Thesis (Mphil (Visual Arts. Illustration))--University of Stellenbosch, 2007. / This thesis is a visual, sociolinguistic and cultural inquiry into the role of isiXhosa picture books in contemporary South Africa. From the standpoint of an illustrator, I examine several of these works arising out of a history that alienated many isiXhosa readers and writers from their language. I examine factors that influence the design, content and very notions of reading itself through the multiple languages offered by the picture book format. I argue that these books occupy a problematic space where production and consumption are affixed to paradigms of economics, language and literacy incongruent with the lives of many isiXhosa-speaking readers. My overall conclusion is that literacy and visual literacy are essential to developing an authentic 'reading culture'. Fostering a meaningful relationship with printed words and images is critical to both the emerging reader and the emerging illustrator. In producing illustrations for an isiXhosa narrative, I consider the shape of my own visual literacy through mediations with drawing and writing, relating my activities to those of a child learning to distinguish between pictures and words. The cross-over space where image/text distinctions blur potentially invites new narrative expressions. The picture book is a suitable format for expanding notions of vision and literacy, 'subverting' paradigms and revealing the richness of contemporary African tales. I rest my fundamental premise on an insistence for an increase of accessible, quality picture books in African languages that stimulate the artistic and intellectual development of all readers.

學習語言主要目的為「溝通」及「運用」，如何使學習者習得更貼近母語者的應答習慣是教學者所關心的。研究顯示「圖像」不但可以幫助學習者在閱讀的過程中理解內容，進而延伸思考、融會貫通，更可以激發自我語言表達能力。然而台灣目前使用繪本於教學主要的對象為華裔青年或新移民配偶及其子女為主。因此，本文主要探討如何運用華語繪本於海外成人華語課程。本研究透過大量的文獻回顧探討中英教學中的繪本教學發展、教學理論與教學法、第二語言學習教材與挑選繪本評量標準，以此建立本文之理論架構，同時依據此架構規劃教學設計並執行。除此之外，也根據第二語言教學理論及挑選繪本之標準，建立一套運用於華語課程的繪本選取與評定原則。研究結果顯示繪本運用於成人華語課堂中不僅可以使得課程更加多元化，更可以透過不同的教學素材來延伸教學活動。研究者亦由6T教學法中讓學習者根據6T各項目進行回饋。回饋結果除了在任務及思緒的部分仍需要修正之外，整體來說，學生對於繪本運用於語言課堂有非常正面的看法。然而受到繪本文本詞彙之限制，較多的繪本是適合中級程度以上的學生使用。本研究一共分析了26本繪本，共得出26個主題，主題則以友情、成長、夢想、創意居多。最後參考了許多學術論述之後，制訂了繪本選取評定標準，評定表共分成教學、心理及藝術三個層面來說明，最後共得出50項標準供學界參考。研究者亦於文末提出了未來使用繪本於教學之研究建議。 / The main purpose of learning the language is to communicate and to use it. Therefore, language teacher concern more on how assisting the learners to use the language according to the native speaker’s habits. Research shows that ‘Picture’ can help to improve learner’s ability to understand the content while reading, which can trigger further critical thinking and ultimately mastering the ability to develop their own learning process. However, the use of picture books for teaching Chinese especially in Taiwan nowadays are limited only to the class of overseas Chinese learners, foreign spouses and their children. Hence, the main purpose of this research will be discussing on how to apply the picture book in adult Chinese language course abroad. The method of this research is based on a great amount of literature review on both teaching Chinese and English language using picture books, teaching method theory and pedagogy, second language acquisition material evaluation and criteria on selecting picture book. Afterthen through this framework, the author has planned and implemented the lesson on using picture book in language course. Besides, this research also intend to create an evaluation framework on how to select picture book in Chinese as a second language course. The result has shown using picture book in the adult Chinese language course can create more diverse classroom activates by applying different teaching materials in the class. The author has also conducted an after-class survey to understand learner’s learning condition. Overall, picture book as a class material receives a very positive feedback. Under the vocabulary restriction from the picture book, a lot of picture book is more suitable for intermediate level students only. Apart from above mentioned, this research also analyzed in total 26 picture books, and received 26 themes. The themes include friendship, growth, dream and creativity. Also this research has drawn up the framework of selecting the picture book for Chinese language learning class. This framework achieved in total 47 entries with three aspects, teaching, psychology and artistry. At the end of the research, there’s also suggestion for the further studies.

