| 1. |
- Hellström, Martin, 1979-
(författare)
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"Det blir mackor med O'boy och O'boy. Och flingor med O'boy" : Förpackning och varumärke som representation av det vardagliga livet och konsumtionen som frigörelse
- 2011
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Ingår i: Barnelitterært forskningstidsskrift. - Stockholm : Scandinavian University Press / Universitetsforlaget AS. - 2000-7493. ; 1:34, s. 151-164
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Tidskriftsartikel (refereegranskat)abstract
- Packaging and trademarks as representation of everyday life and consumption as liberation. This text shows how the packages in Pija Lindenbaum When Owen's mom breathed fire (2005) represent the everyday life and the reality in contrast to his mother who turned into a dragon. The text also shows how consumption can represent liberation and personal growth in a few Swedish picture books of recent years. It also covers how a rejection of the commercial children's literature can effect our view of the packaging of children's book illustrations. Examples from Gunilla Bergström's books about Alfie Atkins shows how the anonymous and non-recognizable packaging can be perceived.
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| 2. |
- Ingemansson, Mary, 1951-
(författare)
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Maj Bylocks Drakskeppstrilogi : analogi och kulturmöten
- 2011
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Ingår i: Barnboken. - 0347-772X .- 2000-4389. ; 2, s. 5835-
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Tidskriftsartikel (refereegranskat)abstract
- In my thesis “It could just as well have happened today”: Maj Bylock's Drakskeppstrilogi and historical consciousness in ten- to twelve-year-olds, I provide a textual, thematic analysis of the three novels from 1997–1998. Further, in an empirical study I have documented the reading of Bylock's fictitious, historical trilogy about the Viking era as done by 11-year-old children, whose thematic work and development of a historical consciousness also have been part of the study. This article deals only with the textual analysis aspect, which purpose is to show what in the texts might produce a historical consciousness in children as well as how the characters are portrayed in order for children to identify with them. Two functions of the novels are studied: knowledge and analogy. The focus is on the main character Petite/Åsa and her development with a view to gender, ethnicity and class as seen from an intersectional perspective. I use postcolonial concepts such as diaspora and hybrid identity in order to describe cultural encounters brought on by migration. I portray female characters gaining a higher level of empowerment, a term used by Joanne Brown and Nancy St. Clair. Bylock claims that she is reflecting the present in her historical texts and that this is more straightforwardly achieved when the events are set several hundred years ago. As a result irrelevant details can be removed and the focus be placed on timeless, human phenomena, for instance cultural encounters. In the light of the above and ideas about how best to describe cultural encounters I analyse the cultural contexts in which the main character finds herself focusing on her transition from a girl into a woman and her quest for a multicultural identity. I elaborate on the concepts mentioned in the previous by describing two cultural encounters which provide an analogy with the present.
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| 3. |
- Paulin, Lotta, 1964-
(författare)
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"Thet vnger lärer han gammal håller" : Strövtåg i den äldre barnlitteraturens historia.
- 2011
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Ingår i: Barnboken. - Solna : Scandinavian University Press / Universitetsforlaget AS. - 0347-772X .- 2000-4389. ; :1, s. 35-46
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Tidskriftsartikel (refereegranskat)abstract
- Children's literature in Sweden can be roughly divided into before and after the Reformation. Before the Reformation interesting, didactic texts with entertaining exemplary stories for the young were translated and adapted. During the 16th century very few literary texts – for children as well as adults – were published, mainly because the king had total control over the printing. Only texts sanctioned by the king were published. During the 17th century publications for the young increased and some, but not all of them, also address children or youth in the title or the preface. Earlier this was mainly implied, although some authors were explicit as well. In working with older literature I find it valuable to not just consider the intention of the text but the function as well, since more literary texts had the function of being children's literature in the Middle Ages than has been previously presumed. Folk tales, fairy tales and fables are among the genres that were indeed written for and used to educate children. Modern historical research, as well as my own, shows that there is not one but several different concepts of childhood existing at the same time. I also suggest that children's literature may be used as a perspective. If we try to find a universal, timeless definition it will have to be a compromise that may not help us to answer questions about the literary tradition and of how children and adolescents have been included and addressed, educated and entertained through literature in different historical and cultural contexts.
