Literature for Children and Youth

Apres un rappel concernant l'histoire des editions Marabout depuis l'immediat apres-guerre, l'article s'interesse aux deux collections destinees a la jeunesse : 'Marabout Junior' avec comme heros recurrent Bob Morane, et 'Marabout Mademoiselle', avec comme personnage principal Sylvie, hotesse de l'air. C'est ce personnage, cree en 1954 par l'ecrivain Rene Philippe, qui retient ensuite toute l'attention, en particulier parce que l'etude s'attache a la maniere dont cette serie destinee aux jeunes filles se fait l'echo du monde colonial (le Congo belge), puis de la decolonisation et enfin du tiers-mondisme.

The aim of this paper is to present the preliminary empirical results of qualitative research that examines the junior-age-children´s understanding of a prosocial behavior present in fairy tale characters. The reasons for this research were the unsatisfying results in the PIRLS reading literacy measures achieved by Slovak pupils on the one hand, and the underrated position the formative function of literary texts has in Slovak classroom practice on the other hand. Besides other theories the research builds on the premise that literary text has „the potential to encourage prosocial behavior in children, but this aspect has been only minimally explored“ (Aram, Deitcher, Shoshan, & Ziv, 2017, pp. 157–158). Our research has qualitative, exploratory character; therefore, hypotheses are not formulated. On the contrary, an inductive approach is utilized. The focus is put on three key concepts: prosocial behavior, literary characters, and children´s reading comprehension. The research sample consists of both a set of literary texts (fairy tales) and the groups of pupils (3rd and 4th graders). The research was conducted in four phases: 1) theoretical analysis of prosocial behavior with focus on child´s prosocial development (see Schroeder & Graziano, 2015); 2) content analysis of Slovak fairy tales and the identification of characters with prosocial behavior (see Stanislavová, 2013); 3) designing the literary prosocial role models; 4) examination of children´s fairy tale reading comprehension and their understanding of the prosocial literary role model. In the last research phase the procedure of shared reading was used (see e.g. Tennent, 2015). The empirical data were collected via the research methods of observation, semi-structured interview and content analysis of children´s multimodal text reflection. Preliminary research findings imply the positive impact of shared reading on children´s successful inference making. Moreover, shared reading of the selected fairy tales seems to promote children´s processing of their individual interpretation of prosocial behavior found in literary characters. The findings may be beneficial for elaborating the shared reading strategies in primary literary education, what would foster the formative function of literary reading.

Este artigo analisa a obra A invenção de Hugo Cabret, de Brian Selznick (2007), ambientada na Paris de 1930. O objetivo deste estudo é verificar o diálogo verbo-visual na obra, catalogada como juvenil e integrante do acervo de 2013 do Programa Nacional Biblioteca da Escola - PNBE. O livro traz a ficção da história de Hugo Cabret, que perdeu o pai e precisa sobreviver sozinho, ao lado da história de George Méliès, importante cineasta das primeiras décadas do século XX. A narrativa evidencia a vida de Hugo Cabret, que, em meio às dificuldades particulares da adolescência, lida, ainda, com a ausência do pai, a morte de seu tio Claude, seu único parente, a fome, a solidão e a necessidade de construir sua identidade. Destacam-se, dessa forma, três questões: o diálogo verbo-visual; a representação do cinema; a representação da história de George Méliès. Nessa perspectiva, a análise pauta-se, principalmente, em Camargo (2003) e Groppo (2000).

Literary critical monograph Year after year (step by step) in Slovak literature for children and youth (Value aspects of original poetry and prose for children and youth in the years 1990 - 2020) was created on the basis of an analysis of thirty-year production of original literature for children and youth published in Slovakia. It is based on balance evaluation reports, which the authors systematically prepared on the annual literary production for children and youth from 1996 to 2020. In the 1990s and the beginning of the new century, balance sheet evaluations also fulfilled a bibliographic function: at that time, there was no cultural institution that would submit an almost complete inventory of what was created during the year in the original production. Gradually, with the development of the internetization of our society (the Internet publishing house Martinus was established, where it is possible to find virtually the entire production), the function of balance mapping lost its meaning and the emphasis remained on the literary-critical evaluation of the production. The design of balance evaluations concentrated a large volume of material suitable for system elaboration with the possibility of formulating careful syntheses. Such elaboration, completed by an analysis of the production of the first half of the 1990s, is attempted by the authors’ team in the present literary-critical monograph. The material obtained by balance evaluations is classified according to the literary kind and genre criterion into five areas. These genre-thematic subsystems are analysed separately in the present publication and form five chapters. The first chapter offers an analysis of the movements in production of poetry for children and youth over the past thirty years. The second chapter is focused on the reflection of the author’s fairy tale, which forms the largest genre of creation. The third chapter is devoted to developmental modifications and transformations of social prose for children and youth. The fourth chapter describes the situation in folklore genres and finally the fifth chapter offers a look at the transformations of factual and fantasy-adventure production. Within each chapter, the authors progress year after year, profiling the sinusoid of annual quantitative benefits within a particular genre, that is, how the genre in question was getting more powerful or weakened. Within the year, however, they also confront the creation in a certain genre in terms of value (works that the authors consider to be the most valuable are usually given more attention), or they outline qualitative ups and downs not only within a given year, but also within a decade. Each chapter is closed with a brief summary. The conclusion of the publication represents a careful attempt to outline the development curve of the original poetic and prose production for children and youth. Naturally, time will tell, whether and in what sense the evaluative attitudes of the authors of this publication have come closer to objectivity. Despite the symptom of subjectivity, which literary criticism cannot avoid in any case, despite a certain descriptiveness and perhaps also the methodological stereotyping of individual chapters, we express hope, that the set of information offered, arranged in terms of genre and chronologically within the genre, will be useful for those interested in contemporary literature for children and youth: as a source of bibliographic records of all that has been published in the course of thirty years from original poetry and prose; as a source which, with reference to creative trends and value relations, indicates the developmental pulse of Slovak children’s literature and its movement from the state of crisis in the mid-1990s to the unquestionable indications of its resurgence at the turn of the 20th and 21st centuries; finally, as a source of information about such book titles, which represent a valuable contribution to the collection of literary production for children and youth. In this sense, the publication can be used to find good reading for all those, who work with children and youth.

