scholarly journals Commentary: Writing Picture Books

2011 ◽  
Vol 4 (2) ◽  
pp. 55-60
Author(s):  
Jane Yolen

In this interview Jane Yolen, award-winning author of children’s picture books, talks of how her books come into being and the sometimes long period between the first spark of an idea and the time writing begins. She explains the many types of research that can be required for different types of books, giving examples from her own work. She also provides insight as to the role of the writer, the illustrator and the editor in creating the final version of a children’s picture book. Finally, she reveals her own favourite children’s picture books and gives advice to those wishing to write in this genre.

2020 ◽  
pp. 160
Author(s):  
Claudia Pazzini

The essay focuses on the examination of a selection of children’s picture books on the theme of clothing as an element of identity and as a means of personal and social transformation. The gender stereotype has always deprived children of the freedom to imagine themselves different from the imposed social model. Modern quality literature aims to free childhood from these constraints through stories that encourage the free expression of one's personality. "Clothing and childhood" is one of the binomial in which these themes appear most evident. While developing different plots, each selected book tells a story enriched by several levels of reading, more or less evident, and this is also due to particularly accurate illustrations, capable of adding further nuances to the text. Furthermore, even if characterized by the symbolic presence of clothes,  these picture books do not make them the narrative fulcrum. In each of these case studies, clothing becomes a pretext for a journey of self-discovery and affirmation of one's individuality in the world. These case studies are a concrete example of the potential of the picture book as a vehicle of complex concepts and stratifications of complementary or parallel meanings that emerge from the dynamic relationship of the text with the image. Each double page opens multiple, free interpretative paths that can be taken at each reading, as the eye catches new aspects and the thought opens up to new discoveries. The imaginary dress is therefore one of the many parallel topics that it was possible to address through these books, with which the possible interpretations of clothing in children's literature have been explored, highlighting above all how much garments are objects charged with metasignification or with projections of a identity in formation such as the one of children.


2018 ◽  
Vol 5 ◽  
pp. 31
Author(s):  
Anne Sophie Haar Refskou ◽  
Laura Søvsø Thomasen

The human hand is a complex phenomenon within the contexts of early modern visual and textual culture. Its frequent presence in early modern texts and illustrations - as well as the many different types of described and depicted hands - raises a number of questions as to its functions and significances. In this article, we examine the role of the hand and two of its familiar functions –pointing and touching – against diverse and diverging understandings of human perception and cognition in the period focussing particularly on relations between bodies and minds. Through comparative analyses of cross-over examples from both medicine, manuals and drama – primarily John Bulwer’sChirologia and Chironomia, William Harvey’s de Motu Cordis and extracts from Shakespeare’s plays – we explore the questions implied by hands and their contributions to the knowledge probed and proposed by these texts and illustrations.


2019 ◽  
Vol 39 (5) ◽  
pp. 527-546 ◽  
Author(s):  
Jessica L. Montag

Reading picture books to pre-literate children is associated with improved language outcomes, but the causal pathways of this relationship are not well understood. The present analyses focus on several syntactic differences between the text of children’s picture books and typical child-directed speech, with the aim of understanding ways in which picture book text may systematically differ from typical child-directed speech. The analyses show that picture books contain more rare and complex sentence types, including passive sentences and sentences containing relative clauses, than does child-directed speech. These differences in the patterns of language contained in picture books and typical child-directed speech suggest that one important means by which picture book reading may come to be associated with improved language outcomes is by providing children with types of complex language that might be otherwise rare in their input.


2015 ◽  
Vol 8 (2) ◽  
pp. 160-183 ◽  
Author(s):  
Jeff Siegel

This article shows how the psycholinguistic process of language transfer accounts for the many features of the grammatical morphology of language contact varieties that differ from those of their lexifiers. These include different grammatical categories, the use of contrasting morphological processes to express grammatical distinctions, lexifier grammatical morphemes with new functions, and new grammatical morphemes not found in the lexifier. After an introductory description of the general notion of language transfer, it presents five more specific types: transfer of morphological strategies, word order and grammatical categories, as well as direct morphological transfer and functional transfer. The article then gives some possible explanations for the distribution among different types of contact varieties of two kinds of functional transfer – functionalisation and refunctionalisation – and for the distribution of particular types of grammatical morphemes – i.e. free versus bound. The examples presented come from contact languages of the Australia-Pacific region: three creoles (Australian Kriol, Hawai‘i Creole and Tayo); an expanded pidgin (Melanesian Pidgin, exemplified by Vanuatu Bislama and Papua New Guinea Tok Pisin); a restricted pidgin (Nauru Pidgin); and an indigenised variety of English (Colloquial Singapore English).