Studien undersöker hur könsroller gestaltas ur ett genusperspektiv i bilderboken Se upp för krokodilen! (Moroni & Eriksson, 2013). Syftet är att få djupare kunskaper om hur dessa skildringar speglar målen i läroplanen för förskolan om att motverka traditionella könsnormer och främja jämställdhet och likabehandling mellan könen. Forskare menar att bilderboken är ett användbart och didaktiskt verktyg för att fånga barns intressen och påverka deras tankegångar. Tidigare forskning (Kåreland, 2005) visar att könsstereotypa föreställningar lever kvar i en stor del av utbudet av barnböcker. I studien analyseras bilderboken Se upp för krokodilen! (Moroni & Eriksson, 2013) både utifrån bilder och text. Analysen fokuserar på karaktärernas yttre- och inre personskildringar, det vill säga, karaktärernas utseende, ansiktsuttryck, kroppsspråk respektive karaktärernas egenskaper och personligheter. Studiens resultat visar att karaktärerna i boken, till viss del avviker från de stereotypa föreställningar om vad som anses som maskulint och feminint, dock visar karaktärerna att de båda har egenskaper som kan representera båda könen. / The study examines how gender roles are portrayed from a gender perspective in the picture book Watch out for the crocodile! (Moroni & Eriksson, 2013). The aim is to get deeper knowledge about how these depictions reflect the goals of the Swedish syllabus for preschool that counteracts traditional gender norms and promote equality and equal treatment between the genders. Researchers consider that the picture book is a useful and didactic implement to capture childrens’ interests and influence their thoughts. Previous research (Kåreland, 2005) shows that gender-stereotyped conceptions persist in a large part of the range of children’s books. The study analyzes the picture book Watch out for the crocodile! (Moroni & Eriksson, 2013) both from photographs and text. The analysis focuses on the characters external and internal personal depictions, that is, the characters appearance, facial expressions, body language and the characters properties and personalities. The results of the study show that the characters in the book, partially differ from the stereotypical conceptions of what is considered as masculine and feminine. However, the characters show that they both have properties that can represent both sexes.

華語教材漸趨多元，圖文並茂的素材賞心悅目同時吸引讀者興趣，繪本兼具兩者特質，然而圖文書作為學習華語的語言材料尚未有獨立繪本可直接教學，本研究教材以華測會八千詞為依，加工原始資料，希望成為正規教材之外的初級華語學習教材。 學習者認為中文為困難的語言，學習評量成效不佳，此外受限每週課時，自學時間受專業課程壓縮，動機不足，故藉由兼具圖像與故事情節的繪本製作輔助教材，提高自學能力和興趣，增進閱讀理解，開展交際話題，促進觀點交流。製作繪本輔助教材作為課程材料，教授生詞、語法，從圖文創作：互證、互補、互釋和互斥四項模式教學，並且分析原創作中的圖像，示範教學方式。研究者自側面觀察紀錄教師教學，提供學習者心得回饋表，深入訪談教師和學習者經驗。結果指出學習者藉圖文教材提高學習樂趣，教學前的引導使其提前適應內容，故事討論加強全文組織、理解，增加話題，圖文模式應用於教學後更能掌握圖像互動，讀出其言外之意。最後討論動機的引起及維持、圖文模式和閱讀理解、教學目標和學習收穫，並提出未來華語教學之方向。 / Picture books enjoy great attention today. The readership of more sophisticated picture books like graphic novels increased in the last decade. Illustrated narratives are not confined to manga or children books anymore. Although Chinese teaching materials, too, made great advances in the last ten years and layout and design became more attractive than before, recent developments of teaching materials do not get catch up with the increased popularity of picture books, especially with graphic novels and other picture books for adults. The present study aims to explore the conditions we should care about when we want to use picture books in classroom teaching. A focus is laid on teaching Chinese reading and character acquisition for beginners (A2) who only have a very limited knowledge of Chinese. Can picture books facilitate the learning process of reading? Can illustrations help to comprehend textual meaning? To answer questions like this, the present study examines various theories and research results about the interaction between the illustrations and the reading processes and reflects these theories with their didactic significance. The background for the present study is a half year teaching experience using different picture books to teach reading and Chinese character acquisition to beginners who did not have much time in Taiwan for study and who are not very motivated to learn reading Chinese. At the beginning, the use of picture books as teaching materials aimed to motivate students to learn Chinese characters and to encourage them to read Chinese not only in the classroom, but also to apply their knowledge to their own activities in their leisure time. Later, the author deliberately used picture books as teaching materials to learn more about the advances and shortcomings of these materials. Thus, the present study is the theoretical reflection of this teaching experience. It investigates picture books not only from the perspective how picture books can facilitate learning processes of Chinese reading competence, but also from the perspective how can picture books contribute to motivate students to read Chinese inside and outside of the classroom. Teaching materials based on three picture books are presented in this study. These materials first were used for teaching beginners and become later more and more developed, evaluated and revised in accordance to teaching experience, learning outcome and students’ opinions. Course designs based on these materials are added at the end of the present study.

