This student presentation explores resilience on two levels; in the first instance it is the subject of a self published children’s book written by a student group. On a second level, resilience is observed on a meta-cognitive level, as a quality that the student publishers have to display to complete their task and reach a successful outcome, namely publication. Publication is a task none of them had undertaken before. Achieving professional publication is not guaranteed and the possibility of rejection of the manuscript is a distinct possibility. Resilience is defined as the capacity for positive adaptation, mastery and management of challenging situations and experiences. This presentation explores aspects of resilience through the journey of a fictional animal character, paralleled by the journey of the student authors who created the character and conceived the story. Resilience stems from countless variables including family, environmental factors, current events, and genetic predispositions. Ways to support resilience in children include responsive relationships, strengthening core life skills, and reducing sources of stress in the lives of children and families. In real life, resilience promoting behavior aims to prevent lasting harm to children and families. A stable environment, exposure to education or skill sets, and a support system are crucial factors in enhancing coping skills. To address some of these themes in a child-friendly manner, the student group in the parenting class wrote a children’s book, describing the resilience displayed by a young Giraffe, as he initially gets lost and ultimately finds a home. The steps the lead animal character goes through demonstrate resilience and can serve as a model in seeking out appropriate outcomes. The students hoped that the book contained lessons-to-be-learned for young school-aged readers, as it explored problem solving in difficult situations such as getting lost and seeking best outcomes. In producing the book, the lead student author (and also the presenter of this paper) had to stretch her own comfort zone. Just like the lead character in the children’s book she produced, the presenter had to overcome obstacles in the path towards ultimate professional publication and distribution, acquire appropriate skill sets, and seek and utilize support from significant persons who could mentor and guide her along the way. Similar to the lead character in the book, it was a journey that contained numerous obstacles, and situations that were daunting. Reflecting on the publication process, there were parallels with situations that may require resilient behavior, while also encouraging the student to reflect on her own role in reaching an acceptable outcome by not giving up, seeking appropriate support and utilizing new skill sets.

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No description available.

