From Primer to Pleasure: An Introduction to the History of Children's Books in England from the Invention of Printing to 1900. M. F. Thwaite

1964 ◽  
Vol 34 (2) ◽  
pp. 216-217
Keyword(s):  
Children's Books ◽  
Children’S Books ◽  
History Of

The Image of Petrushka in Russian Children’s Books of the 1920s — Early 1930s

2021 ◽  
Vol 18 (4) ◽  
pp. 424-435
Author(s):  
Dmitry V. Fomin
Keyword(s):  
Complete Loss ◽  
National Character ◽  
Children's Books ◽  
Main Character ◽  
Children’S Books ◽  
Book Art ◽  
Russian Culture ◽  
Source Studies ◽  
History Of ◽  
Visual Range

The image of Russian puppet theater’s main character, Petrushka, played an important role in the history of Russian culture and embodied some important features of the national character. His images are quite widely and variously represented on the pages of children’s books. At the beginning of the 20th century and in the first post-revolutionary years, publications about the adventures of Petrushka fulfilled an important mission: they recorded characteristic examples of folk art, preserved the memory of farcical performances, and supported the tradition of the art of “Petrushka makers”. The books served as manuals for novice puppeteers.In the 1920s — early 1930s, Petrushka continued to be one of the most popular characters of children’s books and aroused interest of many Russian writers and graphic artists. This indicates their desire to find a basis and support in the popular laughter culture, to continue its traditions, to bring elements of theatrical aesthetics into books.Using a complex of methods of book, art and source studies, the article aims to consider the transformation of the image of Petrushka in children’s books of the 1920s — early 1930s.The author draws attention to the significant differences between the literary component of such publications and their visual range. Writers, as a rule, sought to “re-educate” the areal joker and brawler, to ennoble his manners, modernize his appearance, and involve the popular character in solving actual ideological and pedagogical problems. Artists were more careful about the canonical, historically formed image of Petrushka, resisted too radical reinterpretation of it. Of particular interest in this regard are the illustrative cycles of I.S. Efimov, A.I. Sokolov-Asi, A.A. Radakov, V.M Konashevich, L.V. Popova, F.F. Kondratov.The best writers and artists of those years managed to preserve the most essential features of the character, breathe new life into him, save him from oblivion, from complete loss of identity, and pass him on to new generations of creators and readers of children’s books.

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.

The decoration of the book by Lewis Carroll's “Alice in Wonderland”

2013 ◽  
pp. 155
Author(s):  
Daria Kasianova
Keyword(s):  
Fairy Tales ◽  
Original Text ◽  
Age Group ◽  
Children's Books ◽  
Children’S Books ◽  
Detailed History ◽  
Alice In Wonderland ◽  
History Of ◽  
Age Features ◽  
The 19Th Century

The article discusses the features and basic requirements for the design of children's books. For example, was selected to the book by Lewis Carroll's "Alice in Wonderland." The purpose of this work: an analysis of the features of decoration of children's books by the example of author's illustrations to the tale of Lewis Carroll's "Alice in Wonderland" in connection with the upcoming celebration of the 150 year anniversary of the publication of the book in 1865. To achieve this goal has been studied history of fairy tales. Attention is paid to the choice of a suitable translation into Russian. Because the book is based entirely on English puns and witticisms, folklore, linguistic and philological subtleties, it is hard to understand Russian readers, and even more so for children. The analysis of the existing analogue illustrations and prototypes of the main characters of fairy tales. Detailed history of the characters. Studied costumes of the characters of the 19th century, faithfully reproduce the historical era. Together illustrations adapted to the modern reader. The examples of stylized characters. Defined the main age group of readers for whom the book is intended. In this regard, consider age features and requirements for registration. Formed the basic concept of decoration. It is the desire to approach most closely to the original text, and not to deviate from the real prototype in the direction of the stereotypical characters, falsely taken as a model to follow. At the same time reflects the problem of conformity visuals and content of the book. As the techniques of performing multi-layered watercolor technique chosen.

scholarly journals The Better to See You With: Peering into the Story of Little Red Riding Hood, 1695–1939

2018 ◽  
Vol 16 (1) ◽  
pp. 14
Author(s):  
Angela J. Reynolds
Keyword(s):  
Book Publishing ◽  
Opportunity To Learn ◽  
Children's Books ◽  
Children’S Books ◽  
University Of Florida ◽  
Children's Book ◽  
History Of ◽  
Little Red Riding Hood ◽  
The University

I received the 2017 Bechtel Fellowship and spent a month in Gainesville, Florida, from mid-April through mid-May, trekking each day to the University of Florida. There I pored over hundreds of volumes containing the story of Little Red Riding Hood and spent my weekends compiling data or visiting wildlife parks in search of alligators (which were in abundance).The story of Little Red Riding Hood has fascinated me since childhood, and now I am even more intrigued. Intense study of this story has led me to many fine explorations into the tale and has helped me understand the history of children’s book publishing. The Bechtel Fellowship gave me the opportunity to learn a great deal about a specific story, and sharing this knowledge enables me to spread my love of story and children’s books with others. Below is my report from my month of study.

