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| 2. |
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| 3. |
- 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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| 6. |
- 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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| 7. |
- 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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| 10. |
- 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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| 11. |
- 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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| 12. |
- 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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| 13. |
- 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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| 14. |
- 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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| 15. |
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| 17. |
- 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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| 18. |
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| 19. |
- Hellström, Martin, 1979-
(författare)
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"Läs kamrat Jesus i söndagskolorna!" Mottagandet av Sven Wernströms Kamrat Jesus i Sverige
- 2015
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Ingår i: Barnboken. - Stockholm : Svenska barnboksinstitutet. - 0347-772X .- 2000-4389. ; 38, s. 1-22
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Tidskriftsartikel (refereegranskat)abstract
- Sven Wernström’s children’s book Kamrat Jesus (Comrade Jesus, 1971) depicts Jesus as a revolutionary leader. The author’s intention was to generate a debate on the Bible’s way of describing Jesus. When published, Kamrat Jesus was treated in thirty-two reviews and polemical articles, published in daily papers, Christian Magazines and periodicals for teachers of religion, librarians and Sunday-school teachers. The 1970s is generally described as a decade dominated by the agenda of the left, and in line with this the majority of the reviews published in daily papers convey a positive view of the work. However, in this article, all the reviews are studied, and then another image emerges. The periodicals that are aimed at teachers of religion,librarians and church leaders ignore the work to a high extent, or reject it due to aesthetical considerations or its lack of concordance with current Bible research. Thus, Kamrat Jesus, despite the political climate, did not fulfil the author’s aim. The article shows that in literary surveys and special-feature issues on children’s literature and religion, the work was ignored for the remainder of the 1970s. Presenting Jesus as a revolutionary was thus not commonly accepted even during this left-wing decade.
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| 20. |
- Israelson, Per, 1974-
(författare)
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Bilden som gör förflutenhet : Den tecknade serien, medieekologi och minne i Maus och Vi kommer snart hem igen
- 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
- The ethical and epistemological challenges accompanying representations of the past have been at the center of historiography at least since the days of Leopold von Ranke in the mid-nineteenth century. The artific eof representational forms, as well as the ideological entanglements of the position of enunciation, has always been in conflict with Ranke’s historio- graphical goal of telling the past as “it really was”. In the heyday of postmodernism and in the wake of the so-called linguistic turn, the epistemological and ethical impact of representational forms was widely debated. This paper uses two concepts presented during the postmodernist debates – Linda Hutcheon’s “historiographical metafiction” and Hayden White’s “practical past” – in a discussion of two graphic narratives about the Holocaust, Art Spiegelman’s canonical Maus. A Survivor’s Tale (1991) and Vi kommer snart hem igen (2018) by Jessica Bab Bonde and Peter Bergting. Adapting Hutcheon’s and White’s concepts to a posthumanist and media-ecological conceptuality, in which the worldmaking power of media is highlighted as a co-productive or sympoietic process, the paper “Picturing Pastness. Comics, Media Ecology and Memory in Maus and Vi kommer snart hem igen” shows how the past is not represented, but rather emerges from the embodied participation in the medium as memory technology.
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| 23. |
- Janson, Malena, 1972-
(författare)
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Kjell Gredes Hugo och Josefin : Ett barnkulturellt uttryck i tiden och en barnfilm för framtiden
- 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
- Kjell Grede’s Hugo and Josephine. An Expression of Children’s Culture of Its Time and a Children’s Film of TomorrowThe debut feature film of director Kjell Grede, Hugo and Josephine (1967), is an adaptation of Maria Gripe’s literary trilogy and is often referred to as the best Swedish children’s film ever made. Upon its premiere, the film was very well received by the critics, but some also claimed that it wasn’t suitable for children. This article uses this ambivalence towards Hugo and Josephine as its starting point and demonstrates, via adaptation studies, film studies and childhood studies, how the film transgresses children’s film conventions.For example, my analysis of the film form reveals that Hugo and Josephine is a story largely taking place inside the protagonist. Therefore, it should not be seen as a realistic depiction of a series of events, but rather as a formation of a child’s apprehension of the same events. This filmic mode, which I term “a child’s realism”, can be interpreted through the liminal spacetime as well as hyperbolic and phantasmic occurrences. Also, the film thematises childhood as a social construction by presenting different ways of being a child and an adult respectively.In this way, Hugo and Josephine transgresses the children’s film conventions of the time and, concurrently, puts into question the boundaries between childhood and adulthood as well as the rigid division between fine arts for children and adults respectively. These social and artistic issues were highly topical towards the end of the 1960’s, and therefore Grede’s film is characteristic for its time. But simultaneously, it forebodes the artistically and thematically seminal Swedish films and TV series for children of the 1970’s.