In my bachelor’s project I have examined how different starting points can affect the working process and the results, when making picture books or comics. I have made around 15 experiments, in which I chose a starting point and created a story with this starting point as a framework. The starting points were related to the different components one has when making picture books or comics, such as: drawings, aspects of the book object (size, paper, flickering of pages) and relations between text and image. The purpose has been to investigate working methods, to learn more about the medium-specific qualities of the picture book, and to expand my own storytelling. The final result is four books, in which the four different starting points are interconnected in the stories.

Neste trabalho apresentamos a obra O Urso e o Gato montês da autora japonesa Kazumi Yumoto. Esse é o terceiro livro de Yumoto traduzido para o português trata da temática da morte, os outros dois são livros infanto-juvenis. Nesse livro, junto com a ilustradora Komako Sakai, Yumoto constrói uma narrativa ímpar em que o leitor se depara com o luto de forma delicada e percorre o processo de negação até a aceitação em que o personagem caminha. Fazemos uma análise da morte nos baseando na teoria de Kubler-Ross sobre os estágios do luto, juntamente com o vazio gerado por ela pela ausência da pessoa amada tendo em vista os conceitos de Okano sobre o vazio oriental, e por fim o amor, que é o laço condutor de tudo e que nos é apresentado nos personagens constituintes dessa narrativa. Embasados em teorias de análise de imagens, psicologia e pedagogia, nos debruçamos em um estudo da obra pensando na função da literatura como papel de formação e humanização do indivíduo. / In this work we present the book The Bear and the Wild Cat by the Japanese author Kazumi Yumoto. This is the third of her books translated to Portuguese that deals with the theme of death, it is also approached in two other of her children\'s books. In this book, along with illustrator Komako Sakai, Yumoto constructs a unique narrative in which the reader is confronted with mourning and goes through the process of denial until the acceptance in which the character walks to. We make an analysis of death based on Kubler-Ross\'s theory of the stages of mourning, with the emptiness generated by it by the absence of the loved one taking Okanos point of view about the empty orient, and finally, the love that is the connection link of everything, which is presented to us in the characters of this narrative. Based on theories of image analysis, psychology and pedagogy, we focus on a study of the book thinking about literature playing a role of training and humanization of the individual.

The aim of this study is to analyze the girl in literature in the children´s book Heinähattu, Vilttitossu ja Rubensin veljekset. The data of this study consist of the illustrations and the text of the picture book. By using new feminist conceptions that were framed through a Nordic girl research collaboration, the description of the girl is examined in the girl book Heinähattu, Vilttitossu ja Rubensin veljekset (Heinähattu, Vilttitossu and the Ruben brothers) written by Tiina and Sinikka Nopola. The study shows that both the traditional good girl Heinähattu and  the badly behaving Vilttitossu are included, but also an interesting description of how both girls brake the stereotypical rules of gender.

