Radical change theory (RCT) was conceived in a North American context in the mid-1990s, in order to explain changes in contemporary literature for youth related to the digitization of society. This study uses directed qualitative content analysis (DQlCA) to look at a select sample of contemporary award-winning Arabic picturebooks through the lens of radical change theory. The aim of the study is to ascertain whether and to what extent these acclaimed and promoted books display radical change characteristics (Dresang 1999). Children’s books that embody many such characteristics may be seen as products of an underlying ideology of childhood that is arguably gaining traction in contemporary societies–one in which children are seen as capable and seeking connection rather than innocent and in need of protection or depraved and needing to be controlled. All books in the present study were found to contain radical change. This can be viewed as revealing of larger trends affecting and perhaps changing the societies in which these books were published, distributed and promoted. In addition, radical change books are thought to be especially attractive to digital age children (by creating more interest and an elevated understanding), which is of special interest in the context of Arabic children’s literature because of the hurdles to accessibility that the use of literary Arabic creates.

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This dissertation presents the results of an intervention study examining whether electronic picturebook applications on a tablet computer support the development of print knowledge in preschool age children in low literacy childcare environments. Print knowledge is one of the earliest literacy skills to develop and there is evidence that children who enter kindergarten without this skill are less likely to be reading on grade level two years later (Piasta et al., 2012; Whitehurst & Lonigan, 1998). Since print knowledge is so critical for later literacy development, it is important to make sure that all children acquire this capacity. The sample for this study consisted of 3 and 4 year old children who attended six low literacy classrooms in four childcare centers located in Delaware and Chester Counties. Classrooms were randomly assigned as either experimental or control. A tablet computer preloaded with interactive electronic picturebooks was added to the experimental classroom for children to interact with during free play. Teachers were told not to use the tablet for individual, small or large group reading and there were no other changes to the literacy environment. Children were allowed to play with the tablet as a free choice activity. There were no changes to the literacy environment of the control classrooms. A pre-test/post-design using the Get Ready To Read Screening tool measured changes in children’s print knowledge learning over the three month period of time in which the study was conducted. The quality of the literacy environment was measured at the beginning and end of the study. Additional data were gathered through teacher and family questionnaires and classroom observation. The frequency and duration of tablet use was also tracked. The results indicate that there were no positive significant differences in print knowledge from pre to post test. This indicates that the teacher is still the most critical component of the emergent literacy environment. / Educational Psychology

Abstract The purpose of the 6-week qualitative study was to explore how Grade 1 children responded to five picturebooks by Anthony Browne during interactive read-alouds. The 13 participants and the other non-participants were organized into four mixed gender and mixed reading-ability groups. Data included transcripts from 20 small group read-aloud sessions and field notes that documented additional student affective responses to the texts. Other data included the children’s drawings that were completed after each picturebook small group read-aloud session, as well as transcripts of the students’ individual interviews about their artistic responses. Coding of student conversation turns during the read-aloud sessions revealed the identification of six categories of statements. These six categories were then applied to the students’ individual interview data to facilitate comparison between the two settings. The artwork and interviews of three students were analyzed as three individual cases and represented a sample of student readers of differing abilities. Data analysis of the read-aloud session transcripts revealed that labeling statements accounted for approximately one-third of all student comments. The remaining students’ statements were categorized as following: approximately one-quarter were character description, one-fifth were ‘other,’ (i.e. indecipherable statements and/or off-topic comments), approximately one-tenth were character feeling, less than one-tenth were autobiographical, and a small amount were intertextual in nature. The comparison of the three focus children’s individual interviews to their small group conversations revealed that the children generated a greater number of autobiographical statements during the individual interviews about their art. Implications for research and pedagogy included teaching and conducting research about visual literacy that involves pre- and post-treatment study, and examining children’s conversations about characters in picturebooks by numerous authors. / Graduate