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| 24. |
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| 25. |
- Jönsson, Maria, 1975-
(författare)
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En röd ballong : Om sexualitet som åldersöverskridande erfarenhet i Kerstin Thorvalls mellanåldersböcker
- 2017
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Ingår i: Barnboken. - Stockholm : Svenska barnboksinstitutet. - 0347-772X .- 2000-4389. ; 40, s. 1-17
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Tidskriftsartikel (refereegranskat)abstract
- This article discusses how feelings about and experiences of sexuality and pleasure are depicted in children’s books by Swedish author Kerstin Thorvall. It is well known that Thorvall wrote about sexuality in an outspoken and unconventional way for adults in the 1970s. Less known is that she already had touched upon these topics in her novels for young children in the 1960s and early 70s. This article analyses four of those children’s novels and argues that one has to use a broad definition of sexuality in order to capture the way children´s literature articulate erotic experiences. Hélène Cixous’ concept of “feminine jouissance” is therefore used to analyse the way Thorvall writes about lust and pleasure. This “feminine jouissance” is not directed towards a specific person or centered on specific parts of the body (as is the “masculine monosexual jouissance” according to Cixous) but is instead directed towards a variety of objects and centred on the whole body, involving all senses. The article also investigates how the relation between adult (hetero)sexuality and children’s imagined innocence is challenged in Thorvall’s writings, drawing on Tison Pugh’s queer theoretical study from 2010 on heterosexuality in children’s literature. Thorvall’s depiction of sexuality crosses boundaries between adults and children – and between adult literature and children’s literature – since the language used to express pleasure is the same whether Thorvall writes for young people or adults.
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| 26. |
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| 30. |
- Kostenniemi, Peter, 1980-
(författare)
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Det är saligare att investera än att ge : Entreprenörskap i Sveriges Televisions julkalender
- 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
- Cultural representations of entrepreneurship frequently overshadow positive traits in favor of greed as a central motif, particularly in children’s culture. The Swedish Christmas calendar, broadcasted on national television, has been criticized for conveying a negative view of capitalism including a portrayal of entrepreneurs as villains. However, emphasis on profession fails to acknowledge its engagement with entrepreneurship in relation to the neoliberal version of homo economicus (the economic subject). Drawing on the writings of Michel Foucault and Gary S. Becker, the aim is to show that portrayals of entrepreneurship in the Christmas calendar evoke both positive and negative connotations. In the Dickens-inspired calendar Tjuvarnas jul (The thieves’ Christmas, 2011), the two main antagonists are the head of a department store and the captain of the thieves. Both are portrayed as void of moral judgment, aiming to accumulate capital, but unlike the captain of the thieves, the head of the department store reinvests hers. Re-investment emerges as the main dividing line between good and bad capitalist behavior. When the head of the department store stops re-investing, leaving a monetary deficit behind, the accumulated funds oft he captain of the thieves secure market balance and a flourishing of professional entrepreneurship. In the calendar Kaspar i Nudådalen (Kaspar in Nudå valley, 2001), the protagonist aims to receive a maximum amount of Christmas gifts. To ensure this, he creates a measuring tool whereby he can evaluate his actions and its outcome: good actions allow him to advance a step and bad actions force him to retreat. His everyday accounting emphasizes the construction of subjectivity as a distinct homo economicus as the measuring tool begins to shape his being, disciplining his thoughts and actions. Together, the two Christmas calendars emphasize entrepreneurship as an ambivalent discourse beyond a biased negative view of capitalism in children’s culture.