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| 4. |
- Alfredsson, Johan, 1974
(författare)
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"'och mymlan flög / och mjölken for'. Barnläsarna och poesin i Tove Janssons bilderbok Hur gick det sen?" : "The Child Readers and Poetry in Tove Jansson's Picturebook The book about Moomin, Mymble and Little My"
- 2021
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Ingår i: Barnboken. - : The Swedish Institute for Children's Books. - 0347-772X .- 2000-4389. ; 44
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Tidskriftsartikel (refereegranskat)abstract
- Tove Jansson’s picturebook Hur gick det sen? Boken om Mymlan, Mumintrollet och lilla My (The Book about Moomin, Mymble and Little My) from 1952 is a book which makes use of its material aspects in many regards, employing the interactivity of the picturebook format to its maximum. Given the fact that it is written in verse, and is considered a classic by all means, it is surprising to find that the function that poetry plays within the book has been scarcely explored in prior research. By examining how the format of this particular picturebook guides the manner in which the child reader experiences it, and by studying the function of poetry within that framework, the article shows that poetry potentially plays a vital role in how child readers make sense of it. In particular, the role of poetry manifests itself as an opportunity for child readers to – at their own pace, and in their own manner – deal with the delicate balance between the attachmentseeking struggles of the anxious character of Moomin, on the one hand, and the exploratory individuation of the adventurous character of Little My, on the other. Through these examinations, the article demonstrates how the use of poetry can facilitate an emancipatory opportunity for child readers within picturebooks – and how this potential is ever-present within the format and the reading situation of picturebooks for children in general.
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| 5. |
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| 6. |
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| 7. |
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| 8. |
- Alkestrand, Malin, 1986-
(författare)
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Walking in Someone Else's Shoes : The Body Switch in the Engelsfors Trilogy
- 2017
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Ingår i: Barnboken. - : Svenska barnboksinstitutet. - 0347-772X .- 2000-4389. ; 40, s. 1-19
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Tidskriftsartikel (refereegranskat)abstract
- In the second book in the Swedish fantasy series about the town Engelsfors, Fire (2013), a dysfunctional group of witches is forced to unite and work together in order to hide that they have switched bodies with each other. This version of the body-switching motif is different from the more common body switch between two characters in that five people who are all focalised throughout the experience take part in it. The body switch is closely tied to a learning process about the need for cooperation and understanding for other people’s life situations, which in turn emphasises the different girls’ intersectional power positions (cf. Crenshaw "Demarginalizing the Intersection of Race and Sex"). Through the process of walking in someone else’s shoes, the girls get to experience how it feels to watch their own body and life from a distance. Simultaneously, they get to play the part of someone else. As a consequence, they learn about both their own life situation and intersectional power position, and about the girl whose body they temporarily reside in. Thus, the literalisation of the figure of speech “to walk in someone else’s shoes” becomes a learning process. By positioning each individual young woman as the active subject in another girl’s life and the passive object in their own life, the body switch functions as a fantasy literary equivalent to the photograph motif, which according to Roberta Seelinger Trites often is deployed as a vehicle for illuminating how people are simultaneously the subject and the object in their own lives in realistic adolescent literature (123). The article is based on the concept of intersectionality, photograph theory, Mikhail Bakhtin’s carnival theory, and Tzvetan Todorov’s theory on how fantastic literature can turn figures of speech into literalised facts. These theories are all used to investigate how the body switch problematises and changes the witches’ ability to influence their respective life situation.
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| 9. |
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| 10. |
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| 11. |
- Almqvist, Louise, 1993-
(författare)
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Sveriges första barnbok med hen : normkritik och didaktik i Kivi & Monsterhund
- 2023
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Ingår i: Barnboken. - : Svenska barnboksinstitutet. - 0347-772X .- 2000-4389. ; 46, s. 1-19
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Tidskriftsartikel (refereegranskat)abstract
- Around 2007, several self-proclaimed norm-critical publishing companies were established in Sweden. This caused a long debate in the daily press, where some critics compared the ”norm-critical” books to propaganda. The debate indicates a conflict between an aesthetic and a didactic approach to children’s literature. Another lively debate with similar critique took off when Kivi & Monsterhund (Kivi and Monsterdog, 2012) by Jesper Lundqvist and Bettina Johansson was published – a picturebook where the protagonist is referred to by a gender-neutral prounoun. The purpose of this article is to problematise the prevailing view on self-proclaimed norm-critical children’s literature and its didactic relationship to the reader. The reception, the paratexts, and the book itself are analysed using Torben Weinreich’s and Clémentine Beauvais’ different definitions of didactics, Gérard Genette’s view on pararatexts, Maria Nikolajeva’s theories on picturebooks, and Judith Butler’s view on gender as performative. The book, and its didactic relationship to the reader, is found to be much more complex and conflicting than suggested by the reception and the paratexts.