Literárnokritická monografia (K)rok za (k)rokom v literatúre pre deti a mládež (Hodnotové aspekty pôvodnej poézie a prózy pre deti a mládež v rokoch 1990 – 2020) vznikla na báze analýzy tridsaťročnej produkcie pôvodnej literatúry pre deti a mládež vydanej na Slovensku. Jej základom sú bilančné hodnotiace prehľady, ktoré autori systematicky vypracúvali o ročnej literárnej tvorbe pre deti a mládež od roku 1996 do roku 2020. V 90. rokoch a začiatkom nového storočia plnili bilančné hodnotenia tak trochu aj bibliografickú funkciu: v tom čase nejestvovala kultúrna inštitúcia, ktorá by predložila takmer úplný súpis toho, čo v priebehu roka bolo v rámci pôvodnej tvorby vytvorené. Postupne, s rozvojom internetizácie našej spoločnosti (vzniklo internetové vydavateľstvo Martinus, kde možno nájsť fakticky celú produkciu), stratila funkcia bilančných mapovaní zmysel a dôraz zostal na literárnokritickom hodnotení tvorby. Koncipovanie bilančných hodnotení sústredilo veľký objem materiálu vhodného na systémové spracovanie s možnosťou formulovať opatrné syntézy. O takéto spracovanie, dopracované o analýzu produkcie prvej polovice 90. rokov, sa pokúša autorský kolektív v prítomnej literárnokritickej monografii. Materiál získaný bilančnými hodnoteniami je klasifikovaný podľa druhovo-žánrového kritéria na päť oblastí. Tieto žánrovo-tematické subsystémy sú v predloženej publikácii analyzované osobitne a tvoria päť kapitol. Prvá kapitola prináša analýzu pohybov v básnickej tvorbe pre deti a mládež za uplynulých tridsať rokov. Druhá kapitola je zameraná na reflexiu autorskej rozprávky, ktorá tvorí najmohutnejší žánrový prúd tvorby. Tretia kapitola je venovaná vývinovým modifikáciám a premenám spoločenskej prózy pre deti a mládež. Štvrtá kapitola približuje situáciu vo folklórnych žánroch a napokon piata kapitola ponúka pohľad na premeny faktuálnej a fantazijno-dobrodružnej tvorby. V rámci každej kapitoly autori postupujú rok po roku a profilujú tak sínusoidu ročných kvantitatívnych prínosov v rámci určitého žánru, teda to, ako príslušný žáner mohutnel alebo chradol. V rámci roka však zároveň konfrontujú tvorbu v určitom žánri aj z hodnotového hľadiska (dielam, ktoré autori považujú za hodnotovo najprínosnejšie, sa spravidla venuje výraznejšia pozornosť), resp. načrtávajú kvalitatívne vzostupy i „pády“ nielen v rámci určitého roka, ale aj v rámci desaťročia. Každá kapitola je uzavretá stručným zhrnutím. Záver publikácie je opatrným pokusom načrtnúť vývinovú krivku pôvodnej básnickej a prozaickej tvorby pre deti a mládež. Pravdaže, až čas preverí, či a v akom zmysle sa hodnotiace postoje autorov tejto publikácie priblížili k objektivite. Napriek príznaku subjektívnosti, ktorej sa literárna kritika tak či tak nevyhne, napriek určitej deskriptívnosti a azda i metodologickej stereotypnosti jednotlivých kapitol vyslovujeme nádej, že ponúkaný, žánrovo a v rámci žánru chronologicky usporiadaný súbor informácií bude pre záujemcov o súčasnú literatúru pre deti a mládež užitočný: ako prameň bibliografických záznamov o tom, čo všetko bolo v priebehu tridsiatich rokov z pôvodnej poézie a prózy vydané; ako prameň, ktorý odkazom na tvorivé trendy a hodnotové relácie naznačuje vývinový pulz slovenskej detskej literatúry a jej pohyb od stavu krízovosti v polovici 90. rokov literatúry a jej pohyb od stavu krízovosti v polovici 90. rokov až po nespochybniteľné indície jej opätovného vzopätia na rozhraní 20. a 21. storočia; napokon aj ako prameň informácií o takých knižných tituloch, ktoré predstavujú hodnotný vklad do fondu literárnej tvorby pre deti a mládež. V tom zmysle môže publikácia poslúžiť pri hľadaní dobrého čítania všetkým, ktorí pracujú s deťmi a mládežou.

A Biblioteca do Avô e O Canteiro dos Livros são narrativas, dirigidas antes de
mais a um público infantil e juvenil, que, como os títulos desde logo sugerem,
têm como tema o gosto pelo livro e pela leitura. A Maior Flor do Mundo também
trata a questão do livro, das “histórias para crianças”(s/p), mas o que se destaca
no título é o “motivo” da narrativa: a flor, “caída” e “murcha”, que o “herói menino”
encontrou no cimo de uma “inóspita colina redonda”, e, de imediato, por ser menino “especial de história”, quis salvar.
Nestas três obras joga-se o jogo dos livros, da Literatura. Eduardo Prado Coelho
chamou muitas vezes a esta instauração de um real no real, estabelecida no
espaço do discurso, do pensamento e do sensorial, o jogo do infinito (Coelho,
2004: 7). Este real do imaginário produz-se, de acordo com a tese defendida
nestes textos, a partir do contacto dinâmico entre o sujeito que lê e o objecto-livro.
A Maior Flor do Mundo abre com um metatexto que é uma declaração de princípio
do narrador sobre as coordenadas essenciais da escrita para a infância: “As
histórias para crianças devem ser escritas com palavras muito simples, porque
as crianças, sendo pequenas, sabem poucas palavras e não gostam de usá-las
complicadas”. Mas o narrador não se limita a notar a especificidade dos textos
produzidos para os mais novos; apresenta-se também como autor real. São, aliás,
conhecidas estas palavras do autor de O Memorial do Convento: “a figura do
narrador não existe”; “só o autor exerce função narrativa real na obra de ficção,
qualquer que ela seja, romance, conto ou teatro” (Saramago, 1997: 38). [...]

The role of school as an educational-upbringing institution has to change in the 21st century. One response to the current problems of education is a broader definition of literacy. The author of the article focuses on moral literacy as one of the new literacies, which he considers to be one of the necessary parts of upbringing and education. Another response to improve the contemporary situation is to apply a holistic approach in teaching school subjects. The author of the article is trying to show the integration of literary competence and moral competence through content analysis of literary texts by writer P. Karpinský. The basic resource for analysis and interpretation of literary texts is the concept of prosociality through which it is possible to identify the degree of prosocial orientation in literary texts. A strongly prosocially oriented literary text is an appropriate means for the development of moral literacy.

A afirmação da grandeza de tudo o que constitui a natureza, e a necessidade de nos concebermos numa relação de igualdade e respeito em relação a ela, é o tema dos Contos da Mata dos Medos. Nesta série de quatro narrativas, publicada entre 2003 e 2010, Álvaro Magalhães concilia o seu modo de ver a infância com ética animal, ecologia e consciência ambiental. O autor, partindo de personagens-animais que ilustram a biodiversidade de uma área do litoral do concelho de Almada (distrito de Lisboa), celebra a natureza e convida-nos a assumir perspectivas e comportamentos ecocêntricos. O Coelho, o Ouriço, o Chapim, a Toupeira, a Coruja ou o Caracol não têm como única função explicar o Homem. Estes animais aparecem-nos como seres que têm a sua dignidade própria e direito à vida como qualquer ser humano. Dotados de características próprias, eles procuram sobreviver num ambiente natural que lhes satisfaz todas as necessidades biológicas e oferece todos os bens materiais e espirituais, mas que, por ação do Homem, pode ser profundamente hostil.

The Brothers Grimm were criticized by contemporaries for having altered the form and content of the originals they had collected, and also because they retained elements that might wound the sensibilities of younger readers. This controversy has continued in Germany—and not only in Germany—down to the present day. The adaptations available to children and juveniles in Portugal show that this has been an issue both past and present, as we can see if we compare and analyse some of the tales that are considered significant for their aesthetic quality and for the way in which they tackle some aspects with a moral dimension.

Os Irmãos Grimm foram criticados pelos seus contemporâneos porque alteraram a forma e o conteúdo dos originais recolhidos, e porque mantiveram elementos que poderiam ferir a sensibilidade dos mais novos. Esta polémica continuou, na Alemanha e não só, e chegou até aos nossos dias. As adaptações a que o público infantil e juvenil tem tido acesso em Portugal dizem-nos que esta é uma questão de ontem e de hoje, como veremos a partir da comparação e análise de alguns contos que consideramos significativos tanto pela qualidade estética como pelo modo como são tratados alguns aspectos de natureza moral.

