scholarly journals Changing Stereotypes With Regard to Special Needs Through Children’s Literature

wisdom ◽  
2016 ◽  
Vol 2 (7) ◽  
pp. 156
Author(s):  
Lilith BAGHDASARYAN ◽  
Armenuhi AVAGYAN ◽  
Karine SARGSYAN
Keyword(s):  
Children's Literature ◽  
Special Needs ◽  
Inclusive Education ◽  
Children’S Literature ◽  
Children's Book ◽  
The People ◽  
History Of ◽  
First Time ◽  
At Home

We had the idea of this research, when we learned, that the children’s book about special needs: R.J. Palacio “Wonder” was translated into Armenian for the first time. Books on this topic have not been written yet by Armenian authors. The point is that during Soviet years the working assumption was that all the people were “like each other”, perfect, beautiful, without problems, without disorders; all those, who did not meet those criteria (who had visual, auditory, physical, mental, even speech and communication limitations), grew up and spent their lives in special boarding institutions, segregated from their families and society. Being ashamed of their children, who were not ideal, the parents kept them at home, hidden from acquaintances, neighbours, sometimes even from relatives. Attitudes have begun to change since then, and inclusive education has been a goal in Armenia since 2001. Despite the 15-year history of efforts at inclusive education, acceptance of people with special needs is still not evident in all corners of Armenian society. One of the most prevalent shortcomings is the stereotyping of people with special needs. We decided to use the reading of the book R.J. Palacio “Wonder” for the purpose of helping people confront their attitudes and stereotypes about disabilities as they explored the lives in this unique book.

A Confrontation between Two Doctrines: The Birth of Struggle for Hegemony in Hebrew Children's Literature during the 1930s and 1940s

2008 ◽  
Vol 1 (2) ◽  
pp. 139-155 ◽  
Author(s):  
YAEL DARR
Keyword(s):  
Children's Literature ◽  
Educational System ◽  
Single Channel ◽  
Children’S Literature ◽  
The Political ◽  
Literary Creation ◽  
History Of ◽  
High Level ◽  
First Time ◽  
Literary Quality

This article describes a crucial and fundamental stage in the transformation of Hebrew children's literature, during the late 1930s and 1940s, from a single channel of expression to a multi-layered polyphony of models and voices. It claims that for the first time in the history of Hebrew children's literature there took place a doctrinal confrontation between two groups of taste-makers. The article outlines the pedagogical and ideological designs of traditionalist Zionist educators, and suggests how these were challenged by a group of prominent writers of adult poetry, members of the Modernist movement. These writers, it is argued, advocated autonomous literary creation, and insisted on a high level of literary quality. Their intervention not only dramatically changed the repertoire of Hebrew children's literature, but also the rules of literary discourse. The article suggests that, through the Modernists’ polemical efforts, Hebrew children's literature was able to free itself from its position as an apparatus controlled by the political-educational system and to become a dynamic and multi-layered field.

Reflecting Diversity

2020 ◽  
pp. 27-45
Author(s):  
Lea Shaver
Keyword(s):  
Children's Literature ◽  
Middle Class ◽  
Children’S Literature ◽  
People Of Color ◽  
White People ◽  
Culturally Specific ◽  
American Experience ◽  
Children's Book ◽  
The People ◽  
Upper Middle Class

This chapter describes the book Underpants Dance, which only depicts four white people out of all the thirty characters. However, the book still shows quite a significant underrepresentation of America's diversity. In this story, none of the people of color are important enough to have names. They serve only as a sprinkling of color in the background. The book's settings and events also reflect a distinctly upper-middle-class lifestyle. The chapter further explains that there is nothing wrong with any single children's book being culturally specific to a white, upper-income, American experience. The problem is that this pattern is so strong that children's literature as a whole is systematically less attractive or even alienating to children who do not fit that mold.

scholarly journals Children's book in Siberia: a historiographic review

Bibliosphere ◽  
2017 ◽  
pp. 35-40
Author(s):  
E. V. Engalycheva
Keyword(s):  
Children's Literature ◽  
Children’S Literature ◽  
Book Publishing ◽  
Educational Process ◽  
Design Activity ◽  
Children's Books ◽  
Children’S Books ◽  
Children's Book ◽  
History Of ◽  
Childhood Reading

