scholarly journals Veljka Ruzicka Kenfel (Ed). New Trends in Children’s Literature Research --Twenty-first Century Approaches –200-2012. (2014). Spain: Peter Lang Edition. 239 pages.

InterSedes ◽  
2015 ◽  
Vol 16 (34) ◽  
Author(s):  
Marina Vásquez Carranza

This text incorporates various studies by researchers who belong to the group Anglo-German Children’s Literature and its Translation at the University of Vigo, first set up in 1992. The main focus is to describe new tendencies within literature for children and young adults, including translation, adaptation, comics, and palindrome.

2014 ◽  
Vol 73 (1) ◽  
pp. 165-186 ◽  
Author(s):  
Eiko Maruko Siniawer

In the first decade of the twenty-first century, Japan experienced a surge in the evocation of the word “mottainai,” most simply translated as “wasteful.” Children's literature, mass-market nonfiction, magazines, newspapers, songs, government ministries, corporations, and nongovernmental organizations deliberately used and defined the term as they took up the question of what was to be deemed wasteful. This essay examines how discourses that were ostensibly about wastefulness constituted an articulation of values, a search for meaning and identity, and a certain conception of affluence in millennial Japan. It suggests that this idea ofmottainaireflected wide-ranging principles and beliefs that were thought to define what it meant to be Japanese in the twenty-first century, at a time when there settled in an uneasy acceptance of economic stagnation and a desire to find meaning in an economically anemic, yet still affluent, Japan.


Author(s):  
Jessica R. McCort

The introduction begins the book’s discussion of why some children and young adults are drawn to horror. It attempts to define the term “horror,” especially in relation to children’s literature and culture, and seeks to consider the ways in which frightening elements emerge in children’s literature and culture. It also provides an overview of the essays included in the volume and how they are in conversation with one another.


2013 ◽  
Vol 2 (3) ◽  
Author(s):  
Joanne De Groot

Welcome to the new issue of the Deakin Review of Children’s Literature!  My name is Joanne de Groot and it is my great pleasure to introduce you to the first issue of 2013.  I am an instructor in the Teacher-Librarianship by Distance Learning (TLDL) program at the University of Alberta, in Edmonton, Canada.  The TLDL program is an entirely online Master of Education that prepares teachers across Canada and around the world to become teacher-librarians.  The MEd in Teacher-Librarianship develops school and professional leadership in inquiry, literacies, technology, and resources through meaningful learning experiences. All the courses in this program focus on curriculum, community, consultation, collaboration, coordination, and communication. You might be wondering why I was asked to write this editorial and why I am introducing you to this issue.  Let me explain!  In the fall of 2012, I taught a required course in the TLDL program called ‘Introduction to Resources for Children and Young Adults’ (EDES 546).  This course provides students with an introduction to literature and other print and digital media for children and young adults and provides strategies and resources for selecting and using these resources in library settings.  The major assignment for this course asked small groups of students to work together to develop a proposal to build a focused collection of resources for a school library.  Each group had to select a particular area or topic and then work through a series of tasks to develop their proposal.  Groups in this particular class focused on topics such as Canadian materials, graphic novels, high interest/low vocabulary titles, picture books, reluctant readers, and First Nations resources. Each group had a number of required tasks to complete as part of their project, including: a selection list of resources they would purchase to build their collection; the selection criteria they used to develop this list; and links to professional reviews for some of the items on their list. The complete group projects are also available online to anyone who is interested in viewing them. Please contact me for the links.  In addition, each student had to write their own professional reviews for two items on the selection list.  Many of the reviews written by the students in this course have now been compiled to form the basis of this issue of the Deakin Review of Children’s Literature. When I first approached the editorial team at the Deakin Review about the possibility of having my students contribute to this issue, none of us were sure how, or if, it would work.  I greatly appreciate that the entire team at the Deakin Review was willing to take a leap of faith and put this issue almost entirely into my students’ hands.  The task of writing reviews that were going to be published in a reviewing journal made the assignment that much more relevant and interesting for my students.  I would like to thank everyone at the Deakin Review for their enthusiastic support of the idea and for working with me and my students to make it happen! And now, without further delay, I am very pleased to share with you this new issue of the Deakin Review of Children’s Literature, brought to you by the students in the Fall, 2012 sections of EDES 546.  Happy Reading! Joanne de Groot Adjunct Assistant Professor Department of Elementary Education University of Alberta email: [email protected]


Reading in the Dark: Horror in Children’s Literature and Culture is a collection of essays that seeks to consider gothic horror texts for children with the respect such texts deserve, weighing the multitude of benefits they can provide for young readers and viewers. It refuses to write off the horror genre as campy, trite, or deforming, instead recognizing that many of the children’s books and films categorized as “scary” are among those most widely read/viewed by children and young adults. It also considers how adult horror has been domesticated by children’s literature and culture, with authors and screenwriters turning that which was once utterly horrifying into safe, funny, and delightful books and films, along with the impetus behind such re-envisioning of the adult horror novel or film as something appropriate for the young. Especially today, when dark novels, shows, and films targeted toward children and young adults are proliferating with wild abandon, understanding the methods by which such texts have traditionally operated, as well as how those methods have been challenged, abandoned, and appropriated in recent years, becomes all the more crucial.


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