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| 12. |
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| 13. |
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| 14. |
- Andersson, Maria, 1973-
(författare)
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Mord, blod och rosslande kämpars dödskval : Fridtjuv Bergs Trojanska kriget och Iliaden för barn
- 2022
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Ingår i: Barnboken. - : The Swedish Institute for Children's Books. - 0347-772X .- 2000-4389. ; 45
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Tidskriftsartikel (refereegranskat)abstract
- Around the turn of the twentieth century, several retellings of Homer’s epic and Greek mythology were published for children in Sweden. Fridtjuv Berg’s Trojanska kriget (The Trojan War, 1901) in the canonical publication series Barnbiblioteket Saga (The Children’s Library Saga) became one of the most long-lived. This article examines the characteristics of Berg’s rewriting by an analysis of the organization of the narrative, paratextual features, and the depiction of gender. Berg’s strategies are compared with another contemporary rewriting of The Iliad, Kata Dalström’s Grekiska guda- och hjältesagor (Greek Tales of Gods and Heroes, 1893). The article shows that the two rewritings mainly depict the same events and in the same order. Trojanska kriget foregrounds the historical content of The Iliad in the paratexts and by structuring the narrative around the foundation and fall of Troy. Dalström’s paratexts stress the timelessness of the work by references to a long cultural tradition, which is reinforced by illustrations depicting artworks from different eras. Berg’s book is more richly and uniformly illustrated, and Louis Moe’s illustrations highlight the action of the tale. Furthermore, Berg and Dalström focus on different aspects when abridging the tales, which influences the depiction of gender. While both rewritings describe a patriarchal society, Berg puts greater emphasis on male relationships and heroism. The women are mainly described as passive victims of war or masculinist power structures. Dalström’s version contains a greater variety of women. The comparison makes clear that Berg’s greater interest in the historical and factual aspects of Homer’s epic may have contributed to a more conservative gender ideology. At the same time, the rapid action of Trojanska kriget together with the publication context in Barnbiblioteket Saga are probably two of the factors behind the book’s success.
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| 15. |
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| 16. |
- Andersson, Maria, 1973-
(författare)
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"Sverige i rövarhänder" : Berättelsen om nationen i Sven Wernströms Den underbara resan
- 2012
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Ingår i: Barnboken. - : The Swedish Institute for Children's Books. - 0347-772X .- 2000-4389. ; 35
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Tidskriftsartikel (refereegranskat)abstract
- Sweden in the Hands of Robbers. The Narrative of the Nation in Sven Wernström’s Den underbara resanSven Wernström’s Den underbara resan (‘‘The Wonderful Journey’’) describes a modern Sweden by following in the trail of Selma Lagerlöf’s classic The Wonderful Adventures of Nils. This article analyzes Wernström’s depiction of Sweden and its people. By incorporating The Wonderful Adventures of Nils, the author foregrounds the notion of nation as narrative by stressing the subjectivity of the text and processes of creation. Rather than subscribing to Lageröf’s vision of unity, Wernström describes a Sweden divided by class conflict. Being a true Swede is defined through economic disinterestedness and love of nature. Den underbara resan describes the creation of a model citizen through the bildung of the protagonist. However, the ideal citizen is not depicted as a loyal subject but as an independent person willing to critize people in power and protest against injustice
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| 17. |
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| 18. |
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| 19. |
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| 20. |
- Asklund, Helen, 1975-, et al.