The article is devoted to the history of Siberian regional children's book publishing. The author has collected theoretic-practical opinions of historians, bibliologists, publishers and booksellers, librarians and bibliographers, psychologists and sociologists, which purpose is to generalize and reveal regularities of books' flow for children. V. G. Belinsky, L. N. Tolstoy, F. G. Tol’, N. V. Chekhov developed the first concepts of children's book. N. K. Krupskaya, V. A. Sukhomlinsky studied the «core» of the children book repertoire. V. G. Sopikov, B. S. Bondarsky reviewed children's literature of the 19th century in their bibliographic works. The author allocated some organizational components using formal-logical, comparative-historical and structural-typological methods. The first block is related to studying such definitions as «children's book», «children's literature», «editions for children», «a circle of childhood reading», «the repertoire of children's books», their typological signs. The presented concepts are investigated according to tasks, which children's editions solve. S. G. Antonova and S. A. Karaichentseva touched issues of children's literature typology in their publications. The second block of literature reveals the children's book development in Russia in various periods of its formation. I. E. Barenbaum, A. A. Grechikhin, A. A. Belovitskaya studied general fundamentals of the book's history, while A. Ivich, L. Kohn, I. Lupanova considered the history of children’s books. The third block is devoted to printing and art features of the children's book design, activity of universal and specialized publishing houses to distribute literature for children. The fourth block explains such category as «reader - library», considers techniques of work with children's book, offers methodical recommendations for teachers and tutors. Readers’ activity is examined as well. The author analyzes interests, factors, incentives and aims influencing childhood reading. Dissertation researches disclose the regional specifics of children's book publishing in 1980-2013, confirm the considered subject relevance. The historical, comparative, formal and logical analysis carried out by the author will be useful both the specialists in publishing and editorial affairs, researchers studying the history and development of the children's book, historians, and teachers in the educational process of such courses as «Publishing and Editing», «Children's Literature», «Book Science». The author concludes that the children's book has been studied in different periods of its development in the context of numerous aspects, directions and components, which makes it possible to reveal the special patterns of its existence.

scholarly journals Translations of slovenian children’s poetry into russian

2020 ◽  
Vol 18 (2) ◽  
pp. 364-381
Author(s):  
Mariya Gromova ◽  
Keyword(s):  
Children's Literature ◽  
Children’S Literature ◽  
Folk Songs ◽  
Long Period ◽  
History Of ◽  
Number Of Publications ◽  
Folk Poetry ◽  
Children's Poetry ◽  
At Home

This study summarizes the history of Slovenian poetry for children and its translation into Russian. The article reviews translated poems by Slovenian authors and Slovene folk poetry written for children from 1955 to the present. Translations of Slovenian children’s folk lore into Russian date back to 1971. They are mainly represented by folk songs and addressed to preschoolers translated into Russian by Leonid Yakhnin. Currently, Zhanna Perkovskaya is engaged in translations of Slovenian children’s literature into Russian. The largest number of publications of Slovenian poetry for children happened in the 1980s. After 1991, there was a long period of silence. However, in recent years, due to the interest of Russian publishers in Slovenian children’s literature successful at home, as well as a significant demand for books for preschoolers, the publication of children’s poetry by Slovenian authors has resumed.

Radical Children’s Literature

2017 ◽  
Author(s):  
Julia L. Mickenberg
Keyword(s):  
Children's Literature ◽  
Civil Rights ◽  
Possible Worlds ◽  
Children’S Literature ◽  
Children's Rights ◽  
Children’S Rights ◽  
Gay Liberation ◽  
Children's Book ◽  
History Of ◽  
The One

