Traduire les albums pour enfants d’Hervé Tullet en polonais

This paper concentrates on the translation of the text-image interaction in postmodern and multimodalpic turebooks for children, as illustrated by the Polish translations of Hervé Tullet’s picturebooks. The sophisticated and artistic vision of this author-illustrator raises questions about methods and criteria to be adopted by anyone who wishes to translate the delicate balance between what is told by the verbal and pictured by the visual. In particular, as the present analysis reveals, the translator’s interventions in the original text-image interaction cannot be regarded as intersemiotic translation, but as undesired explicitation limiting the creative actions of the active child-reader.

"You Know Very Well You're Not Real": Victorian Children's Fantasy Literature and the Problem of Writing the Child

<p>This thesis examines eight "Golden Age"children's fantasy narratives and uncovers their engagement with the "impossibility" of writing the child. Only recently has children's literature criticism recognised that the child in the text and the implied child reader cannot stand in for the "real" child reader. This is an issue which other literary criticism has been at pains to acknowledge, but which children's literature critics have neglected. I have based my reading on critics such as Karin Lesnik-Oberstein, Jacqueline Rose and Perry Nodelman, all of whom are concerned to expose the term "child" as an adult cultural construction, one which becomes problematic when it is made to stand in for real children. I read the child in the text as an entity which contains and is tainted by the trace of the adult who writes it; it is therefore impossible for a pure, innocent child to exist in language, the province of the adult. Using Derrida's conception of the trace and his famous statement that "there is nothing outside of the text," I demonstrate that the idea of the innocent child, which was central to Rousseau's Emile and the Romantic Child which is supposed to have been authored by Wordsworth and inherited wholesale by his Victorian audience, is possible only as a theory beyond language. The Victorian texts I read, which include Lewis Carroll's Alice texts, George MacDonald's At the Back of the North Wind and the Princess texts, Kingsley's The Water Babies and Mrs. Molesworth's The Cuckoo Clock and The Tapestry Room, all explore different ways in which the child might be successfully articulated: in language, in death, and through the return journey into fantasy. While all the texts attempt to reach the child, all ultimately foreground the failure of this enterprise. When a language is created which is child-authored, it fails as communication and meaning breaks down; when the adult ceases to write the narrative, the child within it ceases to exist.</p>

"You Know Very Well You're Not Real": Victorian Children's Fantasy Literature and the Problem of Writing the Child

<p>This thesis examines eight "Golden Age"children's fantasy narratives and uncovers their engagement with the "impossibility" of writing the child. Only recently has children's literature criticism recognised that the child in the text and the implied child reader cannot stand in for the "real" child reader. This is an issue which other literary criticism has been at pains to acknowledge, but which children's literature critics have neglected. I have based my reading on critics such as Karin Lesnik-Oberstein, Jacqueline Rose and Perry Nodelman, all of whom are concerned to expose the term "child" as an adult cultural construction, one which becomes problematic when it is made to stand in for real children. I read the child in the text as an entity which contains and is tainted by the trace of the adult who writes it; it is therefore impossible for a pure, innocent child to exist in language, the province of the adult. Using Derrida's conception of the trace and his famous statement that "there is nothing outside of the text," I demonstrate that the idea of the innocent child, which was central to Rousseau's Emile and the Romantic Child which is supposed to have been authored by Wordsworth and inherited wholesale by his Victorian audience, is possible only as a theory beyond language. The Victorian texts I read, which include Lewis Carroll's Alice texts, George MacDonald's At the Back of the North Wind and the Princess texts, Kingsley's The Water Babies and Mrs. Molesworth's The Cuckoo Clock and The Tapestry Room, all explore different ways in which the child might be successfully articulated: in language, in death, and through the return journey into fantasy. While all the texts attempt to reach the child, all ultimately foreground the failure of this enterprise. When a language is created which is child-authored, it fails as communication and meaning breaks down; when the adult ceases to write the narrative, the child within it ceases to exist.</p>