(författare)
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”När vi rider tillsammans känns hon mer som en kompis än som en mamma” : Modersvariationer i tre hästboksserier av Pia Hagmar
- 2024
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Ingår i: Barnboken. - : The Swedish Institute for Children's Books. - 0347-772X .- 2000-4389. ; 47, s. 1-19
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Tidskriftsartikel (refereegranskat)abstract
- This article analyzes how the horse story setting problematizes the conception of the good mother and normative mothering, by elucidating how the gazes of the young main characters on their mothers function in relation to the notion of the good mother, how this influences the mothering and how the mothering characters challenge this notion. Mothering is seen here as caring practices, which can be performed by people other than mothers. The analysis of three horse story series by Pia Hagmar, the books on Klara (1999–2008), the books on Millan (2012–2014) and the books on Juli (2019–2021), shows that the series depict motherhood and mothering at the intersection between the conception of the good mother and the good horse person. The common denominator is nurturing traits that make personal needs take the back seat – for the traditional good mother to the benefit ofher children, for the good horse person to the benefit of the horse. Hagmar normalizes the presence of several mothering characters in addition to their mothers around the horse girls. Furthermore, these characters, who function as mothering variations, contribute to the creation of a solid caring environment, reducing the demands on mothers who try to be everything to their children. Although the daughters’ views of their mothers are sometimes critical, Hagmar allows the mothers to be imperfect, partly incompetent, or simply women with their own agency, interests and needs outside of motherhood. In addition, a mother-daughter relationship built on a common interest in horses allows for a friendship with a common focus – the horse.
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| 21. |
- Asklund, Helen, et al.
(författare)
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”När vi rider tillsammans känns hon mer som en kompis än som en mamma”: Modersvariationer i tre hästbokserier av Pia Hagmar : [”When We Ride Together, She’s More like a Friend than a Mum”: Mothering Variations in Three Horse Story Series by Pia Hagmar]
- 2024
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Ingår i: Barnboken. - : Swedish Institute for Children's Books. - 0347-772X .- 2000-4389. ; 47
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Tidskriftsartikel (refereegranskat)abstract
- This article analyzes how the horse story setting problematizes the conception of the good mother and normative mothering, by elucidating how the gazes of the young main characters on their mothers function in relation to the notion of the good mother, how this influences the mothering and how the mothering characters challenge this notion. Mothering is seen here as caring practices, which can be performed by people other than mothers. The analysis of three horse story series by Pia Hagmar, the books on Klara (1999–2008), the books on Millan (2012–2014) and the books on Juli (2019–2021), shows that the series depict motherhood and mothering at the intersection between the conception of the good mother and the good horse person. The common denominator is nurturing traits that make personal needs take the back seat – for the traditional good mother to the benefit of her children, for the good horse person to the benefit of the horse. Hagmar normalizes the presence of several mothering characters in addition to their mothers around the horse girls. Furthermore, these characters, who function as mothering variations, contribute to the creation of a solid caring environment, reducing the demands on mothers who try to be everything to their children. Although the daughters’ views of their mothers are sometimes critical, Hagmar allows the mothers to be imperfect, partly incompetent, or simply women with their own agency,interests and needs outside of motherhood. In addition, a mother-daughter relationship built on a common interest in horses allows for a friendship with a common focus – the horse.
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| 22. |
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| 23. |
- Asklund, Jonas, 1968-
(författare)
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Ljudet som pusselbit : Multimodal auralitet i Martin Widmarks och Helena Willis Schlagersabotören (2012)
- 2018
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Ingår i: Barnboken. - Stockholm : The Swedish Institute for Children's Books. - 0347-772X .- 2000-4389. ; 41, s. 1-17
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Tidskriftsartikel (refereegranskat)abstract
- Research on multimodal narration in illustrated children´s books and picturebooks have mainly focused on the relations between the text, the illustrations and the book itself as a medium. Relatively few studies discuss the importance of sound in this context. In this article, however, I examine what Irina Rajewsky refers to as a medial configuration presented by an illustrated book for children and an accompanying CD including the narrator’s voice, songs and music. Drawing on the concept of aurality and Lars Elleström’s model for intermedial analysis, I analyze how text, illustration, and sound mediate a detective story for children: Martin Widmark’s and Helena Willis’ Schlagersabotören (2012). The concluding discussion combines perspectives from both genre theory and intermediality studies: In which ways can auditory text and non-verbal sound present the young reader with some of the clues needed in a detective story? Two major functions of sound as a medium can be identified. Firstly, non-verbal sound helps the reader distinguish between the different diegetic levels in the story, thereby focusing the locked room so typical of the detective story. Secondly, auditory text and vocal pitch help the reader perceive some of the anger and frustration among the suspects in that room. Sound, together with text and illustration, presents the reader with a mystery, but also with the cognitive tools to solve it.