A literatura para a infância trabalha com a imaginação, mas nem sempre com a fantasia, entendida como operar criativo sobre esta. Partindo de tal pressuposição, a tese desenvolve um estudo sobre a literatura contemporânea representada pelos livros ilustrados e procura fundamentar parâmetros para uma leitura da fantasia na produção desses livros, a partir da teoria literária e do design. Para isso investiga também a noção de gramática sugerida pelo escritor italiano Gianni Rodari. Para estabelecer os contornos do conceito de fantasia -- encontrado inicialmente em Bruno Munari (\"Fantasia\", 1977) e Gianni Rodari (\"Gramática da Fantasia\", 1973) -- indaga quais definições em torno da noção emergem da filosofia, da expressão artística, da teoria literária e da tradição narrativa. Com base nos princípios e propostas dos dois autores-inventores, Munari e Rodari, que originaram o interesse pelo tema, o estudo esforçase em configurar um quadro de referências teóricas e analíticas que possibilite definir o objeto em relação à literatura e ao design. Procura, na história do conhecimento e da arte, os marcos que ajudam a identificar os aspectos de estética e linguagem que interessam aos propósitos de criatividade da fantasia e investiga, na teoria literária, os componentes dessa criatividade na construção narrativa. Em seguida, assumindo a noção de projeto, própria do design, como ponto de ligação entre definições de poética identificadas na literatura e o planejamento gráfico, propõe a noção de poética visual como estratégia narrativa dos livros ilustrados e procura estabelecer relações entre projeto e gramática a partir da teoria do design e de estudos sobre a linguagem dos livros ilustrados. Em termos metodológicos, partindo de indagações surgidas anteriormente à sua proposta, da experiência de projeto com livros ilustrados e de uma primeira sistematização de dados, este estudo qualitativo, modalidade de inquérito filosófico e caráter observacional, baseou-se em revisão bibliográfica, pesquisa de campo e dados colhidos a partir de entrevistas semiestruturadas que serviram para ajudar a compreender o estado da arte da literatura contemporânea para a infância. Partindo do pressuposto de que a chave de leitura representada pela fantasia permite observar questões relativas a criação e linguagem, inerentes à expressão (visual) narrativa do gênero, o estudo propõe quatro categorias de análise -- experimentação, transgressão, humor/medo e absurdo -- para uma leitura da fantasia em corpo de obras selecionado da produção contemporânea ocidental, verificando a correspondência com as hipóteses de trabalho do estudo acerca da noção de fantasia e de gramática. Finalmente, os aspectos identificados com base no desenvolvimento analítico indicam como, a partir de determinadas definições, a fantasia pode contribuir: 1) para uma leitura da originalidade narrativa dos livros ilustrados e 2) para servir de instrumento de investigação da criatividade; com isso, confirmando o vigor da proposta munari-rodariana. / Literature for children does work with imagination but less frequently with fantasy, the latter being regarded as a creative intervention on the former. Starting from this premise, the thesis develops a study on contemporary literature as represented by picturebooks and aims at establishing a few parameters for a depiction of fantasy in the production of these books, based on literary theory and design. To this aim, the notion of grammar originally put forward by the Italian writer Gianni Rodari is analysed. In order to establishing the boundaries of the fantasy concept - originally to be found in Bruno Munari (\"Fantasia\", 1977) and in Gianni Rodari (\"Grammatica della Fantasia\", 1973) - the definitions of the concept are examined which emerge from philosophy, artistic expression, literary theory as well as from the narrative tradition. Based on the principles and proposals developed by the two just mentioned authors-inventors, Munari and Rodari, which provoked the original interest in the field, the study tries to build a framework of theoretical and analytical references that might render it possible to define the subject-matter of fantasy in relation to both literature and design. The elements are then searched, through the history of knowledge and the history of art, that may help to single out which aspects of esthetics and language are susceptible of involving the creative objectives of fantasy, and the components of this creative activity in narrative constructions are examined within literary theory. Following this, the design notion of \'project\' is taken as the connecting link between the different definitions of poetics singled out in graphic planning and in the literature, with a view to putting forward a notion of visual poetics as a narrative strategy for picturebooks and relationships are established between project and grammar -- relationships based on design theory as well as on existing studies around a language of picturebooks. From the methodological point of view, the study -- its philosophical approach and observatory character -- originated from previous inquiries; it was then developed through a bibliographical survey, field research and data collected from semi-structured interviews that helped to figure out the state of the art in contemporary literature for infancy. Starting from the premise that, within this type of narrative-visual expression, the interpretative key represented by fantasy allows one to tackle questions concerning both creation and language, the study goes on suggesting four analytical categories - experimentation, transgression, humour/fear, absurdity - for approaching and understanding fantasy in contemporary selected works of Western authors. Finally, the argument is put forward, on the basis of the elements outlined throughout the proposed analysis, that fantasy may contribute 1) to a deciphering of the narrative originality of picturebooks and 2) to providing an instrument for analyzing creativity, thus confirming the robustness of the Munari-Rodarian approach.

