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- 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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- 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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- 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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- 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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- 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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