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| 24. |
- Axelsson, Marcus, et al.
(författare)
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Översättning av kraftuttryck i de franska och svenska översättningarna av Maria Parrs Keeperen og havet
- 2021
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Ingår i: Barnboken. - : Svenska barnboksinstitutet. - 0347-772X .- 2000-4389. ; 44
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Tidskriftsartikel (refereegranskat)abstract
- The current study deals with the translation of foul languagein the French and Swedish translations of Maria Parr’s Norwegian novel Keeperen og havet (Lena, the Sea, and Me, 2017). Previous research shows that children’s literature is translated differently in France and in Scandinavia. It is also well-known that parents often have an opinion on what children’s literature can contain. For this reason, we choose the two target languages in question, French and Swedish, and the specific object of study, namely foul language. Methodologically, this is a comparative case study where we compare how passages containing foul language are translated from Norwegian to French and Swedish. Parr is highly creative in her use of foul language. Our study suggests that the Swedish translator retains the coarseness of the source text, and often does so to a great extent by choosing established expressions in the target language. The French translator shows a great deal of creativity, as she uses the characteristics of the plot and the setting to find solutions that are true to the style of the source text.
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| 25. |
- Björck, Amelie
(författare)
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Primater emellan : en läsning av Henry Drummonds berättelse ’’Apan som ingen kunde döda’’
- 2013
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Ingår i: Barnboken. - : The Swedish Institute for Children's Books. - 0347-772X .- 2000-4389. ; 36, s. 1-19
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Tidskriftsartikel (refereegranskat)abstract
- In children’s literature nonhuman primates are often represented either as ferocious beasts or as curios and charmful vicarious children. In this article I demonstrate how these different constructions interestingly coexist in the popular story ‘‘The monkey that would not kill’’, written by the Scottish evangelist and professor of the natural sciences Henry Drummond in 1891. My study anchors the figuration of the monstrous ape historically in a Christian discourse and the figuration of the childlike ape in a zoological discourse, and link them to the literary genres of horror and comedy, respectively. Both of the figurations are anthropocentric in their reductive ways of representing the ape as strange enemy or subordinate ‘‘friend’’: they confirm the hierarchic dualism between man and ape. My reading also points out the excessive passion that characterizes the meeting between the species in the story, as a kind of leakage from the dualism. In light of Giorgio Agamben’s concept of the ‘‘anthropological machine’’, I conclude the article reflecting on the human shepherd’s energetic attempts to kill the animal not only as an act of domination, but also as bearing witness to the obsession with ‘‘experimenting’’ with other primates, in order to consolidate a human species identity.
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| 26. |
- Bodin, Helena, 1964-
(författare)
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"Den kyrkan är vackrast i världen". Den ortodoxa kyrkan och ikonerna i Ilon Wiklands barndomsskildring och bildskapande
- 2015
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Ingår i: Barnboken. - : The Swedish Institute for Children's Books. - 0347-772X .- 2000-4389. ; 38, s. 1-25
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Tidskriftsartikel (refereegranskat)abstract
- ”That Church is the Most Beautiful in the World”: The Orthodox Church and Icons in the Childhood Narratives and Pictures of Ilon Wikland Ilon Wikland (b. Pääbo, 1930), a well-known illustrator of children’s books, has depicted her childhood in Estonia and her search for refuge in Sweden in 1944 in four picturebooks (1995–2007). This article focuses on Den långa, långa resan (1995; The Long, Long Journey, with text by Rose Lagercrantz) and I min farmors hus (2005; In My Grandmother’s House, with text by Barbro Lindgren), with the aim of examining the role of Orthodox churches and icons in Ilon Wikland’s childhood narratives and pictures. Wikland’s grandfather was the leader of the choir in the local Orthodox church in Haapsalu. It is demonstrated that depictions of this church and icons from her grandparents’ home help to place the picturebooks in time and space and contribute to their autobiographical and historical accuracy. Three different themes found in the narratives are explored, since they are essential for the protagonist’s experiences of warfare and ight, and interrelated with the functions of the Orthodox church and its icons. The first is the girl’s sense of freedom and beauty at home and at the Orthodox church. The second theme is her loneliness and desolation when separated from her grandparents and her best friend during the war, situations in which the icons seem to participate in her despair. The third theme is the signi cance of the name, Ilon, for the girl’s emerging identity, as well as for the convergence of the protagonist’s identity with the illustrator’s, similar to how an Orthodox icon is identi ed by means of an inscription containing the name of the depicted person. The conclusion is, that Ilon Wikland has not only rendered the Orthodox church of her childhood and the icons of her grandparents in her pictures. Furthermore, she has recreated their importance for her early life and connected her illustrations with the theology and aesthetics of Orthodox icons.