”och mymlan flög / och mjölken for”

The Child Readers and Poetry in Tove Jansson’s Picturebook The Book about Moomin, Mymble and Little My Abstract: Tove Jansson’s picturebook Hur gick det sen? Boken om Mymlan, Mumintrollet och lilla My (The Book about Moomin, Mymble and Little My) from 1952 is a book which makes use of its material aspects in many regards, employing the interactivity of the picturebook format to its maximum. Given the fact that it is written in verse, and is considered a classic by all means, it is surprising to find that the function that poetry plays within the book has been scarcely explored in prior research. By examining how the format of this particular picturebook guides the manner in which the child reader experiences it, and by studying the function of poetry within that framework, the article shows that poetry potentially plays a vital role in how child readers make sense of it. In particular, the role of poetry manifests itself as an opportunity for child readers to – at their own pace, and in their own manner – deal with the delicate balance between the attachmentseeking struggles of the anxious character of Moomin, on the one hand, and the exploratory individuation of the adventurous character of Little My, on the other. Through these examinations, the article demonstrates how the use of poetry can facilitate an emancipatory opportunity for child readers within picturebooks – and how this potential is ever-present within the format and the reading situation of picturebooks for children in general.

Transparency and mirroring of literary translations of fairy tales by the English writers

The subject of this research is the English-Russian translation of fairy tales from the perspective of transparency and mirroring. The goal of this research is to determine the strategy for literary translation of the Englis fairy tales. Linguostylistic and comparative analysis is conducted on B. Zakhoder's translations of such fairy tales as &ldquo;Alice in Wonderland&rdquo; by L. Carroll, &ldquo;Winnie the Pooh and All, All, All&rdquo; by A. Milne, and &ldquo;Mary Poppins&rdquo; by P. Travers. The modern theory of translation largely focuses on the various aspects of equivalence and adequacy of the original and translated texts; describes the requirements for the quality of translation, including literary translation. Russian and foreign researchers show heightened attention to the concepts of transparency and mirroring in translation, namely literary translation of children's literature substantiated by the specificity of the target audience. The scientific novelty consists in application of the modern postulates of the theory of translation to children's literature, which broadens knowledge in this scientific field. The main conclusion lies in following the theory of translation transparency for the child reader in translation of children's literature. As a result of the analysis of B. Zakhader&rsquo;s translations of fairy tales by L. Carroll, A. Milne, and P. Travers into the Russian language, it is noted that they reflect the general patterns of translation children's fiction, take into account psychological characteristics of the audience, text is adapted to be comprehensible for children, considerable attention is given to the emotional component, expressiveness, and humor. Although B. Zakhoder&rsquo;s translations are not the full interpretation, he follows the theory of transparency. Imaginative interpretation of the text demonstrates the specificity of translator&rsquo;s individual style.

The Queerness of the Man-Child

The literary man-child character can function as a subversive agent within the text to expose traditional ideologies and suggest alternate possibilities. Much beloved in Sweden, Karlson from Astrid Lindgren’s Karlson on the Roof trilogy (1955–1968) represents this kind of man-child character in texts for children, particularly through his queerness. The trilogy illuminates Karlson’s queerness by contrasting him with the normative reality of 20th-century Stockholm through his trademark narcissism, primal desires, and illogical or fallacious rhetoric that often invokes silence from children and adults within the story. Through the lens of Jack Halberstam’s queer subcultures, Karlson can be appreciated as a specific kind of literary man-child character that necessitates a legitimated queer visibility. This visibility is cultivated by his non-normative belief system and buttressed by his resistance to being silenced or kept secret from this normative world. Furthermore, Karlson’s queerness fuels his charisma, making him popular because of his behaviour, not despite it. Ultimately, his queerness as a man-child character disrupts traditional boundaries and delineations of the child/adult binary and allows the child reader to witness the vulnerabilities of normative institutions while also appreciating diversity in non-normative family structures.

