Children's Literature: Theory, Research, and Teaching. Kay E. Vandergrift

1991 ◽  
Vol 61 (1) ◽  
pp. 104-105
Author(s):  
Susan Jackson
ELH ◽  
1978 ◽  
Vol 45 (3) ◽  
pp. 542 ◽  
Author(s):  
Felicity A. Hughes

TOTOBUANG ◽  
2021 ◽  
Vol 9 (2) ◽  
pp. 315-329
Author(s):  
DUDUNG ABDULAH

This study aims to discover the moral value in character of Learisa Kayeli's Crocodile story written and developed by Asrif. Literary studies talking about children's literature through Maluku folklore are still not found in scientific journals. Therefore, the theory used in this study is the children’s literature theory of Burhan Nurgiyantoro. The research method used descriptive method of content analysis. This study describes the qualifications and disclosure of the character from the story as an introduction in interpreting the moral values. This story was chosen because (1) it has never been examined using children's literature theory; (2) the important characters are played by animal characters and result in more readers’ imagination compared to stories with human characters; (3) this story is intended for children especially for the fourth, fifth, and sixth graders; (4) it has a complete storyline; and (5) it is printed Maluku folklore written in Indonesian and went through digitalization process. This study concludes that there are seven moral values conveyed by the author in character of Learisa Kayeli's Crocodile story, namely: (1) do not be afraid to defend the truth or to quell tyranny even though life is at stake in order to create a harmonious and peaceful life; (2) appreciate the one who has contributed in (saving) your life in order to establish eternal brotherhood until the end of life; (3) do not disturb the peace of other people's lives so that your lives remain fortune; (4) never give up in trying to do something so that your dreams can be achieved; (5) make good friends with others so that you may be accepted by anyone and anywhere including in any new environment; (6) be patient in solving any obstacles in life so you can cherish other people; and (7) be wise to the surrounding environment in order to create a healthy natural balance so that it can provide benefits for mankind. Kajian ini bertujuan menelusuri nilai moral dalam tokoh cerita rakyat Maluku berjudul Buaya Learisa Kayeli yang ditulis dan dikembangkan oleh Asrif. Kajian sastra yang mengangkat tentang sastra anak melalui cerita rakyat Maluku masih belum ditemukan dalam karya ilmiah. Teori yang digunakan dalam kajian ini adalah teori sastra anak. Metode penelitian yang digunakan adalah metode deskriptif analisis. Kajian ini mendeskripsikan kualifikasi dan pengungkapan watak tokoh cerita sebagai pengantar dalam menafsirkan nilai moral yang terkandung di dalamnya. Cerita ini dipilih karena (1) belum pernah dikaji melalui  kajian sastra anak; (2) para tokoh penting diperankan oleh karakter binatang sehingga nilai fantasinya lebih tinggi daripada cerita dengan tokoh manusia; (3) cerita ini diperuntukkan bagi anak-anak terutama kelas 4, 5, dan 6; (4) memiliki cerita yang utuh; dan (5) merupakan cerita rakyat Maluku yang sudah dibukukan dan sudah berbahasa Indonesia bahkan sudah mengalami proses digitalisasi. Hasil kajian menunjukkan bahwa ada tujuh nilai moral yang disampaikan pengarang dalam tokoh cerita Buaya Learisa Kayeli, yaitu (1) janganlah takut membela kebenaran/menumpas kezaliman meskipun nyawa menjadi taruhannya supaya tercipta kehidupan yang harmonis dan tenteram; (2) hargailah orang yang telah berjasa dalam (menyelamatkan) hidupmu supaya terjalin persaudaraan yang abadi sampai akhir hayat; (3) janganlah suka mengganggu ketenangan hidup orang lain supaya tidak bernasib buruk di kemudian hari; (4) jangan pernah menyerah dalam berusaha supaya impianmu bisa tercapai; (5) berperangailah dengan baik terhadap orang lain supaya kamu bisa diterima oleh siapa pun dan di mana pun termasuk di lingkungan baru sekali pun; (6) bersabarlah dalam menghadapi rintangan kehidupan supaya buah dari kesabaran itu bisa bermanfaat bagi orang lain; dan (7) bersikap bijaklah terhadap lingkungan sekitar supaya tercipta keseimbangan alam yang sehat sehingga bisa memberikan keuntungan bagi umat manusia.