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| 27. |
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| 28. |
- Bodin, Helena, 1964-
(författare)
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”Gud, nu har jag bara dig.” Teologiska, berättartekniska och retoriska aspekter av barnets närhet till Gud i Britt G. Hallqvists diktning
- 2014
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Ingår i: Barnboken. - : The Swedish Institute for Children's Books. - 0347-772X .- 2000-4389. ; 37
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Tidskriftsartikel (refereegranskat)abstract
- ”God, Now I Have Only You”: Theological, Narratological and Rhetorical Aspects of the Child’s Close Relationship to God in the Poetry of Britt G. HallqvistWorks by the Swedish poet and hymn writer Britt G. Hallqvist (1914–97) were of crucial importance for the renewal of Christian poetry for children in Sweden during the 1960’s and 70’s. The aim of this article is to examine how the child’s relationship to God is shaped in Hallqvist’s prayers, poems and hymns for children from this period. Usually hymns for children depict God by means of description, but Hallqvist creates an active and reciprocal relationship between the child and God. She retells well-known Bible stories with a focus on children and from the perspective of children. In her poetry, she allows children to pose questions to God and to speak candidly with God, thereby enabling them to approach God with parrhesia. Furthermore, to characterize God, Hallqvist prefers metonymical devices – contiguity, personal relationships and human actions – and consequently she recognizes and defines God “by the children in his arms” (in a poem translated into English by Gracia Grindal in Preaching from Home, 2011: 223f). By such devices, Hallqvist’s Christian poetry for children becomes an ongoing conversation, characterized not by static definitions and descriptions but by action, movement and dialogue. Her so-called poetic theology turns out as inseparable from child theology, where the little child is placed in the center and regarded as foremost.
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| 29. |
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| 30. |
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| 31. |
- Dahlbeck, Johan
(författare)
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Lisa Sainsbury : Ethics in British children's literature, unexamined life
- 2014
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Ingår i: Barnboken. - : Svenska barnboksinstitutet. - 0347-772X .- 2000-4389. ; 37
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Recension (övrigt vetenskapligt/konstnärligt)abstract
- Redan i den kittlande undertiteln Unexamined life antyds den un-derliggande spänning mellan barndomen och det etiska livet som Lisa Sainsbury både tar avstamp i och undersöker i sin bok om etik i brittisk barnlitteratur från efterkrigstiden och framåt. Begreppet ”unexamined life” anspelar naturligtvis på Sokrates berömda fras ur Platons Sokrates försvarstal som säger att ”the unexamined life is not worth living”. Barndomen är ju till sin natur mer eller mindre ”unex-amined”, så till vida att filosofisk självreflektion i regel betraktas som ett livslångt projekt. Snarast tänker vi kanske att det är i barndomen som vi bör få de förutsättningar vi behöver, för att så småningom be-driva den typen av kritisk självreflektion som vi först som rationella vuxna (i bästa fall) behärskar.
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| 32. |
- Dalevi, Sören, 1969-
(författare)
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”Den lömske Judas!” : Om bilden av Judas i Barnens bibel
- 2015
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Ingår i: Barnboken. - Stockholm : Svenska Barnboksinstitutet. - 0347-772X .- 2000-4389. ; 38
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Tidskriftsartikel (refereegranskat)abstract
- Barnens bibel (The Children’s Bible) by Anne de Vries is the best-selling children’s Bible in Northern Europe, with a circulation of nearly 900,000 copies in Sweden alone. Written in a language adapted to children it came to dominate the market from the 1960s onwards, not only in Swedish homes and churches but also in schools. This study uses the narratological tools narrator and fokalization to analyze how and in what way the biblical texts on Judas have been adapted to children in Barnens bibel. The study shows how Barnens bibel by changes in narration and fokalization develops a strong antipathy towards Judas, and that the character of Judas has a significantly more important and expanded role in Barnens bibel than he has in the biblical text.