Esta pesquisa tem como objetivo primeiro investigar as transformações nos textos literários para crianças e jovens, oriundos de mudanças nas relações sociais, e verificar em que medida a literatura infantil e mesmo a juvenil tem exteriorizado no seu universo textual novas maneiras de percepção sobre as narrativas primordiais ou clássicas, consolidadas como tal a partir do século XVII. Na contemporaneidade, sobretudo a partir da segunda metade do século XX no Brasil da releitura do novo texto infantil, observou-se que tais narrativas e seus valores outrora marcados pela presença de uma pedagogia altamente moralizante e excludente, agora reorganizam as estratégias de captação para retomar não só os clássicos ou histórias que caíram no gosto da criança e do jovem, no passado, mas ainda para atualizar narrativas capazes de fazer parecer serem outras, dado o novo arranjo da vestimenta destas novas histórias que intencionam, de modo significativo, evidenciar uma literatura com mais recursos de visualidade e plasticidade, bem como um modo de ser e de estar dessa nova criança e também do jovem num mundo de valores diversos, cujos reflexos corroboram um universo literário de atualizadas prescrições. Assim, tomou-se como corpora as obras Chapeuzinho Amarelo (2006), de Chico Buarque, ilustração de Ziraldo, Chapeuzinho Vermelho (1996), de Charles Perrault, Chapeuzinho Vermelho, dos Grimm (2009), Sapato de salto (2011), de Lygia Bojunga, Antecedentes de uma famosa história (2010), de Carolina Alonso, ilustração de Mariana Massarani, conto publicado em Não era uma vez: contos clássicos recontados coletânea de autores latino-americanos, A outra história de Chapeuzinho Vermelho (2016), de Jean-Claude R. Alphen, ilustrada pelo próprio autor e as intersecções forjadas no texto Preciosidade (1991), de Clarice Lispector, conto publicado em Laços de família. Para tal investigação, foram utilizados como fundamentação teórica elementos dos Estudos Comparados de Literatura, bem como de outras ciências da linguagem afins, além de estudos sobre a gênese e a História da Literatura Infantil e, posteriormente, a Juvenil. Com base em estudos já desenvolvidos sobre essa modalidade de textos, busca-se adentrar mais um pouco nessa floresta ainda vasta de textos que refletem valores humanos e sociais. / This research aims at investigating the transformations in literary texts for children and young people from social relations changes and at verifing the extent to which children\'s and still youth literature has externalized in their textual universe new ways of perception about primordial or classical narratives, consolidated as such from the seventeenth century. In contemporary times, the re-reading of the new children\'s text, especially since the second half of the twentieth century in Brazil, was observed that such narratives and their values were once marked by the presence of a highly moralizing and excluding pedagogy, now reorganize the capture strategies to resume not only the classics or stories that have fallen in the taste of the child and the youth in the past, but still to update narratives capable of making appear to be others, given the new arrangement of the \"clothing\" of these new stories that intend, in a significant way, a literature with more visuality features and plasticity, as well as a way of being of this new child and youth in a world of diverse values, whose reflections corroborate a literary universe of up-to-date prescriptions. Thus, it was taken as corpora the works Chapeuzinho Amarelo (2006), by Chico Buarque and illustrated by Ziraldo, Chapeuzinho Vermelho (1996), by Charles Perrault, Chapeuzinho Vermelho, by Grimm (2009), Sapato de salto (2011), by Lygia Bojunga, Antecedentes de uma famosa história (2010), by Carolina Alonso with illustration by Mariana Massarani, short story published in Não era uma vez: contos clássicos recontados - a collection of latin american authors, A outra história de Chapeuzinho Vermelho (2016), by Jean-Claude R. Alphen, illustrated by the author himself and the intersections forged in the text Preciosidade (1991), by Clarice Lispector, a tale published in Laços de Família. For this investigation, elements of Comparative Literature Studies, as well as other related language sciences and studies on the genesis and History of Children\'s and Juvenile Literature were used as theoretical basis. Based on studies already developed on this modality of texts, it aims at penetrating a little more in the still vast forest of texts that reflect human and social values.

The tomboy is a female character that has featured prominently in many popular works of children's literature. Typically, the tomboy is a prepubescent or teenaged girl who is frustrated by the expectations and limitations placed upon her because she is female. She is reluctant to conform to feminine standards of appearance and behaviour. This thesis examines the representation and evolution of the tomboy character in two distinct categories of children's series fiction, 'books in a series' and 'series books'[1], focusing on narratological elements such as plot, characterisation and series structure, as well as their publishing context, exploring issues of authorial intent, editorial decisions and, in certain cases, the official revision of texts. 'Books in a series' are usually presented as bildungsroman – that is, stories, or in this case, series, of development. In these narratives, time progresses and the characters age; tomboyishness is depicted as a temporary phase which is grown out of when a girl matures, and learns to accept and perform femininity. In contrast, 'series books' are centred on adventure and/or mystery stories, rather than on the process of growing up – the characters' ages are typically frozen, and tomboyishness is a distinguishing character attribute which remains for the course of the series. In studying children's literature, it is important to acknowledge that the audience of children's literature includes adults as well as children – it is after all, adults who determine and control the production, distribution and legitimisation of texts for children. Originally, children's literature was written specifically for the religious, moral, behavioural and social instruction of children, rather than for their entertainment. Although appearing less overtly didactic in recent times, the production of children’s literature has continued to be driven by the adult concern for ideological appropriateness, and the desire to responsibly educate its young readers. This concern and desire are fuelled by the underlying and persistent belief that children are like sponges and will absorb whatever they are exposed to[2], including representations of gender difference and gender performance. The ways in which the tomboy character has evolved in the children's series are a direct reflection of the shifts in society’s ideas about gender, the gendered education of children, and the adult conception of what is ideologically appropriate for the children’s text. The tomboy character in children's literature has been an important cultural marker of both our evolving and constant values. It is clear that over time gender roles have changed significantly, allowing girls in series fiction to be sleuths, rescuers, warriors and adventurers, but through all of this change, the representation of the tomboy has always reflected adults' conception of what is ideologically appropriate and normal and therefore desirable, in the representation of masculinity and femininity, gender and sexuality in children’s literature – a normality and system of gender based on a steadfast heterosexual hegemony. [1] Inness, Sherrie A., ed. Nancy Drew and Company: Culture, Gender, and Girls' Series. Bowling Green, OH: Bowling Green State University Popular Press, 1997, p.2. [2] Sternheimer, Karen. It's Not the Media: The Truth About Pop Culture's Influence on Children. Boulder, CO: Westview, 2003, p.181.