Pour construire la paix dans le monde, Tomi Ungerer raconte ses mythes personnels et impersonnels, tel Janus. Durant son enfance, il a été choqué par la Deuxième Guerre mondiale et endoctriné par les nazis : depuis lors, il est comme un témoin de l’Histoire. Dans cette recherche, nous étudions son art provocateur et éveilleur à travers les albums qu’il a réalisés à destination des enfants. L’artiste rebelle s’arme de son « T », sa hache graphique et identitaire, afin de proposer de nouvelles fables face à une société qu’il juge absurde. Dans son racontage-montage, la poétique du « O » est à la fois une forme parfaite et cosmologique, et un rythme infini, répétitif, tourbillonnant. Cette poétique concerne la forme, le mouvement, l’observation, la voix, mais aussi la vacuité que les rythmes du « M » organisent dans de multiples métamorphoses. Il s’agit du rythme de la vie et du vivre ensemble. Son racontage-montage est mécanique, musical et thématique, il est effectué dans un style bref, avec l’humour et le rire, mais aussi profond, avec une voix juste et plurielle que le « I » des identités et de l'Histoire pluralise vocalement. Ainsi, la reprise des lettres de son prénom engagerait la poétique des albums de Tomi Ungerer, celle d’un raconteur double puisqu’ils ne sont pas réservés aux seuls enfants et constituent une œuvre majeure de la littérature. / To spread peace in the world, Tomi Ungerer tells his personal and impersonal myths, such as Janus. During his childhood, he was traumatized by the Second World War and also brainwashed by the Nazis: he has thus witnessed History. In this research, we study his provocative and awakening art through the albums he made for children. The rebellious artist armed himself with his “T”, his graphic and identity ax, in order to oppose his new fable to a society he regards as absurd. In its telling-editing, the poetics of the “O” symbolizes a perfect and cosmological form, but also an infinite repetitive, whirling rhythm. This poetics concerns form, movement, observation, voice, but also depth, with a fair and plural voice the “I” of identities and History vocally pluralizes. Thus, the letters of his first name would reflect the poetics of the picture books of Tomi Ungerer, the double storyteller, since his picture books are not only intended for the children but also constitute a major work of literature. / 세계의 평화를 건설하기 위해, 토미 웅게러는 야누스 신처럼 개인적인 동시에 보편적인 신화를 이야기한다. 어린시절, 그는 제 2차세계대전에 충격을 받았고 나치의 정권 아래 학교 교육을 받는다. 그때부터 그는 역사의 증언자이다. 그러므로 본 연구는 그의 선동 예술과 그가 들려주는 그림책을 분석한다. 강요된 복종을 거부하는 이야기꾼 웅게러는 부조리한 사회를 반대하는 새로운 우화를 이야기 하기 위해 그래픽과 정체성을 나타내는 도끼를 상징하는 그의 이름 Tomi의 이니셜 ‘T’는 예술적 힘을 상징한다. 그는 ‘이야기 합성’ 안에서 완벽하고 우주적인 형태와 영원히 반복적이고 소용돌이같은 리듬으로 ‘O’ 시학을 이야기 한다. 이는 ‘달의 시학’이자 ‘시간의 시학’이다. 이 시학은 형태, 운동( mouvement), 관찰, 목소리, 공(vacuité) 과 동시에 끊임없이 변화(metamorphoses) 를 상징하는 ‘M’의 리듬이다. 이는 삶과 모두가 평화롭게 살기 위한 멜로디와 리듬이다. ‘이야기 합성’은 유머와 웃음의 간결한 문체의 메커니즘과 그림을 통한 음악적, 테마적 오브제들의 함축적 요소들은, 정체성( identité)과 다중적 목소리 이야기의 ‘I’로서 간결함과 다중적인 깊은 의미가 축적되어 있다. 그러므로 작가의 이름을 상징하는 알파벳 문자는 토미 웅게러의 ‘존재적 시학’을 상징하며, 그림책이 단지 어린이 전용이 아닌 문학 전반의 작품성을 구성하는 그림과 글로서의 종합적 예술장르의 가치를 가지며, 그림책 작가는 그래픽언어와 텍스트언어의 경계를 넘나드는 이중(겹)으로 표현하는 이야기꾼이다.

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.

The aim of the study is to show how children and adults are described in three picture books, examining how children and adults are portrayed in text-and-picture narrative and how this has changed over time. We have analysed how the characters in the books are presented and how the representation of children and adults has changed in our own times. The material for the study consists of three picture books from different periods, with the focus on how children and adults are described as the common point of departure. The analysed picture books are: Tomtebobarnen (Beskow 1919), Aja baja, Alfons Åberg! (Bergström 1972) and Snäll (Dahle 2008). We have arrived at the conclusion that a text-and-picture narrative is in very large measure a reflection of the outlook on children, childhood and child rearing at the time when the book was published. The result shows that the greatest change that has happened is that parents’ and adults’ dominance in the books has declined over the years, and that children have been given a more prominent role. The children’s own feelings and opinions are more in the centre, both in reality and in picture books. We hope that teachers in school will find that this study can contribute to further reflection on the picture books that are used in teaching