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| 33. |
- Druker, Elina, 1970-
(författare)
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Ett stort varuhus i en stor stad : Dagdrömmar och konsumtionskritik i barnlitteraturen
- 2019
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Ingår i: Barnboken. - : The Swedish Institute for Children's Books. - 0347-772X .- 2000-4389. ; 42, s. 1-24
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Tidskriftsartikel (refereegranskat)abstract
- A Big Department Store in a Big City. Daydreams and Consumer Criticism in Children’s LiteratureIn advertising, marketing, and product catalogs from the first decades of the 20th century, the newly launched department stores often describe their toy departments as a ”fairy tale world”, ”children’s paradise” or ”toy land”. They are depicted as spaces for play and enjoyment, but above all, as spaces for daydreams. These expressions and images – loaded with messages and ideals about children, consumption, and modernity – were quickly transferred to children’s literature. Based on research from advertising history as well as modernism and modernity studies, the article discusses how the department store in the mid-1900s becomes a new variant of the Schlaraffenland or the Cockaigne motif in Scandinavian children’s literature. Focusing on stories published between 1933 and 1965, depictions of children as consumers and the child’s interaction with the department store and its products are investigated. In the studied stories, different variations of the Schlaraffenland motif – excess of toys, experiences, and food – are used to playfully depict hildren’s encounters with the commodity world, but also to investigate questions about the individual’s responsibilities as a consumer and ideas about individuality, freedom, and modernity.
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| 34. |
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| 35. |
- Druker, Elina, 1970-
(författare)
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Introduction to theme : Radical Children’s Literature
- 2019
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Ingår i: Barnboken. - : The Swedish Institute for Children's Books. - 0347-772X .- 2000-4389. ; 42
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Tidskriftsartikel (refereegranskat)abstract
- “Radical Children’s Literature” is a theme issue that investigates children’s literature that in some way, in content, message or form, challenges norms and conventions both within children’s literature and outside it. Radical ideas about children’s literature can reflect a general desire to break free from prevailing norms, artistic boundaries and labels in books for children, but also from traditional constructions of childhood depicted in them. Radical ideas and aesthetics in children’s literature was the topic of an international conference at the Department of Culture and Aesthetics at Stockholm University in November 2018. Six contributions from this conference are now gathered within this theme issue in the journal Barnboken.
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| 36. |
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| 37. |
- Druker, Elina, 1970-
(författare)
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Play Sculptures and Picturebooks : Utopian Visions of Modern Existence
- 2019
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Ingår i: Barnboken. - : The Swedish Institute for Children's Books. - 0347-772X .- 2000-4389. ; 42
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Tidskriftsartikel (refereegranskat)abstract
- This article examines ideas surrounding abstract, modernist art for children during the post-war era by analyzing play sculptures and picturebooks created by Egon Møller-Nielsen, a Danish-Swedish sculptor and artist. His monumental sculptures for children received international attention during the 1950s, and became influential and representative for progressive ideas about art and children in both the United States and in Europe. How, then, is the notion of art articulated and expressed in this context? And how are these ideas connected to the ideological position that children have in the rebuilding of the post-war society in Europe? Egon Møller-Nielsen described his play sculpture as a “lekmaskin” (play machine), paraphrasing Le Corbusier’s famous modernist term for a house, “machine à habiter” (a machine for living in). This kind of use of terminology demonstrates how play sculpture is situated at the core of notions concerning public art, architecture and sculpture in post-war Europe. It also encapsulates ideas of children as the future citizens of the welfare state, and thus, ideas about how these new citizens could be created and formed. Modernist play sculptures and experimental books for children can be seen as a means of equipping children with knowledge of art, thereby creating better adult consumers of art, which identifies children as both an integral part of the utopian vision of modern existence and as future consumers. The play sculpture is thus based on the idea of a new citizen who is also a new kind of art consumer, and can thus be seen as a sculptural embodiment of an idea of the modern child.