Thesis (Ph. D.)--Illinois State University, 2005. / Title from title page screen, viewed on April 12, 2007. Dissertation Committee: Anita Tarr (chair), Cynthia Huff, Karen Coats, Roberta Seelinger Trites. Includes bibliographical references (leaves 166-178) and abstract. Also available in print.

This qualitative study explored influences on three Canadian authors who present characters with disabilities in childrens fiction. Portraits of these authors are framed by a discussion of contemporary Canadian childrens novels, offering curriculum ideas within the framework of critical literacy. The research questions were: What patterns in the depictions of characters with disabilities appear in the context of Canadian novels, published since 1995, for children and young adults? What motivates and informs selected contemporary childrens authors construction of fictional characters with disabilities? Portraiture was used as a variation on case study research. Methods for data collection and analysis included semi-structured interviews, personal narratives, and content analysis regarding three author portraits, including a self-portrait; content analysis was also applied to fifty childrens novels. Bakhtins conceptualization of the literary chronotope was utilized as a lens to explore aspects of time and space internal and external to these texts, and further delineated by aspects of time, social context, and placethree categories borrowed from the field of narrative inquiry. Research on classic fiction illuminates particular patterns and trends regarding authors portrayals of characters with disabilities. This dissertation has identified and explored contemporary trends. While disability figured in all of the childrens novels in the study sample, ethnicity was strikingly absent, as were books for junior readers ages eight to eleven. The inquiry utilized Dresangs Radical Change theory to identify the landscape on which books about characters with disabilities reside, supporting the metaphorical conceptualization of the radical changes in childrens literature as a rhizome. The resonance of what has informed authors, in addition to the exploration of the childrens books in this study, offers perspectives that impact critical literacy classroom approaches delineated within Lewison, Flint, and Van Sluys four dimensions framework: disrupting the commonplace, interrogating multiple viewpoints, focusing on socio-political issues, and taking action and promoting social justice. The latter dimension, while not accomplished through reading the texts themselves, may be approached through attention to author influences. The implications of the study relate to curriculum development as well as promote further research in Education, English Literature, and Disability Studies. An annotated bibliography is included.

Spanning the period from the early years of the Cold War to the early twenty-first century, Crossing Out argues that medical theories of gender variance which emerge in the middle of the twentieth century are bound by the Cold-War–era discursive limits within which they were articulated, and that the ideological content of those theories persists into late-century research and treatment protocols. I parallel these analyses with interrogations of literary representations of transgendered subjects. What emerges most powerfully from this analysis of literary works is their tendency to signify in excess of the medical foreclosures, even when they seem consistent with medical discourse. By reading these two discursive systems against each other, the dissertation demonstrates the ability of literary discourse to accommodate multifaceted subject positions which medical discourse is unable to articulate. Literature thus complicates the stories that medical culture tells, revealing complex and multivariate possibilities for transgendered identification absent from traditional medical accounts. In tracing these discursive intersections the dissertation draws on and extends Michel Foucault’s theory of subjugated knowledges and Judith Butler’s writings on the formation of gendered subjects. Chapter One establishes the Cold War context, and argues that there are significant continuities between 1950s theories of intersexuality and Cold War ideology. Chapter Two extends this analysis to take in theories of transsexualism that emerged in the same years, and analyzes the discursive excesses of a 1950s pulp novel representation of a transsexual. Chapter Three establishes that the ideological content of the medical theories remained virtually unchanged by the 1990s, and argues that multivalent literary representations of transgenderism from the same decade promise the emergence of unanticipated forms of gender identity that exceed medical norms. Chapter Four is concerned with transgendered children, as they are represented in medical writing and in young adult and children’s literature. Interrogating fiction which negotiates between established medical discourse and an emergent transgender discourse, the chapter argues that these works at once invite and subvert a pathologizing understanding of gender-variant children while simultaneously providing data that demands to be read through the lens of an emergent affirmative notion of trans-childhood.

