atrever-se a uma escrita infantil: a infância como abrigo e refúgio

The present text is a childlike exercise in writing. In responding to an invitation to write an adult, academic text, we the authors found that the presence of a child's standpoint acted to change the expressions that were to be elucidated, and that the project that adult writing represents was suspended by the creative force of childhood. "Philosophy for children" became "children for philosophy"; "moral education" became "the end (of) morality" and "conceptions of childhood" became the "childhood of conceptions." As such our text is divided into different sections, in each of which we explore the implications of allowing ourselves to be transformed in our practice by recognition of the child’s voice; the problematization of conventional educational programmatics for one, and the opening of new pedagogical pathways, which recognize childhood as a moving force of thinking, as opposed to an object of study and manipulation. To this end, we engage several interlocutors from different fields--literature, philosophy, education, "philosophy for children", and from chronological children themselves. We conclude by proposing, based on an encounter with the work of H. Cisoux and J. Derrida, that we think about the relations between deconstruction and childhood in such a way that our affirmation of childhood leads to a transformation of the text itself—not only in its content but in its form. As such, we present the reader with a fundamentally childlike text.

Written Language Usage With Pen and Technology in Adults Across Generations

Writing formats have expanded beyond the pen to include new technologies, particularly in this era of immediate digital communication. Rehabilitation professionals are not routinely incorporating writing formats using technology, such as texting, keyboard, or tablet interfaces when evaluating and treating adult writing disorders. The purpose of this study was to obtain normative baseline information about the writing behaviors of typical adults across generations. A total of 199 respondents, ages 18–106, provided data on rating importance of format, frequency of use, and ranking of writing activities. Findings indicated that the importance of technology for communication, learning, and work activities exists across the generations (except the centenarian). Written forms of enjoyment, such as crossword puzzles, song lyrics, and story writing were meaningful to younger as well as older generations. Obtaining client perspectives on writing activities and formats that are personally relevant and meaningful can help the clinician create a more client-based program.

The Uses of Juvenilia

The paper examines the ways in which juvenilia has been or can be "used" to help construct the image of the mature writer. Examining mostly the childhood writing of the Chartist Ernest Jones, I question the relationship between the early and mature writings, suggesting that determining this relationship should not be part of a campaign to promote an image of the mature man. In other words, the relationship between youthful writing and adult writing needs to be interpreted, not assumed.

Ada's Violin: The Story of the Recycled Orchestra of Paraguay by S. Hood

Hood, Susan. Ada's Violin: The Story of the Recycled Orchestra of Paraguay, illustrated by Sally Wern Comport. Simon & Schuster Books for Young Readers, 2016.Ada’s Violin is a picture book recounting the creation of the Recycled Orchestra in Cateura, Paraguay, particularly as it relates to the experiences of one member—Ada. The reader will be struck by Sally Wern Comport’s style of art which uses a form of mixed and recycled media—often resembling a scrapbook—that well reflects the nature of the orchestra as one made of recycled waste products. The motif of torn up musical manuscript paper floating through the pages visually connects the central role of music in the story. The colours are bright and saturated, lending itself to the multi-coloured world the story represents. The story presents strong positive values to children who may be beginning studies in music or are already involved. For example, the music teacher’s assertion that “It doesn’t matter if one is rich or poor, ugly, fat, thin—you cannot learn to play an instrument overnight,” is a powerful message to children who may be struggling as they learn an instrument. The whole of the story also gives the sense that you can make your way in the world and change your life even if you do not live in the best of circumstances.Despite these positive traits, the book does not seem like it would be entirely immersive for a child. While the story is clearly being written for a younger audience, the use of more difficult terms like “sweltering” and “nurturing” without good context clues could make the book difficult for children to read on their own. Additionally, words from the orchestra’s native language, Spanish, while effective for bringing the story into the context of Paraguay, are inconsistently glossed and may cause confusion for young readers. The story itself is not continuously engaging in that the titular character, Ada, is not consistently part of the story. There are times when the narrative of her experiences is broken by a narrative about the orchestra, and the story does not even end with Ada’s insights but rather, a general expression of the orchestra’s achievements. Furthermore, quotation marks are used to indicate direct quotes from Ada which the author gained from interviews with her—a decision that offers compelling material but makes the text feel more like an essay than a children’s story. These factors of language and narrative cause the book to sound like an adult writing about children rather than writing the story for children. Overall, this is an interesting book documenting an unusual subject, and for that reason it would be a good addition to school and public libraries.Recommended with Reservations: 2 stars out of 4Reviewer: Arwen ThysseArwen Thysse is a University of Alberta student in her final year of a Bachelor of Arts in History and English. She is also an avid musician who plays the violin, and enjoys children’s books.

The Polemics of Real and Imagined Childhood(s) in India

This essay attempts to map historical, literary and social constructions of childhood in India and to explore ways in which these differ from Western-dominated, globalised attitudes to childhood. Evidence about Indian childhood is drawn from across a narrative spectrum including children's books and films and some adult writing and media. Notions of childhood are different within and across the cultures of the world; while there is no ‘correct’ version of childhood, many have common features and sometimes the influences of one culture can be strongly felt in another. In India, for example, a dominant construction of childhood was imported through Western education.1After Independence (1947), Indian children's literature in English became caught up in the mass postcolonial project of nation-building. As part of becoming emancipated from colonial rule, a dominant image of the child in fiction based on Western childhood had to be replaced by one that is hybrid and multicultural. This construction of Indian childhood is now itself being buffeted by forces of cultural homogenisation.2

Out of The Science Fiction Ghetto

This chapter examines Ray Bradbury's creation of a kind of science fiction (SF) beyond the genre ghetto of the 1940s. The discussions cover his fascination with film; his early; his mentors; his attempts to write detective fiction and horror; his attitude toward technology; his exploration of time travel through dinosaur stories; his commentary on SF through a series of essays and interviews; and his repeated claim of a continuity between his childhood reading and adult writing. The chapter argues that Bradbury's surge of creativity in the late 1940s and 1950s coincided with the last years of the Golden Age of SF. In tandem with the publication of the fiction itself, more and more writers examined the nature of the genre. Broadly speaking, these writers all agreed that SF had emerged from its ghetto and taken up a socially central role as the literature of speculation.