History of children's books revisited

1997 ◽  
Vol 21 (1) ◽  
pp. 145-147
Author(s):  
Sharon Marie Scapple
Keyword(s):  
Children's Books ◽  
Children’S Books ◽  
History Of

scholarly journals READING CHILDREN'S BOOKS IN LATE EIGHTEENTH-CENTURY DISSENTING FAMILIES

2000 ◽  
Vol 43 (2) ◽  
pp. 453-473 ◽  
Author(s):  
AILEEN FYFE
Keyword(s):  
Eighteenth Century ◽  
Church Of England ◽  
Parental Attitudes ◽  
Natural World ◽  
Children's Books ◽  
Children’S Books ◽  
Children's Book ◽  
Non Fiction ◽  
Late Eighteenth Century ◽  
History Of

The eighteenth-century commodifications of childhood and the sciences overlapped in the production of science books for children. This article examines a children's book written by two members of the Unitarian circle around Warrington Academy in the 1790s, and contrasts it with a Church of England work. The analysis reveals the extent to which religious differences could affect parental attitudes to the natural world, reason, the uses of the sciences, and the appropriate way to read and discuss books. Although the sciences were admitted as suitable for children, the issues of the subjects to be chosen, the purposes they were intended for, and the pedagogical methods by which they were presented, were still contested. This article also goes beyond the usual studies of children's books by focusing on non-fiction, and by emphasizing readers and use, rather than authors or publishers. Yet producing a history of reading based entirely on actual readers will be exceedingly difficult, so this article suggests an alternative, by combining accounts of actual readers' experiences with attitudes towards practices like orality and discussion.

scholarly journals Kurdish Children' Literature İn The North

2018 ◽  
Vol 6 (1) ◽  
pp. 147
Author(s):  
Türkan Tosun
Keyword(s):  
Children's Literature ◽  
Children’S Literature ◽  
Children's Books ◽  
Children’S Books ◽  
The North ◽  
History Of ◽  
The Subject

This study analyses the Kurdish children' literature in the North. The goal is to show works which about kurdish children's literature in the North. First, the definitions of child, childhood and children's literature have been explained. Then about history of Kurdish children's literature some informations are given. Kurdish children's literature when started and who has written for the children is also mentioned. Kurdish writers, poet and intellectuals who work for children in the North are introduced. Kurdish children' magazines and publishers that publish Kurdish children's books in the North also been the subject of this article.

The Depiction of Disability in Children’s Literature: Changes for the Better, with Particular Attention to Three New Titles; Mama Zooms (Cowen-Fletcher, 1993), The Race (Mattingley, 1995), and No Time At All (Sallis, 1994)

1996 ◽  
Vol 20 (2) ◽  
pp. 53-59
Author(s):  
Margie Sare
Keyword(s):  
Children's Literature ◽  
Children With Disabilities ◽  
Children’S Literature ◽  
Children's Books ◽  
Children’S Books ◽  
Western Literature ◽  
The Past ◽  
History Of ◽  
Major Review ◽  
High Standards

Children’s literature has the power and potential to reflect societal attitudes. Changes in attitudes towards disability in Western literature can be traced by “turning the pages” through the history of children’s books. This paper addresses issues concerning children’s literature published during the past few decades. Have there been improvements since Baskin and Harris’ (1977) major review of children’s fiction depicting characters with disabilities written between 1940 and 1977? This study revealed that stereotypical portrayals of characters with disabilities were common. Furthermore, have there been attempts to move away from the educative properties of “quasi-fiction” used to promote integration of children with disabilities into regular schools? This paper concludes that many recently published children’s books of the 1980s and 1990s are presenting a more realistic and positive picture of characters with disabilities. Three new titles have been examined in detail. The success of these books in creating a climate of tolerance and empathy towards characters with disabilities is due to their high standards of literary merit and attractive, sophisticated presentation.

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.

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