<p>Doktorska teza pod naslovom<br />Illusztr&aacute;ci&oacute; &eacute;s sz&ouml;veg intermedi&aacute;lis kapcsolata<br />Janikovszky &Eacute;va<br />&bdquo;gyermekpr&oacute;z&aacute;j&aacute;banˮ(Intermedijalna<br />povezanost ilustracije i teksta u &bdquo;prozi za decuˮ<br />Eve Janikovski) se bavi proznim stvarala&scaron;tvom<br />za decu Eve Janikovski (Janikovszky &Eacute;va). Ova<br />spisateljica svetsku slavu postigla je<br />prvenstveno sa svojim &bdquo;slikovnicamaˮ, preveli<br />su ih čak na trideset i pet jezika, pa ipak, stručne<br />literature i detaljnih analiza o njenim delima<br />praktično nema. Dakle, kritička recepcija<br />njenog opusa je veoma oskudna, a i monografija<br />o njenom stvarala&scaron;tvu je objavljena tek 2014.<br />godine.<br />Autorka doktorske disertacije smatra da<br />ove &bdquo;slikovniceˮ zauzimaju posebno mesto u opusu Eve Janikovski. One su stvorile jedan</p><p>novi tip, novi žanr knjige u mađarskoj<br />književnosti; u ovim knjigama za decu tekst i<br />ilustracija čine jednu nerazdvojivu celinu. Tako<br />da one svakako zaslužuju na&scaron;u posebnu pažnju.<br />Rad sa jedne strane poku&scaron;ava da<br />žanrovski odredi pojedina dela napisana za decu<br />Eve Janikovski. U okviru toga smatra se<br />potrebnim i da se pronađe mesto &bdquo;slikovniceˮ u<br />njenom celokupnom opusu, a i da se ukaže na to<br />za&scaron;to se koriste navodnici za ovaj termin, za<br />ovu vrstu knjige. Nadalje, doktorska teza skreće<br />pažnju i na glavnu izražajnu formu ove<br />spisateljice, a to je monolog, te na večitu temu<br />njenih knjiga, na međusobni odnos deteta i<br />odraslih.<br />Sa druge strane doktorska teza posebno<br />se bavi i Laslom Reberom (R&eacute;ber L&aacute;szl&oacute;),<br />isključivim ilustratorom knjig&acirc; Eve Janikovski.<br />Autorka teze je ubeđena da bez poznavanja<br />umetnosti, grafičkog sveta ovog crtača, bez<br />razumevanja dinamike njegovih ilustracija, ni<br />&bdquo;slikovniceˮ ne možemo da tumačimo i<br />analiziramo na adekvatan način.<br />Ako je i sama umetnost diskurs, onda u<br />ovom slučaju možemo govoriti u susretu dvaju<br />diskursa, književnog teksta Eve Janikovski i<br />ilustracije Lasla Rebera. U centru pažnje<br />autorke disertacije, dakle, stoji intermedijalni<br />odnos između ovih, verbalnih i vizuelnih,<br />diskursa.<br />Uzimajući u obzir najznačajnije i<br />najsavremenije teorijske radove o<br />intermedijalnosti, one teorijske diskurse koje<br />analiziraju međusobni odnos verbalne i vizuelne<br />reprezentacije u knjigama, oslanjajući se na<br />rezultate istoričara umetnosti i naučnih radova<br />koji se bave istraživanjem ilustracije, autorka<br />doktorske teze vr&scaron;i analizu &bdquo;slikovnicaˮ prema<br />sopstveno izrađenom, posebnom metodičkom<br />pristupu.<br />Naposletku vr&scaron;i se i analiza jezika Eve<br />Janikovski, te komparativna analiza originalnog<br />teksta &bdquo;slikovnic&acirc;ˮ i prevoda istih. Posmatra se i<br />to kakav će biti intermedijalni odnos teksta u<br />nemađarskom jezičkom okruženju i crteža Lasla<br />Rebera, po&scaron;to se i prevodi ovih knjig&acirc; uvek se<br />objavljaju sa originalnim ilustracijama.</p> / <p>The doctoral dissertation entitled<br />Illusztr&aacute;ci&oacute; &eacute;s sz&ouml;veg intermedi&aacute;lis kapcsolata<br />Janikovszky &Eacute;va &bdquo;gyermekpr&oacute;z&aacute;j&aacute;banˮ<br />(English translation: Intermedial<br />correspondence between text and illustrations<br />in &bdquo;children&#39;s proseˮ by &Eacute;va Janikovszky) deals<br />with fiction prose for children written by &Eacute;va<br />Janikovszky. This writer has become world<br />famous primarily thanks to her &bdquo;picturebooksˮ.<br />They have been translated into as many as<br />thirty-five world languages and yet there is<br />practically no scholarly research or detailed<br />analysis of her works. Obviously, her literary<br />opus has not been paid enough critical attention<br />and even the first monograph on her work<br />appeared only in 2014.<br />The author of this doctoral dissertation<br />believes that these &bdquo;picturebooksˮ have a<br />special place in the literary opus of &Eacute;va Janikovszky. Namely, with her &bdquo;picturebooksˮ</p><p>she has created a completely new and unique<br />literary genre in Hungarian literature. In these<br />books for children, text and illustrations make<br />one inseparable whole. As such, they certainly<br />ought to be given special attention.