Palavras-chave: Irmãos Grimm; conto popular; adaptação; literatura infantil; Portugal.

Les Frères Grimm ont été critiqués par leurs contemporains pour avoir changé la forme et le contenu des contes originaux qu’ils ont recueillis, et pour avoir maintenu des éléments qui pourraient heurter la sensibilité des plus jeunes. Cette polémique a duré, en Allemagne, notamment, et s’est poursuivie jusqu’à nos jours. Les adaptations pour la littérature d’enfance et de jeunesse qui circulent au Portugal nous montrent que c’est une question d’hier et d’aujourd’hui, comme nous le verrons à partir de la comparaison et de l’analyse de certains contes que nous considérons significatifs, tant de par leur dimension esthétique que de par la manière dont ils traitent certains aspects moraux.

Los hermanos Grimm fueron criticados por sus contemporáneos porque alteraron la forma y el contenido de los originales que habían recogido, y también porque mantuvieron elementos que podían herir la sensibilidad de los más jóvenes. Esta controversia continúa en Alemania y no solo allí, perdurando hasta nuestros días. Las adaptaciones a las que ha tenido acceso el público infantil y juvenil de Portugal nos demuestran que esta es una cuestión de ayer y de hoy, como podremos comprobar a partir de la comparación y del análisis de algunos cuentos que consideramos significativos tanto por su calidad estética como por el modo en el que abordan algunos aspectos de índole moral.

Vysokoškolské učebné texty Ľudová slovesnosť v literatúre pre deti a
mládež je publikácia, v ktorej si kladieme za cieľ sprostredkovať študentom učiteľstva v bakalárskom štúdiu Predškolskej a elementárnej pedagogiky základné informácie o vybraných druhoch žánrov ľudovej slovesnosti, s ktorými sa dominantne stretávajú deti v predškolskom aj primárnom vzdelávaní.

Kalemci, Z. (2017). Çocuk ve gençlik edebiyatı eserlerinin millî kültürün benimsenmesine etkisi, IV. Uluslararası Çocuk  ve Gençlik  Edebiyatı Sempozyumu: Bildiriler, 20-21 Ekim 2017 (ss. 471-476). İstanbul: [Çocuk ve Gençlik Edebiyatı Yazarları Birliği].

ÖZET
Çocuklar kendi kültürlerine dair pek çok şeyi kitaplar aracılığıyla öğrenirler. Bu sebeple çocuk kitaplarının kültürel ögeleri doğru bir şekilde aktarması çok önemlidir. Her çocuk kendi kültürüyle ilgili bilgi sahibi olmalıdır. Çocukların halk hikâyeleri ve masalları, destanlar, şiirler gibi çeşitli yazın türleriyle kendi kültürlerini tanımaları sağlanmalıdır. Çocuklar kendi kültürleri hakkında bilgi sahibi olduktan sonra dünyada var olan diğer kültürlerle tanıştırılmalıdırlar.
Çocuklar fantastik ögeler içeren, kahramanlıkların anlatıldığı destansı eserleri okumaktan keyif alırlar. Bu tip eserlerin devamlı haraket halinde olması, birlik beraberlik ve dayanışmayı işlemesi; bir gruba dahil olma, sevgi, liderlik, başarma, oyun ve değişiklik ihtiyacını tatmin etmesi ve sürükleyici olmasından ötürü çocuklar tarafından tercih edilmektedir. Ancak, bu tip sevilen eserler genellikle yabancı yazarlar tarafından üretilmektedir. Bir edebi eserin amacı kültürel ögeleri tanıtmak olmasada, eser yazarının kültürüne ait ögeler barındırır. Her yazar ister istemez kendi kültürüne ait ögeleri eserlerine yansıtır. Yabancı yazarların ürettikleri yayınlar her ne kadar başarılı eserler olsalar da, çocuklarımızın kendi kültürlerini tanımalarında yetersiz kalmaktadır. Bu sebeple, çocuklara kendi kültürlerinden yazarların eserleri okutulmalıdır. Zengin kültürümüze ait destan, masal ve hikâye gibi eserlerin de çocuk edebiyatı eserlerimize konu edilmesi gerekir. Bu kapsamda yerli yazarların kültürümüze ait ögeler içeren eserler üretmesi teşvik edilmelidir.

ABSTRACT
Children learn many things about their own culture through books. . So it is very important for children’s boks to transfer the cultural elements correctly. Every child should have the knowledge about their culture. Children should be able to recognize their own culture with various literary genres such as folk tales and epics, poems. Children have to be introduced to other cultures that exist in the world once they have knowledge of their own cultures.
Children enjoy reading epic works of fantasy, including heroic tales. The reason of why children choose this type of work is, they have constant action, process unity and solidarity and satisfying, the need for being in a group, love, leadership, achievement and change. This type of popular works are usually produced by foreign authors. Although the purpose of literary work isn't promote the cultural objects, it's definitely has information about authors culture. Each author willingly or unintentionally reflects his or her own cultural objects. Although the publications produced by foreign authors are successful works, they are insufficient for our children to recognize their own culture. For this reason, children should be taught the works of authors from their own cultures. Our cultural values such as epics, fairy tales and stories must be the subject of our children's literatureworks. In this context, domestic authors should be encouraged to produce artifacts containing cultural and mental elements.
In this study, which is a qualitative study, the general screening model is used. The data were collected by observation and documentary scanning technique. Some of the resources examined within the scope of the study have been chosen as examples because of their quality.