2020 ◽  
Author(s):  
Noyuri Yamaji ◽  
Megumi Sawaguchi ◽  
Erika Ota

Abstract Background To tell children that they are diagnosed with cancer is challenging for any healthcare professional and family. Pictures books are one of the communication tools for talking with children about severe diseases. However, little research is available about the contents and appropriateness of picture books about cancer for children. Methods This study aimed to examine the contents of children's picture books about cancer and explore the advantages and disadvantages of using picture books to communicate with children about cancer. We searched the picture books about cancer written for children aged under ten years old on the Amazon.com Web site on 5 July 2019 and hand-searched on the cancer-related institutes' Web site. We extracted the texts of relevant picture books and conducted a contents analysis of them. Two researchers independently coded the patterns and contents and calculated the agreement between the codings of two researchers using Cohen's kappa coefficient. Results We identified 2,555 picture books and included 30 of them. We identified three main contents, (a) cancer-related knowledge, (b) impacts of cancer, and (c) dealing with cancer. Cancer-related knowledge refers to the information about what is going on and what children have to do. Impacts of cancer refer to the impact of having a child with cancer. Dealing with cancer relates to the actions to reduce or minimize stressful events that had been described. These contents were written with simple words and illustrations. Some of them included the essential contents, which might be misunderstood by children. Conclusions Picture books use plain language with illustrations and might be helpful for children to understand about cancer. However, as these books do not include all contents, it is necessary to select and use multiple books depending on the content which is wanted to tell the child. Moreover, there was no picture book which was developed based on children's information needs and validated. Further research should evaluate the impacts of these books as a communication tool when talking with children diagnosed with cancer.


2020 ◽  
Vol 7 (2) ◽  
Author(s):  
Jing Xiang ◽  
Ying Yan

The narrative function of children’s picture books connects the exquisite, meaningful and colorful paintings with easy and imaginative words. A teaching process, which is called the circulation process, happens when teachers and children are reading the pictures and words repeatedly. This process involves four stages: lead-in, telling the story, retelling the story and utilizing the retold story. Teacher may understand children’s knowledge, cognitive features as well as nature of picture books and paintings effectively. Then the vivid illustration of story line encourages children to think from others’ views and communicate with different people in the world. In such a way, we aim to establish a brand new teaching culture consisted of national memory and traditional Chinese culture elements.


2021 ◽  
Vol 13 (2) ◽  
pp. 243
Author(s):  
Riskia Setiarini ◽  
Supiastutik Supiastutik ◽  
Dina Dyah Kusumayanti ◽  
Hadi Sampurna ◽  
Erna Cahyawati

There is little research on gender-related children's picture books in Indonesia. In this article, we discuss the disclosure of gender representation in a picture book entitled Perpustakaan Intan. The high number appearances of women, the actions pinned on women, and the clothes displayed in both text and images are materials for visualizing women and men. Previous studies have revealed that men dominate the number of appearances in books. However, this book displays women more often than men. On the one hand, this raises the question of whether this means women are in power, and on the other hand, men are portrayed as powerless. Utilizing the multimodality approach, the results show that although women appear more in the narrative, women are still represented as less powerful.


Author(s):  
Krystal Howard

In this chapter, Howard reflects upon how Gaiman's picture books borrow the grammar of comics in ways that demonstrate his high esteem for the young reader. Howard collapses the critical distinctions between comics and pictures showing how, through their frequent collaboration, Gaiman and McKean use the discourse conventions of comics, where they began, within their children's picture books to straddle a line between lightness and play and darker overtures in a traditionally lighter field of children's picture books. Her conclusions poke holes in the staid critical distinctions in both fields.


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