<br />On the one hand, this doctoral<br />dissertation attempts at determining the genre of<br />selected prose works for children by &Eacute;va<br />Janikovszky. In line with that, it is considered as<br />necessary to analyze and evaluate the<br />importance of &bdquo;picturebooksˮ among all other<br />works by this author, as well as to explain the<br />usage of inverted commas when referring to this<br />type of books. Furthermore, this doctoral<br />dissertation also addresses monologue as the<br />main narrative form of &Eacute;va Janikovszky and<br />finally analyzes the relationship between<br />children and adults, as the predominant topic in<br />all of her books.<br />On the other hand, this doctoral<br />dissertation gives special attention to the work<br />of L&aacute;szl&oacute; R&eacute;ber, as a single illustrator working<br />exclusively on &Eacute;va Janikovszky&#39;s books. The<br />author of this thesis strongly holds it that<br />without knowing R&eacute;ber&#39;s artistic expression and<br />dynamics of his illustrations, we cannot even<br />fully and correctly analyze and discuss the<br />&bdquo;picturebooksˮ.<br />If we consider art to be a special<br />discourse, then in this case we can talk about the<br />interplay between two discourses- literary text<br />by &Eacute;va Janikovszky and R&eacute;ber&#39;s illustrations. Hence, the focal part of this doctoral</p><p>dissertation is the intermedial correspondence<br />between these two discourses: verbal and visual.<br />Based on the most influential and most<br />contemporary theoretical studies on<br />intermediality, in particular such theoretical<br />discourses that analyze the peculiar interplay<br />between verbal and visual representations in<br />books, while at the same time relying on<br />findings of art historians and scholarly papers<br />dealing with illustration, the author of this thesis<br />analyzes &bdquo;picturebooksˮ according to her own,<br />specially created methodological concepts.<br />Finally, the author also touches upon<br />language used in &Eacute;va Janikovszky&#39;s works,<br />making a comparative analysis of original text<br />in her &bdquo;picturebooksˮ and their translation<br />counterparts. Considering the fact that translated<br />versions of her books always appear with<br />original illustrations, this dissertation also<br />observes the intermedial correspondence<br />between L&aacute;szl&oacute; R&eacute;ber&#39;s drawings and<br />translation equivalents in languages other than<br />Hungarian, which is the source language of &Eacute;va<br />Janikovszky&#39;s literature.</p>

A literatura para a infância trabalha com a imaginação, mas nem sempre com a fantasia, entendida como operar criativo sobre esta. Partindo de tal pressuposição, a tese desenvolve um estudo sobre a literatura contemporânea representada pelos livros ilustrados e procura fundamentar parâmetros para uma leitura da fantasia na produção desses livros, a partir da teoria literária e do design. Para isso investiga também a noção de gramática sugerida pelo escritor italiano Gianni Rodari. Para estabelecer os contornos do conceito de fantasia -- encontrado inicialmente em Bruno Munari (\"Fantasia\", 1977) e Gianni Rodari (\"Gramática da Fantasia\", 1973) -- indaga quais definições em torno da noção emergem da filosofia, da expressão artística, da teoria literária e da tradição narrativa. Com base nos princípios e propostas dos dois autores-inventores, Munari e Rodari, que originaram o interesse pelo tema, o estudo esforçase em configurar um quadro de referências teóricas e analíticas que possibilite definir o objeto em relação à literatura e ao design. Procura, na história do conhecimento e da arte, os marcos que ajudam a identificar os aspectos de estética e linguagem que interessam aos propósitos de criatividade da fantasia e investiga, na teoria literária, os componentes dessa criatividade na construção narrativa. Em seguida, assumindo a noção de projeto, própria do design, como ponto de ligação entre definições de poética identificadas na literatura e o planejamento gráfico, propõe a noção de poética visual como estratégia narrativa dos livros ilustrados e procura estabelecer relações entre projeto e gramática a partir da teoria do design e de estudos sobre a