Where Are the Scary Books?

Author(s):  
Kirsten Kowalewski

This essay closes the study of children’s horror from the perspective of a children’s librarian (albeit one who runs the website Monster Librarian). Kowalewski considers how “Librarians able to navigate the resources that fall into the category of scary books can be guides and partners for children interested in further exploration and extension of their knowledge.” Noting that it can be rather difficult to find an appropriate title for a child who comes in asking for a “scary book” because of the methods by which frightening fictions are shelved in the children’s collection, Kowalewski serves here as a guide, offering practical advice to librarians, educators, and parents who seek to point children in the right direction. Kowalewski argues that librarians’ awareness of such titles is a matter of civic importance, noting that “aliterate,” or disengaged readers, are less inclined to become involved citizens, educationally, politically, and professionally. As Kowalewski notes, titles in the gothic horror genre can serve as an enticement to young readers, luring them into the children’s library. Kowalewski’s essay serves as a thorough practical introduction to “scary books for kids,” an excellent conclusion to our volume that makes its end, in actuality, a beginning, an entry point for those interested in promoting the horror genre among young readers.

Author(s):  
Anne Billson

This chapter compares Tomas Alfredson's Let the Right One In with Anders Banke's Frostbiten (2006), the only other non-porn Swedish vampire movie to date. It examines how Frostbiten takes a larkier, more scattershot approach to the horror genre. It also reviews how Frostbiten begins with snow falling and is followed with a prologue set in Ukraine in 1944, where five soldiers are attacked in the dark by a mysterious creature. The chapter describes Frostbiten as a sloppy but mostly lively horror comedy with its plotting, camerawork and framing that seems arbitrary, and numerous scenes serving no particular function other than half-hearted attempts to convey a bond between mother and daughter. It points out how the plot of Frostbiten turns on repeated instances of people willingly swallowing a drug without knowing what it is.


2019 ◽  
Vol 13 (2) ◽  
pp. 87
Author(s):  
Ida Farida ◽  
Yudi Permadi ◽  
Trisha Adelia ◽  
Nolly Liviani

This article elucidates the perspective of The Lithia Trilogy, written by Blair Richmond, towards environment. This research is executed based on ecocriticism, a literary approach which focuses on the exploration of environmental issues in literary works. The theory is taken from Laurence Buell on the meaning of ecocriticism. From the analysis of the structure of the novels, it is found that the trilogy presents the idea of biocentrism, an assumption that the earth and all of the living things on it have the right to fulfill their needs without any molestation from the other, especially from humans. Biocentrism is the opposing concept of Anthropocentrism, both of which are studied in environmental ethics. Two issues of conflicts are presented in this trilogy: herbivores versus omnivores and environ-mentalists versus capitalists. The result of the research reveals that the novels suggest not to eat animals to save fauna and socialize Gaia hypothesis to save all living and non-living things on the earth. As one work of young adult literature, this trilogy explicitly teaches those suggestions to young readers.


PEDIATRICS ◽  
1969 ◽  
Vol 43 (5) ◽  
pp. 885-885
Author(s):  
T. E. C.

Anatomy and physiology were taught in just a few of the common (public) schools and academies (independent schools mostly for boys) prior to our Civil War. One of the most widely read textbooks on these subjects, at least in Boston, was written by Dr. E. Small, a general practitioner. His book was commonly known a century ago by the title The Laws of Health Made Plain. Dr. Small let his young readers know that the position in which they slept was important. He wrote as follows: The position for sleeping is of consequence. The recumbent is preferable, but not indispensable,-I mean for a healthy person. Some sleep on the back, but this is objectionable, as it is liable to produce nightmare, in consequence of the pressure of the organs of the chest upon the aorta and other vessels. The sick can often lie and sleep on the back better than in any other position. For the healthy, sleeping on the right side is the most favorable. There are physiological causes for its being so. . . . The most favorable position for sleeping is that in which the blood and other fluids circulate the most freely and with the least obstruction. When lying on the back, as I have said, the organs of the thorax press upon the aorta and thoracie [sic] duct, obstructing the passage of blood and chyle. Lying on the left side obstructs the free flow of the blood through the lung, by the pressure of the heart upon it, the heart being situated to the left of medial line of the chest.


2016 ◽  
Vol 9 (1) ◽  
pp. 83-97
Author(s):  
Rima Shikhmanter

Historical fiction serves as a powerful source for the dissemination of historical images and the determination of collective memory. These roles are of particular significance in the context of severe political conflicts. In these cases historical fiction shapes the narrative of the conflict, explains its source and central events, and therefore forms the readers' political stances towards the conflict and its consequences. This article examines the role contemporary Jewish Israeli historical fiction for young adults plays in presenting the Israeli–Palestinian conflict to young readers. It discusses two of the political perspectives this fiction addresses: the traditional hegemonic narrative and the left-wing narrative. Associated with the right-wing sector of Israeli politics, the former promotes the Zionist myth and seeks to justify the necessity and morality of its premises while ignoring and/or dismissing the legitimacy of the Palestinian narrative. The lack of a consensual Jewish historical narrative that does not negate the Palestinian narrative on the one hand, and the ongoing public delegitimisation of the left-wing on the other, forces historical-fiction authors to place their plots at a historical remove, locating them in other places and times.