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| 38. |
- Druker, Elina, 1970-
(författare)
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Var befinner sig den svenska bilderboksforskningen? En kartläggning av bilderboksforskningens etablering och expansion
- 2018
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Ingår i: Barnboken. - : The Swedish Institute for Children's Books. - 0347-772X .- 2000-4389. ; 41
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Tidskriftsartikel (refereegranskat)abstract
- An Overview of Picturebook Research in Sweden. Establishment and ExpansionPicturebook research in the Nordic countries is in a vital and interesting phase, characterized by both established positions and expansion. The article discusses the development in the field, from the stage of initiation in the early 1980s to becoming an established and varied research area. A number of disciplines and lines can be traced in picturebook research today. While some researchers have focused on the history of the media, others have studied the complex relationship between the text and the images or tried to develop the theoretical framework of the medium. Another prominent approach is to investigate what happens in the reading experience and process and how picturebooks might develop children's literacy skills. Despite discipline or focus, picturebook research in Sweden has established itself as a special research field within children's literature research. While mainly discussing Swedish research, the article also attempts to demonstrate connections and differences with the research field in the other Nordic countries.
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| 39. |
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| 40. |
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| 41. |
- Fjelkestam, Kristina, 1967-
(författare)
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Marika Andrae: Rött eller grönt?
- 2001
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Ingår i: Barnboken. - 0347-772X .- 2000-4389. ; :2
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Recension (övrigt vetenskapligt/konstnärligt)
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| 42. |
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| 46. |
- Gustafsson, Tommy, 1969-
(författare)
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"Kan verka skrämmande på små barn" : Våld, sex och historiebruk i tv-serien Trälarna
- 2012
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Ingår i: Barnboken. - Stockholm : Informa UK Limited. - 0347-772X .- 2000-4389. ; 35, s. 1-18
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Tidskriftsartikel (refereegranskat)abstract
- This article examines the television adaption and reception of Swedish youth novelist Sven Wernström’s series of historical youth novels called Trälarna (‘‘The Thralls’’) in the late 1970s and early 1980s. The book series as well as the Danish animated televisions series used a noticeable class perspective in order to make comparisons between the condition of slaves in medieval times and Swedish working class of the 19th and 20th centuries. In accordance with the novels, the television series therefore displays a strong moral historical perspective. The analysis in the article focuses mainly on the abundant use of violence and sex as political and pedagogical instruments to promote class consciousness among its child viewers. In contrast to the novels, the television series was able to create more explicit audiovisual images of violence and sex that, in fact, were censored by Swedish state television before it was aired on a child friendly timeslot. Although some scenes in the television series were censored, the final analysis reveals that ‘‘The Thralls’’ can be seen as a rather typical example of the politically and aesthetically radical Swedish children’s culture of the 1970’s.
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| 47. |
- Haglund, Tuva, 1986-
(författare)
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Från romantik till normkritik : Visuell kommunikation inom digitala fangemenskaper
- 2018
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Ingår i: Barnboken. - : The Swedish Institute for Children's Books. - 0347-772X .- 2000-4389. ; 41, s. 1-21
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Tidskriftsartikel (refereegranskat)abstract
- Fans and fan communities play an important part in today’s participatory culture. A central aspect of fans engagement in fictional worlds are the fan made artworks, for example fan fiction, fan art or fan vids, inspired by the original story and shared within the community. The article examines fan art related to the fictional worlds of the Engelsfors trilogy (2011–2013) by Sara Bergmark Elfgren and Mats Strandberg, and J. K. Rowling’s Harry Potter series (1997–2007). The analysis comprises two different motifs, both related to common repertoires for fan interpretation. “Shipping” is the term for fan’s engagement in a specific romantic relationship. In this article, I discuss the romance between Linnéa and Vanessa (the Engelsfors trilogy). The other motif, “racebending”, refers to artworks where fans change the race or ethnicity of one or more character. I analyse fan art were Hermione (Harry Potter) is depicted as black. Fans publish their artworks within the communities where the participants share knowledge, experiences, and emotions connected to the fictional world. My discussion focuses on how fan art functions as visual communication within these specific contexts. While fan fiction is usually described as adding to or transforming the fictional universe, fan art can also be said to highlight or underline specific aspects of the story or the reading experience by giving them visual representation.
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