Μαργαρώνη, Μ. (2012). «Ο Γεροστάθης ή αναμνήσεις της παιδικής μου ηλικίας του Λέοντος Μελά: συγκρότηση ταυτοτήτων στην ηθικοπλαστική παιδική λογοτεχνία στα μέσα του 19ου αιώνα», στο: Σ. Πανταζής & Χ. Ζάραγκας (επιμ.), Πρακτικά 3ου Διεθνούς Συνεδρίου Προσχολικής Αγωγής «Η έρευνα στην παιδική ηλικία: Προσδιορίζοντας ένα νέο ερευνητικό τοπίο» / Pedagogy, Theory and Praxis, 5 (Αύγ. 2012). [Παιδαγωγικό Τμήμα Νηπιαγωγών της Σχολής Επιστημών Αγωγής του Πανεπιστημίου Ιωαννίνων, Τομέας Παιδαγωγικής του Τμήματος Βρεφονηπιοκομίας του ΤΕΙ Ηπείρου σε συνεργασία με το Forschungszentrum “Kindheiten Gesellschaften” der Bergischen Universität Wuppertal, το Graduierten Κolleg “Kindheiten im Spannungsfeld der Moderne”, την Hans-Böckler-Stiftung και των Πανεπιστημίων Wuppertal και Kassel, Ιωάννινα, 11-13.5.2012], σσ. 85-97.
Margaroni, M. (2012). «The Old Stathis or Memories of my Childhood by Leon Melas: Formation of Identities in moralistic Children’s Literature in the 19th Century». Presentation at the 3rd International Conference on Early Childhood Education, entitled «Research in Childhood: Defining a new Research Landscape». Organizing Institutions: Department of Preschool Education/University of Ioannina, in cooperation with the Forschungszentrum Kindheiten Gesellschaften der Bergischen Universität Wuppertal, the Graduierten Kolleg Kindheiten im Spannungsfeld der Moderne, the Hans -Böckler-Stiftung and the Universities of Wuppertal and Kassel. Ioannina, 11-13 May 2012. Publication in the conference proceedings (ed. S. Pantazis & Ch. Zaragas, Pedagogy, Theory and Praxis, pp. 85-97).
The present study examines the novel by L. Melas, Old Stathis or memories of my childhood, which was very well received in the time of its first publication (1858) and continued that way during the second half of the 19th century, as is evident by the numerous republications. Using various narrative strategies, such as the technique of narrating within the narrative, the use of many didactical examples which are focused around Greece but have the qualities of surviving through time and being supralocal, or the technique of juxtaposition etc, this work constitutes  a distinctive example of literature for children which aims directly to served as an avenue of morally educating Greek children. Through the words of the novel’s protagonist, Old Stathis, the morality shaping principles by which they must live through their life are taught to Greek children: “After the Lord, you must love your country and your parents and with sedulousness, virtue and noble sacrifice of your faults you must try to shine on this day as children who are useful to their country and their parents. Consequently, take care of your health, lighten your soul, keep your heart noble, bejewel yourselves with the Christian and ancestral virtues and avoid that which is shameful and dishonorable”. Indeed, the basic themes of this work, such as the value of maintaining contact with nature as God’s creation, waking up early in the morning, exercise, kindness, and incessant work, showing restraint, eating small amounts, physical cleanliness, keeping order, bravery, and ambition, persistence, patience, hope, charity, love for humankind and one’s neighbors, reading beneficial books and learning the Greek languages a means of “knowing the divine beauties of Christianity and the endless beauty of Greek ingenuity”, love for one’s country and national ideology, are aiming at constituting a homogenizing national and cultural identity of Greek children, according to the example set by the elderly protagonist: “a virtuous Christian and lover of his country, Greece.”

Many sociologists have attributed several negative characteristics to the contemporary period.The child of 21st century is lost in this postmodern society, so it needs, more than ever before, a beacon – a prosocial role model. Several studies have confirmed the irreplaceable importance of the principal role models – parents and teachers – in the development of a child. However, the amount of time that parents and teachers dedicate to the upbringing of children is reduced, therefore it is necessary to look for other effective strategies of upbringing children. In the view of the author of this study, one of the means for upbringing and educating children is a literary character as a prosocial role model. The study presents four prosocial literary role models in modern Slovak fairy tales, which can be utilised by educators in the upbringing of junior school aged children.

Mnohí sociológovia pripisujú viacero negatívnych atribútov súčasnej dobe. Dieťa 21. storočia sa v tejto postmodernej dobe stráca, preto potrebuje viac ako kedykoľvek predtým oporný bod – prosociálny vzor. Viacero výskumov potvrdilo nenahraditeľný vplyv hlavných vzorov – rodičov a učiteľov na vývin dieťaťa. Čas rodičov a učiteľov sa však na výchovu dieťaťa skracuje, preto je potrebné hľadať ďalšie efektívne stratégie výchovy dieťaťa. Jedným z prostriedkov výchovy môže byť podľa autora štúdie aj literárna postava ako prosociálny vzor pre detského recipienta. Príspevok predstavuje štyri prosociálne literárny vzory zo slovenskej súčasnej autorskej rozprávky, ktoré by mohli vychovávatelia použiť v rámci výchovy dieťaťa mladšieho školského veku.

Η Αναστασία Μαργέτη του Νικολάου έλαβε Μεταπτυχιακό Δίπλωμα Ειδίκευσης στη "Διδακτική της Γλώσσας, Λογοτεχνία, Θέατρο και Εκπαίδευση" με κατεύθυνση τη Λογοτεχνία  από τη Σχολή Επιστημών Αγωγής του Π.Τ.Δ.Ε. / Ε.Κ.ΠΑ και βαθμολογήθηκε με ΑΡΙΣΤΑ (9,5) . Η διπλωματική της εργασία τιτλοφορείται «Θέματα στο έργο της Φωτεινής Φραγκούλη. Μία συγκριτική ανάγνωση»,  έχει αναρτηθεί στην Ενιαία Πλατφόρμα «Πέργαμος»/ Ψηφιακή Βιβλιοθήκη του Ε.Κ.Π.Α. και μπορεί να ανακτηθεί στον σύνδεσμο https://pergamos.lib.uoa.gr/uoa/dl/object/2920971

ΠΕΡΙΛΗΨΗ
Στη μεταπτυχιακή διπλωματική εργασία της Αναστασίας Ν. Μαργέτη με τίτλο: «Θέματα στο έργο της Φωτεινής Φραγκούλη. Μία συγκριτική ανάγνωση» επιχειρείται η μελέτη δέκα βιβλίων της Φωτεινής Φραγκούλη σε σχέση με το παραδοσιακό παραμύθι. Στο πρώτο κεφάλαιο παρατίθενται στοιχεία που αφορούν το ζήτημα της καταγωγής του παραδοσιακού παραμυθιού, εντοπίζονται τα βασικά μορφολογικά και υφολογικά χαρακτηριστικά του γνωρίσματα και καταγράφονται τα είδη των παραμυθικών αφηγήσεων. Στη συνέχεια ανιχνεύονται οι επιδράσεις του παραδοσιακού παραμυθιού σε κάθε βιβλίο της Φραγκούλη βάσει των προαναφερθέντων μορφολογικών και υφολογικών χαρακτηριστικών. Στο δεύτερο κεφάλαιο αναφέρονται οι σύγχρονες εξελίξεις στον χώρο της λογοτεχνίας για παιδιά και νέους και καταγράφονται τα χαρακτηριστικά του σύγχρονου και του νεοτερικού παραμυθιού. Επίσης διευκρινίζονται όροι που προέρχονται από θεωρίες λογοτεχνίας, όπως διακειμενικότητα και μεταμυθοπλασία. Κατόπιν αναζητούνται στα βιβλία της συγγραφέως τα σημεία που διαφέρουν από το παραδοσιακό παραμύθι και γίνεται αναφορά στα νεοτερικά στοιχεία που εντοπίζονται στο έργο της, ως προς τη θεματολογία και τη χαρακτηρολογία, τις αφηγηματικές τεχνικές, το γλωσσικό ύφος και την εικονογράφηση. Επιπροσθέτως επισημαίνονται στοιχεία μεταμυθοπλασίας και διακειμενικότητας που εντοπίζονται στα κείμενά της. Επίσης, κατατίθεται ένας προβληματισμός σχετικά με το είδος της κάθε αφήγησης. Στο τρίτο κεφάλαιο εντοπίζονται τα θέματα και οι προβαλλόμενες αξίες στο έργο της Φραγκούλη. Στο τελευταίο μέρος παρατίθενται τα τελικά συμπεράσματα. Σε παράρτημα υπάρχουν οι περιλήψεις των βιβλίων της Φραγκούλη που μελετήθηκαν. Λέξεις-κλειδιά: Φωτεινή Φραγκούλη, λογοτεχνία για παιδιά και νέους, παραδοσιακό παραμύθι, σύγχρονο παραμύθι, νεοτερικό παραμύθι