PMLA ◽  
2011 ◽  
Vol 126 (1) ◽  
pp. 203-208 ◽  
Author(s):  
Kiera Vaclavik

In 2005 Emer O'Sullivan published the most comprehensive outline to date of a comparative approach to the study of literature and other cultural productions for the young. She presents nine constituent areas of comparative study in relation to children's literature (theory of children's literature, contact and transfer studies, comparative poetics, intertextuality studies, intermediality studies, image studies, comparative genre studies, comparative historiography of children's literature, comparative history of children's literature studies), which she illustrates with examples from around the world. But, although extensive, O'Sullivan's proposal is not without its blind spots, and she acknowledges that it “can only be enhanced by future discussion and modification” (12). With the aim of bolstering the field of children's literature, I here propose an area of comparative research overlooked by O'Sullivan. I also suggest extensions to her conception of comparative literature and to her handling of reception or reader response.


2020 ◽  
pp. 135-152
Author(s):  
Derritt Mason

This chapter considers Dan Savage and Terry Miller’s It Gets Better project, an anti-bullying YouTube campaign that launched in 2010 following a rash of queer youth suicides, and argues that this project is a site of convergence for children’s literature and adult fictions. Mason suggests that the circulation and adaptation of cultural texts like It Gets Better across and through multiple genres—what he refers to, after Kathryn Bond Stockton, as a text and/or genre’s “sideways growth”—challenge critics to widen their theoretical lenses for the study of young people’s texts and culture. The book version of It Gets Better engages in a repetitive anxious rehearsal of its own metanarrative of “getting better” and renders the project (im)possible, Mason argues, drawing on Jacqueline Rose’s The Case of Peter Pan. While It Gets Better fails politically, it succeeds nonetheless at generating critical cultural discourse about how adults address queer youth.


Author(s):  
Julia Benner ◽  
Anika Ullmann

Artikelbeginn:[English title and abstract below] Wer sich mit Kinderliteratur aus wissenschaftlicher Perspektive befasst, kommt nicht umhin, über age nachzudenken. Age spielt in seinen vielen Formen und Facetten im gesamten System Kinderliteratur eine entscheidende Rolle. In Fundamental Concepts of Children’s Literature Research beschreibt Hans-Heino Ewers den Beginn der Kinderliteratur als den Moment, in dem Kinder als die Adressaten eines Textes benannt werden (vgl. Ewers 2009, S. 10). Perry Nodelman geht in seinem Buch The Hidden Adult der Frage nach, warum Texte an Kinder adressiert werden und rückt Konstruktionen von Kindern als besonderer, literarischer Nachrichten bedürfend in den Fokus.   Doing AgeOn the Relevance of Age Studies for Children's Literature Studies The act of addressing a literary message to children is often regarded as the genesis of children’s literature. Consequently, age concepts play a role in how children’s literature criticism constructs the recipients of this specific literary communication and assesses its literary messages. Additionally, age constructions shape the characterisation of literary characters and narrative structures of children’s literature. Therefore, this article posits that findings of Age Studies and Childhood Studies should be integrated into children’s literature theory. Recognising the importance of age for the analysis of children’s literature demands an understanding of age as an identity category (comparable to the categories of race, class and gender). In the vein of Judith Butler’s discussion of gender, this article claims that age identity is a form of performativity, which naturalises concepts of age via the repetition of age acts. Correspondingly, children must perform their childhood and make themselves intelligible as children. Children’s literature, in this conceptualisation, is at the forefront as a repository for and discursive producer of socially and culturally sanctioned ways ›to do‹ childhood (and other age roles). The act of buying or reading a children’s book can be defined as a way of ›doing‹ young age. Reading children’s literature thus makes the child intelligible as child.


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