Children’s literature can be radical in its form, its content, or both. At the most basic level, radical children’s literature challenges conventions and norms—about society and, often, about childhood—and it inspires change, especially movements for social and environmental justice. Radical children’s literature represents a paradox. On the one hand, some of the most enduring works of children’s literature are in some way subversive. Yet because of the persisting ideal of childhood innocence, “radical children’s literature” might be seen as an oxymoron, an impossibility: if it is radical, it cannot really be children’s literature. And yet, not only is “subversive children’s literature” a core thread within mainstream children’s literature, but radical children’s literature has also been an adjunct to nearly every social movement of the modern era, from abolitionism to socialism, communism, civil rights, Black Power, feminism, environmentalism, and gay liberation. The history of radical children’s literature is tied closely to the history of children’s rights (within whose history the impulse to protect and the impulse to liberate children have sometimes been at odds: with each other, and with the real needs of children). Radical children’s literature, like the children’s rights movement, is both a reaction to “childism,” or prejudice against children, and is also vulnerable to it. Like the romantic ideal of the essential Child, the child subject or object of radical children’s literature is almost always an adult projection, thus liable to serving adults’ needs over those of children. Within this dialectic, however, children’s literature has been a powerful force of positive change in many parts of the world, responding to and for the most part advancing the place of children in society. This has been the case even in repressive climates and under regimes hostile to change, both because children’s literature has tended to be a marginalized field, controlled by women and not seen as worthy of attention, and because of various institutional factors, from educational policies to children’s book awards that have inadvertently or actively helped promote the production and dissemination of radical children’s literature. Like the majority of historical children’s literature, contemporary children’s literature remains predominantly an agent of embourgeoisement. Even so, the range of radical children’s literature published, especially in the past few decades—challenging racism, sexism, and heterosexism; promoting environmental responsibility, internationalism, peace, and collective solidarity against injustice and the abuse of authority; and urging children to challenge childism and to imagine other possible worlds—has been vast.

scholarly journals The first Serbian children's book collections: Contribution to the history of children's literature

2020 ◽  
pp. 63-71
Author(s):  
Mara Knežević
Keyword(s):  
Children's Literature ◽  
Educational System ◽  
Children’S Literature ◽  
Children's Book ◽  
History Of ◽  
Book Collections ◽  
The Republic ◽  
Novi Sad ◽  
Law Student ◽  
The 19Th Century

The first Serbian children's book collections were published in the second half of the 19th century by Stevan V. Popovic in Pest. As a highschool and law student, Popovic stayed in Tekelijanum, in the Institute for Accommodation of Serbian Students. In 1872, he was the first in Serbian children's literature to prepare a collection Wreath of Poems and founded The Litlle World library. He published the following book collections: Images and Opportunities (Pest, 1872), Christmas Gift (Novi Sad, 1872), Radovan's Gift (1876), Christmas (1876), Day and Night (1877), Marigold Flowers (1877), Rest Days (1878), Children's Rejoicing (1878), Serbian Reciter (1879), Basil (1880), Little Gusle (1881), Little World (1882), Radovan (1883), Polaznik (1886), Badnjak (1891), Pearl Flowers (1905), Great Serbian Reciter. Stevan V. Popovic was appointed as manager of Tekelijanum in 1882. He dedicated his whole life to spreading Serbian education and educating the youth. The first Serbian children's book collections have not been included in the educational system of the Republic of Serbia so far, which interrupted the studing of Serbian literature for children.

scholarly journals Illustrations in Children’s Educational Books in Russia in the Late 17th – Early 19th Centuries

2020 ◽  
pp. 82-99
Author(s):  
Nina L. Panina ◽  
Keyword(s):  
Children's Literature ◽  
18Th Century ◽  
Transition Period ◽  
Children’S Literature ◽  
Russian Language ◽  
Children's Books ◽  
Children’S Books ◽  
Children's Book ◽  
The World ◽  
History Of