Sweet Tooth is an exploration of childhood culture as it exists in an adult world. I am interested in the power dynamics resulting from the cohabitation of youth and adults, and the manner in which adults impose their knowledge, faith, and morals upon children. Through the watercolour paintings and textile sculptures in Sweet Tooth, I investigate nostalgia, childhood playthings and childrens literature, especially cautionary tales and religious texts for children. These morality tales are a product of Victorian-era theories of youth education and child rearing. While much has changed in the past 100 years, the impact of this era can still be felt, especially in conservative religious cultures such as that which informed my own youth. The childrens stories produced during this particular time use a mixture of scare-tactics and theological themes to convey their message. In Victorian times, there was an apprehension about failing the intellectual, physical, and spiritual needs of children. This was compensated for with well-intentioned, but peculiar, attempts to frighten youngsters into strict obedience. The painting style in my exhibition, and my use of the watercolour medium, recalls the colourful imagery found in Victorian-era books for children. The textiles in my sculptural works relate to treasured childhood toys. My paintings and sculptures reference the human bodies of both children and adults and employ dramatic shifts in scale. Conceptually, the artwork challenges didactic lessons, but, nevertheless, the children in the paintings appear to crave approval from authority figures. The illustrations of bodies in Sweet Tooth defiantly reveal their imperfections and limitations, but also display a playful humour and desire for worldly delights. The conceptual themes of my art stem from sentimental and romantic views of childhood and my desire is to dissect and expose the actual struggles children endured in past generations, and continue to experience today. These themes recall the Christian teachings during my formative years and relate to adult recollections of youthful guilt and punishment.

Sweet Tooth is an exploration of childhood culture as it exists in an adult world. I am interested in the power dynamics resulting from the cohabitation of youth and adults, and the manner in which adults impose their knowledge, faith, and morals upon children. Through the watercolour paintings and textile sculptures in Sweet Tooth, I investigate nostalgia, childhood playthings and childrens literature, especially cautionary tales and religious texts for children. These morality tales are a product of Victorian-era theories of youth education and child rearing. While much has changed in the past 100 years, the impact of this era can still be felt, especially in conservative religious cultures such as that which informed my own youth. The childrens stories produced during this particular time use a mixture of scare-tactics and theological themes to convey their message. In Victorian times, there was an apprehension about failing the intellectual, physical, and spiritual needs of children. This was compensated for with well-intentioned, but peculiar, attempts to frighten youngsters into strict obedience. The painting style in my exhibition, and my use of the watercolour medium, recalls the colourful imagery found in Victorian-era books for children. The textiles in my sculptural works relate to treasured childhood toys. My paintings and sculptures reference the human bodies of both children and adults and employ dramatic shifts in scale. Conceptually, the artwork challenges didactic lessons, but, nevertheless, the children in the paintings appear to crave approval from authority figures. The illustrations of bodies in Sweet Tooth defiantly reveal their imperfections and limitations, but also display a playful humour and desire for worldly delights. The conceptual themes of my art stem from sentimental and romantic views of childhood and my desire is to dissect and expose the actual struggles children endured in past generations, and continue to experience today. These themes recall the Christian teachings during my formative years and relate to adult recollections of youthful guilt and punishment.