevados”, reprenant la classification présentée dans l'éducateur des textes et psychologue Manuel Bergström Filho Lourenço (1897- 1970). Il a été conclu que le statut d'expert dans la littérature pour enfants et de défendre les droits des enfants aux bibliothèques, aux livres et à la lecture, Fraccaroli a contribué à l'éducation culturelle des enfants brésiliens, compte tenu de ses enfants, la production des auteurs de la littérature enfantine des auteurs brésiliens et la permanence d'une manière d'indiquer et de guider les lectures pour les enfants, toujours présents de nos jours. / Nesta tese, apresentam-se resultados de pesquisa de Doutorado em Educação, vinculada à linha "História do ensino de literatura infantil e juvenil" do Grupo de Pesquisa e ao Projeto Integrado de Pesquisa - História do Ensino de Língua e Literatura no Brasil, todos coordenados por Maria do Rosário Longo Mortatti. Com o objetivo de compreender a contribuição da professora e bibliotecária brasileira, Lenyra Camargo Fraccaroli (1908-1991), para a história da literatura infantil no Brasil, enfoca-se sua concepção de literatura infantil, que foi formulada ao longo de 50 anos de sua trajetória profissional, como bibliotecária educadora, em prol da formação cultural de crianças, por meio da criação de bibliotecas infantis no estado de São Paulo. Formada professora pela Escola Normal de São Paulo, em 1932, e bibliotecária pela Escola de Sociologia e Política de São Paulo, em 1943, atuou na Biblioteca Infantil Municipal em São Paulo, durante 25 anos e, após sua aposentadoria, como membro de diferentes instituições relacionadas à leitura, ao livro e às crianças, dentre as quais a Academia Brasileira de Literatura Infantil e Juvenil (ABLIJ), da qual foi fundadora e presidente. Mediante abordagem histórica, centrada em pesquisa documental e bibliográfica, desenvolvida por meio de procedimentos de localização, recuperação, reunião, seleção e ordenação de fontes documentais, elaborou-se um instrumento de pesquisa contendo 280 referências de textos escritos por Fraccaroli e referências de textos de outros autores que tratam de aspectos de sua vida e sua atuação profissional. Dentre os textos de Fraccaroli reunidos, foram selecionados, como corpus para análise de sua configuração textual, os seguintes: “Como despertar na infância o prazer pela leitura, tornando-a um hábito” (1975) e “Bibliotecas infantis” (1976) e Bibliografia de literatura infantil em língua portuguêsa (1953). Em decorrência de suas experiências como bibliotecária educadora, com base nos estudos da psicologia educacional do século XX, Fraccaroli reuniu, nesse catálogo, 1843 livros disponíveis no mercado editorial brasileiro da época, indicando a determinação da idade a que se destinava cada um. Segundo Fraccaroli, os livros de literatura infantil deveriam ser adequados ao desenvolvimento do psiquismo infantil, passando da “leitura recreativa” para as “leituras de níveis mais elevados”, retomando a classificação apresentada em textos do educador e psicólogo Manuel Bergström Lourenço Filho (1897–1970). Concluiu-se que, na condição de especialista em literatura infantil e em defesa dos direitos das crianças às bibliotecas, ao livro e à leitura, Fraccaroli contribuiu para formação cultural da infância brasileira, tendo em vista sua significativa contribuição no que se refere ao aperfeiçoamento do mercado de livros para crianças, à produção de literatura infantil de autores brasileiros e à permanência de um modo de indicar e orientar leituras para crianças, ainda presente nos dias atuais. / In this thesis, we present results of a doctoral study in Education in the scope of Research Group and Integrated Research Project "History of teaching children and youth literature", coordinated by Maria do Rosário Longo Mortatti. Aiming to contribute to the understanding of the contribution of the Brazilian teacher and librarian, Lenyra Camargo Fraccaroli (1908-1991) in the history of children's literature in Brazil, focuses his conception of children's literature, which was formulated over 50 years of his professional career, as an educator librarian, for the cultural formation of children, through the creation of children's libraries in the state of São Paulo. Trained as a teacher at the Escola Normal de São Paulo in 1932 and a librarian at the Escola de Sociologia e Política de São Paulo in 1943, she worked at the Biblioteca Infantil Municipal de São Paulo for 25 years and, after her retirement, as a member of different institutions related to reading, books and children, among which the Brazilian Academia Brasileira de Literatura Infantil e Juvenil (ABLIJ), of which she was founder and president.By means of historical approach, focusing on documentary and bibliographical research, using procedures such as locating, recovering, assembling, selecting and ordering documentary sources, it was elaborated a research guide that contains 280 references of texts written by Fraccaroli and references of texts by other authors dealing with aspects of their life and their professional performance. Among the collected Fraccaroli texts, the following were selected as corpus for analysis of their textual configuration: “Como despertar na infância o prazer pela leitura, tornando-a um hábito” (1975) e “Bibliotecas infantis” (1976) e Bibliografia de literatura infantil em língua portuguesa (1953).As a result of his experiences as an educatorl librarian, based on the studies of educational psychology of the twentieth century, Fraccaroli collected in this Bibliografia…1843 books available in the Brazilian publishing market of the time, indicating the age of each one. According to Fraccaroli, children's literature should be adapted to the development of children's psyche, moving from "leitura recreativa" to " leituras de níveis mais elevados", returning to the classification presented in texts by educator and psychologist Manuel Bergström Lourenço Filho (1897- 1970). It was concluded that, as a specialist in children's literature in defense of the rights of children in libraries, books and reading, Fraccaroli contributed to the cultural formation of Brazilian children, to the production of children's literature by Brazilian authors and to the permanence of indicating and guiding the readings for children, still present in the present. / CAPES