The aim of this article is to analyse the transition period in the history of illustrating children’s educational books on the material of Russian-language publications. It is the period in which the function of an intermedial representation gradually develops from emblematic to encyclopedic and narrative-figurative images. This process is related to the literary history of children’s books and their genre transformations. In the last third of the 18th century, children’s literature in Russia was formed as an independent direction with its special goals, and the basis for further search for specific methods of children’s book design, including educational ones, was laid. In the first quarter of the 19th century, the children’s book had a typical European visual design and continued the trends inherited from the 18th century: translations, borrowings, and revised texts in publications often copied illustrations rather than made new ones. A new stage came at the end of the 1820s, when Russia was actively developing independent children’s literature, and professional authors and criticism appeared. It was the time of the pedagogical experiments of Vasily Zhukovsky. This article does not claim to analyse Zhukovsky’s pedagogical activity comprehensively, but this activity is significant for the subject-matter of the study. In his pedagogy, Zhukovsky went to a new level when searching for intermedial ways of transmission of the universal coherence of phenomena, the systemic representation of knowledge about the world, and the ideas of the world as a system. The search, though much slower, was also observed in contemporary children’s books. The integration of cognitive and didactic functions in the Russian-language children’s book of the 18th century resulted in a mix of different principles of illustration in one publication. These principles are: (1) emblematic: the title, image, and text form a three-part structure; (2) encyclopedic: the sheet contains separate numbered images of the same type of objects excluded from the visual context; (3) narrative: the plot, expressive and figurative, including caricature, illustrations are readily used in an educational book due to their persuasiveness. Each of these principles has its own ways of displaying coherence. An encyclopedic illustration shows an object in a series of similar ones, in an enumeration, shows the structure of the object. An emblem gives its symbolic and allegorical interpretation. A narrative illustration shows its functions and its involvement in causal relations, depicting the environment of events and objects. The children’s book of the studied period tends to integrate all these ways. While the emblem as an independent intermedial genre degrades, certain elements of the emblematic tradition are actively borrowed by new forms of publications. The emblem gives the European book of modern times the most important intermedial tools for displaying universal coherence, the world as a system. The change of the epochs leads to an inevitable blurring of the meaning of the emblematic sign. The transitive nature of the analysed period is expressed in the search for a new intermedial form of coherence, similar to the lost emblematic bimediality of the text and illustration in terms of effectiveness. In the search for such a form, encyclopedic publications that claimed to be all-encompassing use the emblematic and narrative principles of illustration. In turn, the narrative illustration, driven by a similar desire for inclusiveness, consistency, and universality, absorbs the emblematic and encyclopedic principles.

scholarly journals Nikolai Zabolotsky and His Artists

2020 ◽  
Vol 15 (1) ◽  
pp. 260-290
Author(s):  
A. B. Ustinov ◽  
I. E. Loshchilov
Keyword(s):  
Children's Literature ◽  
Publishing House ◽  
Children’S Literature ◽  
Creative Collaboration ◽  
Children's Book ◽  
History Of ◽  
Livre D'artiste

The essay reconstructs the history of Nikolai Zabolotsky’s relations with artists, starting with his debut book of poems “The Pillars,” published in February 1929 and throughout the 1930s. Zabolotsky can be considered an artist both in a broad (an artist as a creator) and in a professional sense: before “The Pillars,” he attended Pavel Filonov’s workshop, created some drawings, and designed his handwritten books using the technique of Filonov’s “analytical art.” He included some of these calligraphic manuscripts in his collection “Ararat” (1928). He also painted the cover putting in the center of the composition an image of a spread skin, borrowed from Vera Ermolaeva’s illustrations for his children’s book “Good Boots” (1928). The same year Zabolotsky was asked to prepare a collection of his poems for the “Publishing House of Writers in Leningrad.” He asked another artist Lev Yudin (1903–1941), who collaborated with Kazimir Malevich in Ginkhuk, to make a cover for “The Pillars.” However, the publishing house went with a different design, and Yudin’s cover was lost. He also worked on the design of Zabolotsky’s book “The Circus,” which he envisioned as a livre d’artiste, as well as on illustrations for a never published story “The Indians” (1929). Vera Ermolaeva (1893–1937) made her own cover for “The Pillars” a study of which is preserved in the Russian Museum. She also collaborated with Yudin on drawing a poster for the famous OBERIU performance “Three Left Hours,” held on January 24, 1928, at the Leningrad Press House. Her remarkable cover for “The Pillars” is discussed here in connection with the poems, selected by Zabolotsky for his first book. His creative collaboration with the artists found its realization in the field of children’s literature, primarily in the famous magazines “Hedgehog” and “Siskin,” published under the editorial supervision of Samuil Marshak. The publication of Zabolotsky’s “The Tale of the Crooked Man” (1933) in “Siskin” magazine is of particular interest. The poem was illuminated by Pavel Kondratiev (1902–1985), who also attended Filonov’s workshop, and depicted the poet together with his son Nikita in one of his illustrations.

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