Ele aldığı gerçek dışı olayları olağanüstü özelliklere sahip
kahramanlar aracılığı ile yer ve zaman belirsizliğinde aktaran bir
sözlü gelenek türü olarak ortaya çıkan masallar, bir kültürün özünü
gösteren önemli edebi tür olarak karşımıza çıkar. Masalların kültür
temsilcisi rolünün yanında, kahraman betimlemeleri ve
oluşturdukları söylem bütünlüğü ile ideoloji aktarıcısı olarak
çocukların erken yaşta toplumsal yapıya uyumlu bireyler olarak
şekillenmesinde önemli rol üstlenir. Geleneksel masalların;
dominant ideolojinin ve toplumun temel dinamiklerinin gelecek
kuşaklara aktarılması amacıyla kurgulandığı ve mitsel ögelerle
barındırdıkları alt metinleri nesiller boyu bir baskı aracına
dönüştürdüğü iddiası ile masalların bu alt metinlerden
arındırılması gerektiğini savunan, çocuklara birey olarak yaklaşan
ve de onların zihinsel gelişimini destekleme amacı edinmiş Anti
Masal veya Karşı Masal olarak adlandırılan yeni bir masal anlayışı
ortaya çıkmıştır. Bu çalışmada, toplum cinsiyet algısının eril bir
düzlemde yeniden şekillenmesinde ve aktarılmasında önemli bir
yere sahip popüler masal örneklerinden biri olan Grimm
Kardeşler’in “Külkedisi” ile erkek iktidarını reddetmiş, kadının
özgürlüğünü öne çıkaran Anti-Külkedisi masallarından Nunila
Lopez’in yazın hayatına kattığı “Vejetaryen Külkedisi” feminist
masal eleştirisi bakış açısıyla incelenecektir. Çalışmada hemen
hemen herkes tarafından bilinen Grimm Kardeşler’in “Külkedisi”
masalının seçilmesindeki başlıca nedeni; masalda kadının öteki
cinsiyet olarak tanımlanması ve bu ideolojinin yıllardır bu ve buna
benzer masallar aracılığı ile yeniden üretilmesidir. Özellikle 20.
yüzyılın ikinci yarısından sonra gelişen feminist masal eleştirinin
ilk harekete geçtiği alan; masallarda hangi kadın modelleri
üretildiğini araştırmaktır, bu bakış açısından yola çıkan Lopez
evliliğin kadının tek yazgısı olmadığını göstermek, bir kurtarıcı
erkek olmadan kendi hayatın sorumluluğunu üstlenen kadın
1Okt, İstanbul Aydın Üniversitesi, Yabancı Diller Yüksekokulu, Mütercim Tercümanlık
Bölümü. [email protected]
2 Prof. Dr., Trakya Üniversitesi, Eğitim Fakültesi, Almanca Öğretmenliği Bölümü.
[email protected]
225
Humanitas,2018; 6(11): 225-238
ISSN:2147-0088X
http://humanitas.nku.edu.tr
DOI: 10.20304/humanitas.382350
Başvuru/Submitted: 22.01.2018 Kabul/Accepted: 26.03.2018
modeli yaratmak için; artık Külkedisi’ni uyandırmak için kalemini
oynatmıştır.
Anahtar Sözcükler: Grimm Kardeşler, Nunila Lopez, Külkedisi,
Sindirella, Toplumsal Cinsiyet, Masallar.
“VEGETARIAN CINDERELLA” REFUSING GLASS SHOES
AS AN ANTI- TALE EXAMPLE
Abstract: Tales emerging as a type of verbal tradition that
conveys the unreal events that they deal with through heroes with
extraordinary traits in the uncertainty of time and place, comes out
as an important literary genre showing a cultic essence. Fairy tales
are designed to transmit the dominant ideology and the basic
dynamics of the society to the future generations and the claim that
with the use of mythical elements, a new fairy tale which is called
as anti-fairy tale has emerged aiming to purify the fairytales from
these subtexts and support the mental development of children by
approaching them as independent individuals. In this study the
“Cindirella” having an important place in the remodeling and
transmission of gender perception in a masculine plane, with
“Vegetarian Cinderella” which Nunila Lopez has added to
literature from Anti-Cinderella masks will be studied from the
point of view of criticism of feminist fairy tale. The fact that
women in the fairy tale are defined as the other gender and that
this ideology has been reproduced for many years through these
and similar tales are the main reasons for choosing Grimm
Brothers’ “Cindirella” fairy-tale. The field, in which the criticism
of feminist fairy tale took the first action, is to investigates which
women’s models are produced. From this point of view, Nunila
Lopez has moved her pen to show that marriage is not the only
destiny for the woman, to create a female model that assumes the
responsibility of her own’s life without a savior, in other words to
awaken Cinderella.

ÖZET Gençliğin dili, kendi diliyle ürettiği yazın ve kendi alt-kültürüdür. Bu çalışmada belli başlı gençlik ruhbilim ve gençlik toplumbilim verileri ve görüşleri ışığında gençlik ve gençlik alt-kültürleri ile gençlik yazını incelenmeye çalışılmıştır. Bu irdelemelerin amacı gençlik dünyasını daha yakından tanıyarak onları ve dillerini yani yazınlarını anlamaya çalışmaktır. Bunun için de gençlik dünyasının en önemli parçası olan ve olması gereken gençlik yazınına kültürlerarası bir yaklaşımla ağırlık verilmeye çalışılmıştır. Günümüze dek gençlik yazını terimi Türk yazınbiliminde kullanılmamıştır. Çocuk ya da gençlik yazını genel olarak yazının içersinde yer almış, ayrıca sınıflandırılmamıştır. Ancak tüm dünyadaki gençlik yazınbilimsel gelişmelere paralel olarak Türk yazınbiliminde de gençlik yazını terimi kullanmaya ve gençlik ya da ergenlik kitapları sınıflaması yapmaya gereksinim duyulmuştur. Gençlik yazınının eğitim ve özellikle de yazın eğitimi bağlamında da, yazın ve okuma derslerinde gençliğin asıl kendisine söz hakkı verilmesi gerektiğini düşünüyorum. Yazın derslerinde gençlik yazınından yararlanmak, gençliğin kendi dünyasını ders ortamına taşımak demektir. Böylelikle çok daha sağlıklı iletişim kurulabileceği, gençlik sorunlarına çok daha yapıcı ve olumlu yaklaşılabileceği düşüncesindeyim. Zira bir toplumun geleceği demek olan gençlik ne kadar iyi tanınır ve geliştirilirse, geleceğe dair o kadar sağlıklı ve güzel hazırlık yapmış oluruz.

Although in the last decade friendship has become a very popular field of investigation by historians of the early modern period, the role it played in the education of powerful elites in the Italian baroque age is still largely unknown. The aim of this paper is to fill these gaps at least partially, thus providing new knowledge to illuminate the functions and activities of those responsible for the education of young aristocrats in central and northern Italy during the 17th century. Thanks to many unpublished letters, to theoretical works and to normative texts of the time, it is possible to investigate which models of friendship the governors, preceptors and teachers tried to instil in their students in the context of the upbringing of a “christian knight”, a “gentleman”, and a “courtier”. And yet, from vivacious and sometimes surprising epistolary stories sometimes one can detect the resistance that the teachings on friendship elicited from adolescents in family palaces, colleges, courts and academies. Also, the archival and library materials help to reveal the more favourable conditions for the evolution of a relationship characterized by mutual friendship between a teacher and a noble disciple, and – through this process – what issues derived with respect to pedagogical strategies and social conventions.