‘I shouldn’t even be telling you that I shouldn’t be telling you the story’: Pseudonymous Bosch and the postmodern narrator in children’s literature

This article furthers the somewhat underdeveloped area of research regarding the consideration of complex theoretical concepts such as postmodernism and metafiction in relation to children’s literature by concentrating on a stunningly complex—although by no means rare—experimental text aimed at 8–12 year-olds. Using The Secret Series by Pseudonymous Bosch as example, I examine how children’s literature can use such strategies to engage a child-reader and make them a tangible part of the construction of the novel. Drawing on elements of Text World Theory, diegetic narrative levels and the concept of the internal author, this study primarily explores the role of the interactive, visibly inventing, postmodern narrator, and, by extension, the dramatization of the reader as a part of the story. Framed against an academic background in which children’s literature was deemed unworthy of study or outright dismissed, this article illustrates why children’s literature is not only worthy of rigorous academic study in its own right but also that it often readily displays enough literary, linguistic, and narratological complexities to rival even the most sophisticated literature for adult readers.

The Holocaust and the Shadow Text of Anna and the Swallow Man

This contribution addresses the challenges that face any attempt to render the Holocaust knowable through fiction, for children in particular: namely the need to balance truth with propriety, while giving form to an event that eludes depiction. Analyzing Gavriel Savit’s novel Anna and the Swallow Man, it argues that the text contains deliberate gaps and ambiguities. All of these gaps, to borrow Perry Nodelman’s term, suggest a “shadow text”—a version of the story unavailable to a younger reader, but hinted at throughout. This shadow text should prompt the child reader to approach an adult to learn more about the Second World War. Yet as Anna approaches her own more adult understanding, Savit reveals that the reality beyond the text remains essentially beyond articulation.

Primary School Reading Materials and Contexts of Change in New Zealand's School Journal, 1907-1989

This paper considers primary school texts as resources for teaching reading and as children's literature, applying principles of close reading and New Historicism theory to explore the effects on texts of changing social, political, and pedagogical contexts in the twentieth century. Particular issues discussed are predominant themes and ideologies, narrative technique, representations of systems of authority and control, the positioning of the child reader, and the relationship of the text to curriculum and the teaching of reading. There will be a focus on the School Journal, as New Zealand's longest running periodical, an apt illustration of contextual change.

Narrating Humanity : Children's Literature and Global Citizenship Education

The aim of this thesis is to explore how children’s magic realist fiction contributes to critical Global Citizenship Education (GCE). This study argues that children’s magic realist literature can facilitate young readers’ knowledge and understanding of human rights issues and promote environmental awareness in a non-didactic manner by representing global issues from non-human perspectives. The thesis comprises four articles. The first study explores the non-human perspective of an animalhuman ‘cyborg’ protagonist in Peter Dickinson’s novel Eva (1988). The study shows how the non-human perspective allows the reader to go beyond anthropocentric boundaries in order to explore the issue of treating the other. The second study investigates an animal perspective on the Roma genocide along with the mistreatment of animals in the Second World War in Sonya Hartnett’s The Midnight Zoo (2010). The animal perspective shows human intolerance of other humans (the Roma) intertwined with human actions towards animals and encourages the reader in a non-didactic way to adopt an eco-philosophical standpoint. The third study is concerned with the representation of the Holocaust from the point of view of a supernatural narrator, Death, in Marcus Zusak’s The Book Thief (2005). Death’s inverted magic realist narrative facilitates the young reader’s understanding of human rights issues and represents the history of the genocide in a non-didactic manner. The fourth study examines the relationships between humans and the natural environment shown from the non-human perspective of a tree. Taking the lens of holistic ecology, this study explores the representation of human – nature relationships in Patrick Ness’s A Monster Calls (2011) and how the novel guides the child-reader towards an awareness of environmental issues.