A partir de minha tradução para o português brasileiro de The Magic Pudding (1918), novela infantil australiana escrita e ilustrada por Norman Lindsay, o objetivo desta dissertação é demonstrar as peculiaridades da tradução de literatura infantil ilustrada. Portanto, este estudo analisa o papel das ilustrações na tradução, enquanto levanta questões sobre a adaptação literária em uma época em que novos meios e tecnologias de leitura competem com o livro impresso pela atenção infantil. Como O Pudim Mágico é a primeira tradução da novela para o português, e devido à importância das ilustrações na narrativa, é proposta uma tradução estrangeirizada para que elementos da cultura e da natureza australianas, especialmente alimentos e animais, permaneçam visíveis no texto de chegada. Pelas mesmas razões, tanto o texto propriamente dito quanto as ilustrações são tratados como textos, respectivamente, verbal e pictórico, em oposição aos peritextos verbal e pictórico acrescentados ao texto de chegada. Este estudo é dividido em quatro capítulos: 1) apresentação da biografia e obra do autor, bem como do contexto em que The Magic Pudding foi escrito, seguida pelo resumo detalhado da novela, uma discussão sobre as peculiaridades da tradução para crianças e, baseadas principalmente em Lawrence Venuti e Gérard Genette, as justificativas para a abordagem estrangeirizante com o emprego de elementos peritextuais; 2) apresentação das estratégias de Javier Franco Aixelá para a tradução de itens culturais-específicos para discutir o tratamento de nomes próprios contendo significados culturais; considerando o leitor-alvo, é sugerido o acréscimo de elementos peritextuais, tais como novas ilustrações combinadas com um prefácio verbal, a fim de evitar o emprego de notas de rodapé; 3) análise da influência da ilustrações de Lindsay na tradução, com sugestões para o tratamento do texto verbal de chegada; 4) discussão sobre tópicos de adaptação e transmidiação de literatura infantil, com sugestões para tratar os textos verbal e pictórico na transposição de O Pudim Mágico de meio impresso a digital; com base principalmente nos estudos de Lars Elleström e Ellen McCracken, dispositivos digitais de leitura como o Amazon Kindle e o Apple iPad são analisados, concluindo-se que o texto-alvo é considerado uma tradução em formato impresso, uma remidiação em formato para Kindle e uma transmidiação em formato para iPad. / Based on my unpublished translation of The Magic Pudding (1918), Australian children’s novel written and illustrated by Norman Lindsay, this thesis aims at demonstrating the peculiarities of translating illustrated children’s literature. Therefore, it analyses the role of the illustrations in the translation while raising questions on literary adaptation at a time when new reading media and technology compete with the printed book for children’s attention. Given that O Pudim Mágico is the first translation of the novel into Portuguese and due to the importance of the illustrations in the narrative, I propose a foreignised translation to preserve Australia’s cultural and natural elements, in particular foods and animals, visible in the target text. For the same reasons, both the text proper and the illustrations are regarded as texts, respectively verbal and pictorial, in opposition to the verbal and pictorial peritexts added to the target text. This study is divided into four chapters: 1) a presentation of the author’s biography and oeuvre, as well as of the context in which The Magic Pudding was written, followed by a detailed summary of the novel, a discussion on the peculiarities of translating for children and, mainly based on Lawrence Venuti and Gérard Genette, a justification for the foreignising approach with the employment of peritextual elements; 2) a presentation of Javier Franco Aixelá’s strategies to translate culture-specific items in order to discuss the treatment of proper names that hold cultural meanings; considering the target reader, the addition of peritextual elements, such as new illustrations combined with a verbal preface, is suggested as a means to avoid the employment of footnotes; 3) an analysis of the influence of Lindsay’s illustrations on the translation with suggestions for the treatment of the verbal target text; 4) a discussion on issues of adaptation and transmediation of children’s literature, with suggestions for treating the verbal and pictorial texts in the transposition of O Pudim Mágico from printed to digitised media; based mainly on the studies by Lars Elleström and Ellen McCracken, digital reading devices such as Amazon Kindle and Apple iPad are analysed to conclude that the novel’s target text is deemed to be a translation in print format, a remediation on Kindle and a transmediation on iPad. Keywords: Adaptation. Australian Literature. Children’