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| 31. |
- Kostenniemi, Peter, 1980-
(författare)
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Monstret, barnet och disciplineringens konsekvens : Intermedial dialog i Allan Rune Petterssons berättelser om Frankensteins faster
- 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
- Between Allan Rune Pettersson’s novels Frankenstein’s Aunt (1978) and Frankenstein’s Aunt Returns (1989) there emerges a contradictory view on discipline. Whilst being a dominant motif in the first novel, discipline of the monstrous is dissuaded from in the second. This article aims to explain this contradiction through an analysis of the different meanings ascribed to the monstrous body in the two novels. Jeffrey Jerome Cohen’s monster theory and Michail Bachtin’s work on the chronotope is used whilst intermedia theory provides a framework to explain the relation between the novels in the light of a TV series based on the first novel. The first novel creates a gothic chronotope where the protagonist Hanna Frankenstein tries to atone for her nephew’s sins in the past (his creation of the Monster). Here, the monstrous body is assigned meaning through a correlation with the discourse on the child, which legitimizes disciplining the monsters. In the TV series, monstrosity is described as a result of loneliness and consequently, the function of discipline is altered. The Monster falls in love with a human girl and, thanks to aunt Hanna’s efforts, he eventually marries her. Thus, monstrosity is obliterated altogether. In the second novel, aunt Hanna accuses the Monster and his bride of betraying their individuality. However, as their bourgeois lifestyle is the result of her own acts of discipline in the first novel, she now has to atone for new sins in the past – this time her own. The second novel thus reinvents the gothic chronotope and re-interprets the first novel in the light of the TV series, providing a missing link between the novels. In the end, the second novel advocates the co-existence of the monstrous alongside the human.
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| 32. |
- Källström, Lisa
(författare)
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Pippi och utopin : En omslagsbild i den västtyska studentrevoltens kölvatten
- 2018
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Ingår i: Barnboken. Tidskrift för barnlitteraturforskning. - : The Swedish Institute for Children's Books. - 2000-4389. ; 41
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Tidskriftsartikel (refereegranskat)abstract
- The cover of the West German collection of Pippi Longstocking stories Pippi Langstrumpf (1967) shows a girl standing upside down. The image was drafted by the renowned illustrator Rolf Rettich. This exclusive edition, featuring an additional 200 illustrations by Rettich inside the book, was released in connection with Astrid Lindgren's 60th birthday. The edition positioned Lindgren as an author of ambitious children's literature and established Oetinger’s standing as a successful publisher. Rettich’s cover image is my starting point for discussing the idea of the liberating capacity of the Pippi stories. In the light of the political turmoil of this period, Pippi was both hailed as a representative of fantastic literature and criticized for being pseudo-revolutionary, ensnaring children in daydreaming about a good world, when instead they should learn how to deal with everyday life from realistic literature. In order to analyze the visual rhetoric in its historical context, I choose an approach that in my case unfolds the well-known Pippi figure as a generative ”utopian principle”.
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| 33. |
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| 34. |
- Kärrholm, Sara
(författare)
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Spänningslitteratur för barn och vuxna : När målgrupper och genrer korsas i verkens paratexter
- 2016
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Ingår i: Barnboken. Tidskrift för barnlitteraturforskning. - : The Swedish Institute for Children's Books. - 2000-4389. ; 39, s. 1-24
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Tidskriftsartikel (refereegranskat)abstract
- Many of the established Swedish crime writers write for both adults and young readers. These authors are successful in the two literary market segments that are dominating the contemporary Swedish book market: crime literature and children’s literature. Can certain developed trademarks in their authorship for adults be used in order to market books for other age groups and to what extent do the authors use this possibility? This article specifically addresses three authors writing for both young and adults: Anna Jansson, Kristina Ohlsson and Åsa Larsson. Their novels for a younger audience are analysed based on how they are packaged and marketed through paratexts such as covers, illustrations, and other texts, using Gérard Genette’s theory of paratexts and theories of genre and marketing. The analysis shows that these authors and their publishers use similar, but also different strategies to hold on to their former target group while also reaching out to new readers. The adult crime genre has an indirect influence over the market of mystery books for children, which is also seen in how different aspects of the crime market for adult crime fiction have become more important on the book market for children, involving agents, events and tourism.