Heslo o (slovenskej) literatúre pre deti a mládež.
In: Gavura, Ján et al., 2021. Malý lexikón slovenskej literárnej kultúry po roku 1989 (Prolegomena). Fintice: FACE – Fórum alternatívnej kultúry a vzdelávania v spolupráci s Filozofickou fakultou Prešovskej univerzity v Prešove, pp. 44–47. ISBN 978-80-89763-80-1.

Peter Pan cumpriu já mais de cem anos, mas permanece tão jovem como quando nasceu. O que é que explica esta vida centenária e o poder que Peter Pan exerce sobre quem lê o romance ou sobre quem vê as peças de teatro, os filmes, os de-­-senhos animados ou as ilustrações que ele tem suscitado? Neste texto procurarei apresentar algumas respostas, necessariamente provisórias, que, como veremos, suscitam novas questões de natureza histórica, cultural, estética, literária, psico-­-lógica, ou psicanalítica. Há uma bibliografia abundante sobre Peter Pan, regra ge-­-ral em língua inglesa, e praticamente nenhuma (ou, pelo menos, minimamente relevante) em língua portuguesa. Sobretudo nos Estados Unidos, não faltam teses e artigos com orientações diversas, das ciências sociais e humanas às ciências da vida. Este texto não pretende ser mais do que uma introdução ao livro e à perso-­-nagem que continua (e continuará) a seduzir leitores, ouvintes e espetadores de todas as idades e de todo o mundo.

The reception of Classical Antiquity in children's literature has aroused my interest not only because it encompasses children's literature: classical reception is a relatively rare subject in that area of research, but also because of the need to reflect on the impact of Classical Antiquity on Japanese culture. For years my research has focused on Japanese literature and aesthetics, and although it may sound strange, the question of the impact of Classical Antiquity on Japanese literature has never occurred to me before, due to the fact that, while in the West great importance was assigned to Graeco-Roman culture, in Japan this role was played by Chinese culture. From the introduction of Buddhism (which came to Japan from China through Korea in the sixth century) until the mid-nineteenth century, the Japanese archipelago remained heavily influenced by China-an influence seen in its writing, religion, philosophy, arts, science, and system of government. And it was not until relatively recently, less than a hundred and fifty years ago,1 that Western civilisation became a model for Japan. And yet, despite the ongoing intensive Westernisation of Japanese society ever since, and the existence of a rich literature in translation as well as the strong influence of Western literary currents, Graeco-Roman thought and literature have never become to Japan what they are to Europe. This is because Japan has been dominated for many centuries by a melange of native, Buddhist, Confucian, and neo-Confucian ideals and morals. Although European classics (and especially the Ancient Greek ones), often read in the original languages, have gained their own place in courses on Western thought in modern Japan, their impact on Japanese thought and the Japanese spirit has been relatively insignificant.2 One exception seems to be Aesop's fables, which are recognised in Japan as well as in the West. Initially, these fables were known in Japan under a name sounding quite foreign to the Japanese: 1 From the times of the so-called Meiji Restoration in 1868.

Neste artigo, procuro identificar e discutir as principais características do humor da literatura infantil e juvenil portuguesa. Parto da definição lata de humor enquanto processo cognitivo e emocional de construção de um objeto, e a partir daqui tento determinar e compreender tanto quanto possível quer o que leva um autor a querer produzir humor nos seus textos (e que tipo de humor), quer as sensações e os pensamentos desencadeados no recetor, quer ainda os efeitos produzidos, no plano das subjetividades (pessoais ou coletivas) e no das objetividades empíricas (refiro-me aos sinais cinésicos imediatos, à comunicação corporal: gestos, movimentos, posturas e expressões faciais que revelam emoção, hilaridade, repulsa, reforço ou mudança de ideias ou comportamentos, etc.).

This paper was presented in the conference “The birth of mass culture in Europe”, that took place in Debrecen, Hungary from 11 to 13 December, 2014 (http://internationalcrimefiction.org/2014/11/04/networks-diffusion-acculturation-the-birth-of-mass-culture-in-europe-debrecen-11-13-december-2014/)


Although many academic scholars in the fields of literature and history, especially from the 90s onwards, have shown an advanced interest for 19th century Greek popular novel, popular literature of the 20th century remains a little-researched academic field. More specifically, the flourishing era of the 50s and the 60s is still unexplored. During that period, popular press in Greece developed and was organized, mainly via magazines and booklets oriented to children and teenagers. So, in this case, the reflection about popular literature is combined with the problematic on children literature. But, popular and children’s fiction have a long and parallel presence in Modern Greek cultural history, which dates back before the 19th century.

In this study, we make a spherical presentation of the Greek popular magazines for children and teenagers during the 50s and the 60s. Therefore, the intertextual analysis of the fictional characters is connected with the social, political and economic aspects of the magazines: the reactions of intellectuals, the ecclesiastical circles and the main political forces of that time; the dominant and versatile influence of American popular culture on the Greek press, music and cinema; above all, the readership’s identity and mindset.

No mundo ocidental, são muitas as vozes que nos vão lembrando, de tempos a tempos, que já não sabemos encarar a morte com frontalidade e dignidade. Assumiu-se que falar da morte é produzir uma dor ou um mal-estar que colidem com os valores da nossa sociedade, cada vez mais voltada para o culto da beleza e da eterna juventude. Até sensivelmente às décadas de 70 ou 80 do século passado, a sociedade portuguesa, sobretudo a mais rural, não escondia dos mais novos as doenças, o envelhecimento e a morte dos entes queridos, e o cancioneiro infantil e juvenil era uma das grandes expressões e uma das fontes de todos estes temas. Hoje, estas são questões praticamente silenciadas, dir-se-ia até proibidas, e por isso muitas crianças são educadas sem o conhecimento da morte. Partindo destes pressupostos, abordaremos neste artigo a questão da morte na poesia oral e tradicional infantil portuguesa moderna e contemporânea. Veremos, em particular, se a morte aparece mais como personagem ou mais como acontecimento, refletiremos sobre os seus tipos e as suas incidências semânticas, simbólicas e pragmáticas, e discutiremos se vale a pena trazer estes textos para o contexto educativo.

In De schaduw van mijn broer van Tom Avery wil hoofdpersoon Kaia als opdracht voor school haar moeder interviewen. Ze schrijft de vragen op: ‘Ben jij ook bevroren net als ik?’ en ‘Heb jij het al ‘verwerkt?’’ (Avery, 2015, pp. 37-38). Maar ze vraagt haar moeder niets omdat ze, bevroren als ze zijn in hun verdriet, niet meer met elkaar praten, ze voeren wel gesprekjes, maar ze praten niet écht, niet zoals voorheen, voordat haar broer overleed. Terwijl haar moeder haar heil zoekt in de drank, staat Kaia er in eerste instantie alleen voor. In dit boek staat het proces van rouwverwerking dat beiden doormaken centraal.
De schaduw van mijn broer staat niet op zichzelf; in de jeugdliteratuur van de eenentwintigste eeuw is een aanzienlijk aantal boeken met dit thema te vinden. De hoofdpersonen zijn kinderen die de dood van een dierbare naaste te verwerken krijgen. De boeken zijn meestal geschreven met kinderen als verteller. Wat opvalt is dat in veel boeken de kinderen actief en creatief met rouwverwerking omgaan.
In deze bijdrage zal ik daarom in eerste instantie ingaan op het thema kinderen en het proces van rouwverwerking vanuit het theoretisch kader zoals dat door rouwdeskundige William Worden is geformuleerd (1996, 2009). Vervolgens zal ik analyseren hoe dit proces beschreven wordt in twee jeugdboeken, gekozen omdat in beide verhalen het rouwproces rond de dood van de moeder van het hoofdpersonage centraal staat: Ik heet Olivia en daar kan ik ook niks aan doen (2011) van Jowi Schmitz en Hoe ik per ongeluk een boek schreef (2014) van Annet Huizing.

