| 1. |
- Hellström, Martin, 1979-
(author)
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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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In: Barnelitterært forskningstidsskrift. - Stockholm : Scandinavian University Press / Universitetsforlaget AS. - 2000-7493. ; 1:34, s. 151-164
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Journal article (peer-reviewed)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-
(author)
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Maj Bylocks Drakskeppstrilogi : analogi och kulturmöten
- 2011
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In: Barnboken. - 0347-772X .- 2000-4389. ; 2, s. 5835-
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Journal article (peer-reviewed)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-
(author)
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"Thet vnger lärer han gammal håller" : Strövtåg i den äldre barnlitteraturens historia.
- 2011
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In: Barnboken. - Solna : Scandinavian University Press / Universitetsforlaget AS. - 0347-772X .- 2000-4389. ; :1, s. 35-46
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Journal article (peer-reviewed)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. |
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| 5. |
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| 6. |
- Ingemansson, Mary
(author)
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Maj Bylocks Drakskeppstrilogi : analogi och kulturmöten
- 2011
-
In: Barnboken. - : Scandinavian University Press / Universitetsforlaget AS. - 0347-772X. ; 34:1, s. 114-126
-
Journal article (peer-reviewed)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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| 7. |
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| 8. |
- Van Meerbergen, Sara, 1981-
(author)
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Play, parody, intertextuality and interaction : Postmodern Flemish picture books as semiotic playgrounds
- 2012
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In: Barnelitterært forskningstidsskrift. - : Scandinavian University Press / Universitetsforlaget AS. - 2000-7493. ; 3:1
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Journal article (peer-reviewed)abstract
- Because of their prominent use of artistic illustrations, contemporary Flemish picture books have often been referred to as ‘‘aesthetic picture books’’ in Flanders. In this article, I will argue that the use of art and references to art by no means is a feature that is unique for contemporary Flemish picture books. The use of artistic allusions is only one of many characteristics that contemporary Flemish picture books share with what internationally has come to be described as ‘‘postmodern picture books’’. Typical postmodern features such as play, parody, intertextuality and interaction (between text and reader) will consequently be identified and analysed in works by several Flemish picture book artists. Because of these postmodern features, picture books are furthermore described as ‘‘semiotic playgrounds’’ where readers can become (inter)active readers.
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