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| 35. |
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| 36. |
- Manderstedt, Lena, 1966-, et al.
(författare)
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Bildens status i läsarkommentarer på nätet : Narrativ interaktion i Jakob Wegelius Legenden om Sally Jones och Mördarens apa
- 2018
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Ingår i: Barnboken. - : Svenska barnboksinstitutet. - 0347-772X .- 2000-4389. ; 41
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Tidskriftsartikel (refereegranskat)abstract
- The award-winning novels Legenden om Sally Jones (2008; The Legend of Sally Jones, 2018) and Mördarens apa (2014; The Murderer’s Ape, 2017) written and illustrated by Jakob Wegelius present a thought-provoking interplay between verbal and visual narration. However, an online data collection of blog posts and online reviews reveals that readers discuss the verbal narration and intersectional themes in these novels, but often overlook the pictures.This study contributes to the discussion of narrative interaction by juxtaposing analyses of pictures in the novels and online comments by readers on these literary works. The material thus consists of comments by non-professional writers, and the degree and type of attention paid to narrative interaction in these comments is foregrounded. In order to examine the word/image interaction in Wegelius’ novels, Maria Nikolajeva and Carole Scott’s typology for interaction is used on a selection of images and, when possible, on readers’ responses to these novels.The results show that in the material, the verbal narration is privileged. Less than a third of the online material explicitly comments on the visual narration. Even fewer readers comment on the relationship between the verbal and the visual narration. The study presents potential explanations to the relative absence of comments on the visual narration in these literary works. A likely explanation is that the readers perceive the symmetrical and enhancing relation between the verbal and the visual narration, and, thus, the readers consider the visual narration redundant or an add-on. Therefore, the article highlights the continuous need for explicit training in visual literacy, as the interaction between words and images has a bearing on the narration.
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| 37. |
- Manderstedt, Lena, et al.
(författare)
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Unga läsare som litteraturkritiker online : En (skol)genre på rymmen?
- 2017
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Ingår i: Barnboken. - : Svenska barnboksinstitutet. - 0347-772X .- 2000-4389. ; 40
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Tidskriftsartikel (refereegranskat)abstract
- Research has shown that the book review is part of a core of school text repertoire, and that it is characterized by particular blocks of information. Young readers also write book reviews outside the school context and post these texts online. This study focuses 50 book reviews in Swedish, written by readers age 9–20 outside the school context and posted online. The blocks of information have been mapped, showing that the plot, the characters and the evaluation are predominant among these young readers. However, in the reviews readers are often addressed directly, and the reviewer uses the affinity space provided by the digital environment, both to establish interaction with the readers and to position the young reader as an engaged and competent critic. The established genre conventions are observed to varying degrees, in particular the use of terminology with a bearing on narratives. Paratextual elements such as photos of book covers, quotes, links and spoiler warnings occur in many book reviews in the material. Three theoretical concepts are used in this article to analyse and understand young readers’ online book reviews: James Paul Gee’s concept of affinity space, Basil Bernstein’s concept of horizontal and vertical discourse, and Gérard Genette’s concept of paratext. The result shows that the book review may still, in essence, be an imitation genre, as the young readers use the blocks of information common to the genre conventions learnt at school or by reading professional reviews. The digital environment has, however, had an impact. Not only does Internet provide an arena for the young readers to act as critics, it also provides the young reviewer with national and international models, possibilities of interaction, and paratextual material to borrow. The young readers have capitalized on the possibility to position themselves as readers and critics.