On the basis of the overall assessment of publicized Slovak poetry for children and youth, this paper claims that the level of contemporary Slovak poetry for children and youth is (below)average. Since Slniečko, a monthly literary magazine for pupils aged 6 – 10, has been a guarantee of artistic quality for a long time, this paper aims to analyse how far the abovementioned negative result is reflected in its publicized works. The paper analyses, interprets and evaluates the poetry for children published in Slniečko between 2016 – 2019.

Na základe bilančných hodnotení knižne vydanej slovenskej poézie pre deti a mládež možno konštatovať (pod)priemernú úroveň súčasnej slovenskej poézie pre deti a mládež. Umelecký mesačník pre žiakov 1. – 5. ročníka základnej školy Slniečko je dlhodobo zárukou umeleckej kvality, preto jedným z cieľov štúdie je zistiť, či sa odráža uvedený nepriaznivý stav aj v danom časopise. Štúdia teda analyzuje, interpretuje a hodnotí poéziu pre deti uverejnenú v časopise Slniečko, ktorá vychádzala v rozpätí rokov 2016 – 2019.

In the paper, the author evaluates the Slovak poetry for children published in 2017. The collections that came out were of diverse quality. Most of them merged with the qualitative average, or disappeared below the average. Jana Bžochová-Wild‘s debut stands out. Jozef Kollár excelled in the quality of his verses as well. The level of high quality was traditionally maintained by the authors Tomáš Janovic and Ctibor Štítnický. ABC‘s Letters brought disappointment.The only exception was Daniel Hevier, who saved it with his second, revised edition.

In the article the artistic peculiarities of the unfolding of the theme of death in the literature for children and youth have been analyzed on the basis of Halyna Kyrpa’s (Галина Кирпа) story My Dad Has Become a Star (Мій тато став зіркою). The author’s interpretation of Thanatos motifs has been paid much attention to. The system-creating components of the poetics of the story (thematic and problematic accents, pathos, genre, the system of characters, psychological nature, chronotope, narration and language) have been explored. The writer adheres to the principle that is characteristic for children’s prose, in which most often the death of a person (character) is interpreted as a transition from the earth’s life (image) to another space (image). The analyzed story reflects the specifics of literature for children: the coverage of the topic from the point of view of the child, dynamic plot of the story, high level of visualization of the text, the use of metaphors and symbols, the image of the inner world of the young hero and her reflections; life-affirmation, an optimistic guideline for goodness and vitality pathos, understandable language, stylistic expressiveness. The author defined functional aspects and features of receptive perception by young readers of the text, which presented the complex, „adult” themes

Μελέτη των θετικών και αρνητικών χαρακτήρων στο ανάγνωσμα παιδικής και εφηβικής λαϊκής λογοτεχνίας "Μικρός Ήρως" (1953- 1968). Πιο συγκεκριμένα, παρουσιάζονται και αναλύονται οι "καλοί" και οι "κακοί" χαρακτήρες των τευχών 9 ως 33, σύμφωνα με κοινωνικά, πολιτικά, πολιτισμικά και ευρύτερα νοοτροπικά συμφραζόμενα.

The main aim of this paper is to shed light and mark some of the basic characteristics of a modern Serbian novels, labeled as a “epic fantasy”. This research, based primarily on structural and semiotic methods, seeks to show that the Serbian fictional prose in the beginning of this millennium has a certain number of a common characteristics - specially in a field of world modeling, as well as characters and plots, despite the fact that it manifests a great complexity as much as amorphousness of genre realisation (i.e. heterogeneity resulting from the mixing of elements of mutually unrelated fictional genres).