Author(s):  
Gary Cole

Purpose – Establishing a feedback culture can transform a business but only if feedback is defined in the right way and given and received constructively in pursuit of individual, team and company goals. This paper provides practical advice on how to establish an effective feedback culture. Design/methodology/approach – This was written from professional experience. Findings – The very essence of the term “feedback” is a key function to meeting (and possibly exceeding) the goal(s) of your business. In an organizational context, this must mean that all individuals and teams should seek and receive feedback about their progress toward the organizational goal(s), in additional to their team goal(s). Furthermore, when this is cascaded down and managed superbly and consistently at an individual level, the power of a feedback culture will drive and maintain outstanding business performance. Originality/value – Practical advice on how to establish and maintain a highly effective feedback culture in organizations.


2013 ◽  
Vol 118 (3) ◽  
pp. 510-513 ◽  
Author(s):  
Fangxiang Chen ◽  
Tsinsue Chen ◽  
Peter Nakaji

Object The coronal suture is often used as an empirical landmark for the entry point for endoscopic third ventriculostomy. The trajectory for the approach is often drawn based on midsagittal MRI findings. However, because the coronal suture is not perpendicular to the midline, this method may be inaccurate. Methods The junction of the coronal and sagittal sutures was exposed at the outer table of the cranium of 15 cadavers. An ideal coronal line was established perpendicular to the sagittal suture at the junction of the sagittal and coronal sutures. The distance from this ideal coronal line at the level of the coronal-sagittal junction to the actual coronal suture was measured at 1-cm intervals. The measured distance between the 2 planes was termed the distance to the coronal suture. Results The coronal suture bows forward as it moves from medial to lateral. From 1–6 cm lateral to the sagittal suture, the distance to the coronal suture was 0.1, 0.3, 0.5, 0.8, 1.0, and 1.4 cm, respectively. There was no significant difference between the right and left sides. Conclusions The position of a bur hole for endoscopic third ventriculostomy should be moved posteriorly with respect to the coronal suture the more laterally it is placed. Although the adjustment is small, it may be crucial. Failure to make this adjustment may result in suboptimal bur hole placement and increase the risk of morbidity.


2011 ◽  
Vol 68 (suppl_1) ◽  
pp. onsE246-onsE249 ◽  
Author(s):  
Jae Taek Hong ◽  
Woo Young Jang ◽  
Il Sup Kim ◽  
Seung Ho Yang ◽  
Jae Hoon Sung ◽  
...  

Abstract BACKGROUND AND IMPORTANCE: This is the first report of using the superior lateral mass as an alternative starting point for C1 posterior screw placement, demonstrating the importance of recognizing vertebral artery (VA) anomaly in deciding the surgical strategy for C1 screw placement. CLINICAL PRESENTATION: A 56-year-old man presented with severe neck pain after a fall. Imaging demonstrated an unstable bursting fracture at C4, C1-2 instability, and a subluxation at C2-3. Computed tomography angiography indicated that the persistent first intersegmental artery was located on the left side. The patient underwent anterior-posterior cervical fixation and fusion. Posterior C1 fixation was done with polyaxial screw rod construct using C1 superior lateral mass on the left side and C1 inferior lateral mass on the right side. The patient had no immediate postoperative deficits. At the 8-month follow-up examination, the patient was neurologically intact with a solid cervical fusion. CONCLUSION: The third segment of the VA is heterogeneous; therefore, preoperative radiologic studies should be performed to identify any anatomical variations. Using preoperative 3-dimensional computed tomography angiography, we can precisely identify an anomalous VA, thereby significantly reducing the risk of VA injury. To avoid significant morbidities associated with VA injury, a more optimal entry point for C1 fixation can be selected if a persistent first intersegmental artery or fenestrated VA is detected.


2016 ◽  
Vol 16 ◽  
pp. 520-540
Author(s):  
Patryk Pająk

An Event – between horror and fairy taleAn Event (Događaj, 1969) is one of the few Croatian horror movies. In comparison to other examples of the use of the horror genre in Croatian cinema, the film is distinguished by its aesthetic sophistication and skilful use of fairy-tale elements. The director Vatroslav Mimica evokes the mood of horror primarily through a suitably chosen space (the movie takes place mainly in the forest and two homes) as well as the right dosage and gradation of scenes of violence. The topic of An Event is the child’s initiation into adulthood. To highlight the most important stages and milestones of the initiation process, Mimica uses the plot and symbolic elements taken from the fairy-tale convention, such as the figures of false mother and magical helper as well as the motif of fear of abandonment and the motif of incorporation. Presentation of the topic of initiation by means of fairy-tale horror allows the director to describe suggestively the key problem in horror films that is the traumatogenic interaction between the natural and cultural factors that shape human life. Zdarzenie – między horrorem a baśniąZdarzenie to jeden z niewielu chorwackich horrorów. Na tle pozostałych przykładów użycia tej konwencji w kinie chorwackim wymieniony film wyróżnia się estetycznym wyrafi­nowaniem oraz umiejętnym wykorzystaniem pierwiastków baśniowych. Reżyser – Vatroslav Mimica – wywołuje nastrój grozy przede wszystkim za pomocą odpowiednio dobranej prze­strzeni (film rozgrywa się głównie w lesie i dwóch domach) oraz dozowania i stopniowania scen przemocy. Tematem Zdarzenia jest inicjacja dziecka w dorosłość. Aby uwydatnić najważniejsze etapy i punkty zwrotne procesu inicjacyjnego, Mimica wykorzystuje składniki fabularno­-symboliczne zaczerpnięte z konwencji baśni, takie jak postacie fałszywej matki i magicznego pomocnika oraz motywy lęku przed opuszczeniem i inkorporacji. Prezentacja tematu inicjacji za pomocą baśniowego horroru pozwala reżyserowi sugestywnie nakreślić kluczowy dla kina grozy problem traumatogennej interakcji między naturalnymi a kulturowymi czynnikami kształtującymi ludzkie życie.


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