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- Nilsson Skåve, Åsa, 1970-
(författare)
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"När det tar slut och börjar om igen" : Ekokritiska perspektiv på Stefan Castas ungdomsdystopier
- 2015
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Ingår i: Barnboken. - : The Swedish Institute for Children's Books. - 0347-772X .- 2000-4389. ; 38, s. 1-13
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Tidskriftsartikel (refereegranskat)abstract
- The Swedish author Stefan Casta has written several books for children and adults, thematically addressing nature and environment. This paper highlights and discusses ideological and aesthetical aspects in his recent novel, Den gröna cirkeln (2011) and its sequel, Under tiden (2012), from an ecocritical perspective. The novels combine environmental commitment with a dystopian story about four young people who survive a climate catastrophe but get lost in a world they no longer recognize and where ordinary logic does not seem to exist. The paper elucidates this process by a comparison with Buell’s (2001) concept of toxic discourse as there are several parallells, such as elements like a lost paradise, inescapable toxic, and the oppression of powerful societal interests, throughout the story. Simultaneously, ambivalence towards culture and civilization is expressed. Nature and culture become intertwined in a way that differs from the conventional dichotomy and this complexity is the supporting structure of the texts.The four teenagers, and even more so the following generation, become symbols of a new future, a pattern recognized from much dystopian as well as children’s fiction, where the weak and oppressed turn out to be the heroes. The optimistic and didactic ambition in this kind of dystopian stories is often aimed at creating an engagement for environmental issues and a sustainable future among young people. By placing the story in an imagined future as well as adding fantastic elements, Stefan Casta creates a kind of ”Verfremdungseffekt” on phenomena we often do not question in our lifestyle. This could be a liberating relativization to the young readers; the social and cultural drives that rule many of our life choices are not essential and can therefore always be reconsidered.
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- Nordenstam, Anna, et al.
(författare)
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Att göra gott : Svenska förlags- och författares röster om lättläst ungdomslitteratur.
- 2017
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Ingår i: Barnboken – Journal of Children's Literature Research. - : The Swedish Institute for Children's Books. - 2000-4389. ; 40, s. 1-16
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Tidskriftsartikel (refereegranskat)abstract
- Questions about the function of literature are highly relevant,especially considering today’s great concern for the status of literature andfor young people’s reading. In this article we investigate easy-to-read, oreasy reader, a text type rapidly progressing in Sweden, and increasinglyhighlighted as a solution to the weak interest in reading among young peo-ple. Easy reader books originate from the democratic argument that every-one has the right to be able to read and to understand information. Althougha significant part of today’s Swedish book market consists of easy-to-readliterature, we know very little about the attitudes towards this literatureand its readers.While easy-to-read books are made accessible on the mar-ket through different channels, the authors and publishing houses play aparticularly important role.This article describes and discusses Swedishauthors’ and publishing houses’ values and attitudes to their books, theirreaders and their mission, through interviews with 15 authors and threepublishing houses conducted during 2014–2015. The article shows that thewill to do good is a major motivation to act within the easy-reading field. Theauthors and the publishing houses look upon their mission as very impor-tant for a group of struggling or reluctant readers. According to the authorsand publishing houses, this group requires texts that are characterized bysimplicity in terms of recognition of characters, settings and themes. Theyalso want to remove the stigmatization of easy readers, at the same time asthe books are intended to serve as a didactic tool. Our results also show thatthe majority of authors combine their writing with a large number of authorvisits in schools.
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- Sundmark, Björn
(författare)
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Carroll Studies
- 2016
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Ingår i: Barnboken. - : Svenska barnboksinstitutet. - 0347-772X .- 2000-4389. ; 39
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Recension (övrigt vetenskapligt/konstnärligt)abstract
- Review Essay/Samlingsrecension Anna Kérchy. Alice in Transmedia Wonderland. Jefferson: McFarland, 2016. (258 s.) Sissy Helff och Nadia Butt (Red.). ’Tantalizing Alice’: Approaches, Concepts and Case-studies in Adaptations of a Classic. Trier: Wissenschaftlicher Verlag Trier, 2016. (220 s.) Virginie Iché. L’esthétique du jeu dans les Alice de Lewis Carroll. Paris: L’Harmattan, 2015. (254 s.)
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| 50. |
- Sundmark, Björn
(författare)
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Nina Goga, Kart i barnelitteraturen
- 2016
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Ingår i: Barnboken. - : Svenska barnboksinstitutet. - 0347-772X .- 2000-4389. ; 39
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Recension (övrigt vetenskapligt/konstnärligt)abstract
- Review/Recension: NINA GOGA KART I BARNELITTERATUREN Kristiansand: Portal, 2015. Portal Akademisk (147 s.)
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