linguagem dos livros ilustrados. Em termos metodológicos, partindo de indagações surgidas anteriormente à sua proposta, da experiência de projeto com livros ilustrados e de uma primeira sistematização de dados, este estudo qualitativo, modalidade de inquérito filosófico e caráter observacional, baseou-se em revisão bibliográfica, pesquisa de campo e dados colhidos a partir de entrevistas semiestruturadas que serviram para ajudar a compreender o estado da arte da literatura contemporânea para a infância. Partindo do pressuposto de que a chave de leitura representada pela fantasia permite observar questões relativas a criação e linguagem, inerentes à expressão (visual) narrativa do gênero, o estudo propõe quatro categorias de análise -- experimentação, transgressão, humor/medo e absurdo -- para uma leitura da fantasia em corpo de obras selecionado da produção contemporânea ocidental, verificando a correspondência com as hipóteses de trabalho do estudo acerca da noção de fantasia e de gramática. Finalmente, os aspectos identificados com base no desenvolvimento analítico indicam como, a partir de determinadas definições, a fantasia pode contribuir: 1) para uma leitura da originalidade narrativa dos livros ilustrados e 2) para servir de instrumento de investigação da criatividade; com isso, confirmando o vigor da proposta munari-rodariana. / Literature for children does work with imagination but less frequently with fantasy, the latter being regarded as a creative intervention on the former. Starting from this premise, the thesis develops a study on contemporary literature as represented by picturebooks and aims at establishing a few parameters for a depiction of fantasy in the production of these books, based on literary theory and design. To this aim, the notion of grammar originally put forward by the Italian writer Gianni Rodari is analysed. In order to establishing the boundaries of the fantasy concept - originally to be found in Bruno Munari (\"Fantasia\", 1977) and in Gianni Rodari (\"Grammatica della Fantasia\", 1973) - the definitions of the concept are examined which emerge from philosophy, artistic expression, literary theory as well as from the narrative tradition. Based on the principles and proposals developed by the two just mentioned authors-inventors, Munari and Rodari, which provoked the original interest in the field, the study tries to build a framework of theoretical and analytical references that might render it possible to define the subject-matter of fantasy in relation to both literature and design. The elements are then searched, through the history of knowledge and the history of art, that may help to single out which aspects of esthetics and language are susceptible of involving the creative objectives of fantasy, and the components of this creative activity in narrative constructions are examined within literary theory. Following this, the design notion of \'project\' is taken as the connecting link between the different definitions of poetics singled out in graphic planning and in the literature, with a view to putting forward a notion of visual poetics as a narrative strategy for picturebooks and relationships are established between project and grammar -- relationships based on design theory as well as on existing studies around a language of picturebooks. From the methodological point of view, the study -- its philosophical approach and observatory character -- originated from previous inquiries; it was then developed through a bibliographical survey, field research and data collected from semi-structured interviews that helped to figure out the state of the art in contemporary literature for infancy. Starting from the premise that, within this type of narrative-visual expression, the interpretative key represented by fantasy allows one to tackle questions concerning both creation and language, the study goes on suggesting four analytical categories - experimentation, transgression, humour/fear, absurdity - for approaching and understanding fantasy in contemporary selected works of Western authors. Finally, the argument is put forward, on the basis of the elements outlined throughout the proposed analysis, that fantasy may contribute 1) to a deciphering of the narrative originality of picturebooks and 2) to providing an instrument for analyzing creativity, thus confirming the robustness of the Munari-Rodarian approach.