Esta coletânea de contos vem complementar o ensaio Literatura para a Criança na Imprensa Portuguesa do Séc. XIX que Lurdes Pelarigo publicou em 2009.
Naquele estudo, escrito originalmente como dissertação de mestrado, a autora esclarecia-nos, com rigor e objetividade, sobre as publicações periódicas que no século XIX se dedicavam à infância e abriam espaço à colaboração de escritores, cuja biografia e interesses de natureza cristã e burguesa, na medida do possível, também nos fornecia; e comentava cada um dos contos saídos nesses periódicos, mostrando-nos os seus conteúdos e as suas estratégias de mediação de padrões de comportamentos, a sua ideologia e as suas técnicas discursivas.
Entre as narrativas que constam nesta obra, sobressaem as de Ana de Castro Osório, tanto as adaptações de contos da tradição oral como as obras originais. Embora preocupada com a transmissão de normas e modelos de conduta, muitas vezes moralista e maniqueísta, esta autora destaca-se da maioria dos outros escritores. A dimensão formativa e edificante do texto não coloca em segundo plano nem o tratamento da linguagem nem o investimento no enredo e no maravilhoso; a vertente utilitária não impede a riqueza literária e lúdica, nem o recurso a estruturas e estilos antigos para expressar novas ideias e sensibilidades.
Sublinhamos aqui o nome de Ana de Castro Osório porque ela esteve muito à frente das tendências do seu tempo na compreensão do que é a infância e no que significa escrever para os mais novos. Em 1930, de forma veemente, esta escritora e pedagoga escrevia, insurgindo-se contra aqueles que marginalizavam a literatura infantil: “E porque a maior parte da gente nada conhece da psicologia infantil e julga todas as crianças anormais, quer dizer, mentalmente atrasadas e cretinas, é que os críticos literários, a cada mulher que aparece na literatura nacional a mandam… escrever para crianças” (1).
Podemos agora conhecer com mais rigor e profundidade a literatura que no século XIX se produzia a pensar diretamente no público infantil e juvenil. Mas estes textos não são apenas fundamentais para o conhecimento da literatura dirigida em Portugal às crianças e aos jovens; são também uma importante fonte para a compreensão do que foi e do que é a sociedade portuguesa, desde logo no que tem a ver com os conceitos de infância e de juventude. No século XIX, regra geral, não se esperava da literatura destinada às crianças e aos jovens autonomia ética, filosófica e estética; hoje, na apreciação que as várias instâncias de legitimação da literatura fazem do texto infantil e juvenil, entram obrigatoriamente os aspectos propriamente literários e os elementos heterodoxos e transgressores.
Alguns dos contos aqui reunidos apresentam-nos valores, episódios e uma linguagem que nos fazem sorrir com alguma incredulidade, desprezo ou condescendência, tal é a diferença em relação ao que hoje consideramos próprio da literatura infanto-juvenil de qualidade. Mas é por isso mesmo que os devemos ler. O conhecimento destes textos ajudar-nos-á a perceber em que fase da literatura infanto-juvenil nos encontramos e o que podemos pensar da nossa cultura e da nossa sociedade; e, portanto, o que podemos fazer da e através da literatura, enquanto cidadãos empenhados na construção de um mundo mais humano, plural e democrático.
Devemos ainda, se possível, também para nos sabermos situar no nosso tempo através do conhecimento do passado, lê-los com as nossas crianças e os nossos jovens alunos, incluindo o público universitário de diversas áreas; e no caso das adaptações de contos populares, comparar os temas, os motivos, as técnicas discursivas e as ideologias com versões registadas por autores como Adolfo Coelho, Teófilo Braga ou José Leite de Vasconcelos. Um conto que se presta a uma análise rica é, sem dúvida, O Soldado. Ana de Castro Osório, sem revelar a fonte principal, escreve-o sobretudo a partir do conto popular que, no folheto que mais o popularizou em Portugal, tem como título João Soldado Que Meteu o Diabo no Saco (2). No Brasil, vários autores contribuíram igualmente para a celebridade de João Soldado (3).
Esta não é uma narrativa popular exclusivamente portuguesa e brasileira. Para provar a vasta circulação oral e escrita deste texto, poderíamos evocar versões de outros países, mas bastará dizer que tanto o cordel português como o brasileiro se parecem muito, na linguagem, nos motivos e na estrutura, com o conto russo Soldier and Death, recolhido e publicado pelo inglês Arthur Ransome (4). No catálogo internacional The Types of the Folktale, de Antti-Aarne, Stith Thompson e Hans-Jörg Uther, este conto tem o número 330 (“The Smith Outwits the Devil”), a que devemos acrescentar o número 326 (“The Youth Who Wanted to Learn What Fear Is”), que aparece, em parte, na nossa versão de cordel.
Não sabemos que impacto teve este texto nos leitores, mas acreditamos que terá sido muito considerável. E podemos até afirmar que um clássico da literatura oral e popular poderia ter-se transformado num clássico da literatura infantil e juvenil portuguesa, se as circunstâncias o tivesse permitido. Isto apesar de não haver lugar na versão de Ana de Castro Osório para o lado mais subversivo de João Soldado, que também contraria veementemente São Pedro, ao obrigá-lo a entrar para o saco. No texto de Ana de Castro Osório é João Soldado quem, colocado o saco do lado de dentro do Céu pelas mãos de São Pedro, diz ao saco que quer ir para dentro dele. São Pedro reage bem à astúcia de João Soldado e por isso deixa-o entrar. Na versão popular portuguesa, João Soldado também entra merecidamente no Céu por iniciativa própria, mas, vendo-se injustiçado por São Pedro, não o poupa à humilhação de ter de entrar no saco e de ter de implorar para sair. Na versão brasileira de Manoel Vicente dos Santos, São Pedro é ainda mais diminuído: “João botou Pedro no saco/ disatou o cinturão/ meteu-lhe a sola sem pena/ sem ter dor nem compaixão/ empurrou de porta a fora/ tomou conta do portão// Foi assim que o soldado/ conseguiu no céu entrar/ mandou S. Pedro ir embora/ e assumiu o lugar/ o porteiro lá do céu/ agora é militar” (5).
Através do conto O Soldado, que Lurdes Pelarigo nos dá a conhecer, vemos como Ana de Castro Osório nos acaba por dizer implicitamente que este conto popular tem tudo para interessar ao leitor infantil e juvenil (e não só) dos nossos dias. E é assim porque compreendemos o valor da narrativa popular e o quanto a empobrece retirar-lhe, no episódio final que opõe João Soldado a São Pedro, o seu sentido mais genuinamente libertário e transgressor. Na versão oral e popular, João Soldado, irreverente e cómico, sabe dizer orgulhosamente a São Pedro que não precisa de lhe pedir permissão para ter direito à vida eterna. No Céu, alega com indignação e senso de justiça, há de entrar como pagamento pela sua vida honesta e abnegada ao serviço do rei (6).
A publicação de uma adaptação deste conto popular, em finais de 2011, no México, numa coleção de clássicos de cordel, confirma a nossa posição. Nesta versão bilingue (espanhol / português), a que demos o título de A Verdadeira História de João Soldado Que Meteu o Diabo no Saco, quisemos inscrever o texto numa memória de palavras e de gestos; e quisemos também contribuir para a legitimação tanto da literatura de transmissão oral e popular como da literatura para a infância e a juventude.
O estudo de Lurdes Pelarigo Literatura para a Criança na Imprensa Portuguesa do Séc. XIX e a coleção de contos que agora o enriquece vêm mostrar-nos que tínhamos razão em querer devolver o João Soldado popular aos leitores e ouvintes de todas as idades.

Notas
1) Seara Nova, n.º 204, 13/03/1930, pp. 56-57.
2) Porto, Rosa Celeste Castro Fernandes, s.d. [197--].
3) Conhecemos três folhetos: O Grande Romance do Valente João Soldado (s.l., s.e., s.d.), de Manoel Vicente dos Santos; João Soldado, o Valente Praça Que Meteu o Diabo num Saco (São Paulo, Prelúdio, s.d. [19--]), de Antônio Teodoro dos Santos; e, de autor anónimo, História de João Soldado Que Teve a Habilidade de Meter o Diabo num Saco! (São Paulo, Gráfica Sousa, s.d. [19--]).
4) London, John G. Wilson, 1920.
5) O Grande Romance do Valente João Soldado, cit., p. 27.
6) Ana de Castro Osório, que prefere transmitir esta ideia de modo mais ortodoxo, exprime nestes termos, no final, a lição moral, como bem salienta Lurdes Pelarigo no seu ensaio (p. 35): “Quando a nossa alma é boa, ainda quando os procuremos, fogem de nós os maus. Quando praticamos o bem, (…) temos a certeza de o encontrar mais tarde, transformado em alegrias eternas”.

Escritora, professora, conferencista e feminista militante, Emília de Sousa Costa (1877–1959) é uma personalidade que devemos associar a outras portuguesas ilustres do seu tempo, como Maria Amália Vaz de Carvalho (1847–1921), Ana de Castro Osório (1872–1935) e Virgínia de Castro e Almeida (1874–1945). Mas, ao contrário destas mulheres, cuja obra literária continua a ser lida e estudada, Emília de Sousa Costa é hoje conhecida quase exclusivamente devido às suas ideias acerca da mulher e da educação feminina. Prova deste esquecimento é o facto de, apesar de ter sido intensa a sua actividade literária, sobretudo enquanto autora de textos destinados ao público infantil e juvenil, não lhe ter sido dedicado qualquer verbete num dos dicionários de literatura portuguesa da Figueirinhas, da Presença e da Verbo, nem a mais breve observação nas histórias da literatura portuguesa. Neste artigo ocupar-nos-emos, por isso mesmo, da obra literária de Emília de Sousa Costa, mas não deixaremos de abordar outras vertentes do seu pensamento e da sua acção. Não podemos dissociar a mulher que defendeu durante toda a sua vida a educação feminina da mulher que expressou o seu pensamento em textos de diverso tipo, dirigidos quer ao público infantil e juvenil quer ao público adulto.

As a writer, teacher, public speaker and militant feminist, Emília de Sousa Costa (1877– 1959) should take her place alongside other famous Portuguese women of her time, such Maria Amália Vaz de Carvalho (1847–1921), Ana de Castro Osório (1872–1935) and Virgínia de Castro e Almeida (1874–1945). But unlike these women, whose literary output continues to be read and studied, Emília de Sousa Costa is known today almost exclusively for her ideas on women and women’s education. Proof of this neglect is to be found in the fact that in spite of her vigorous literary activity, especially as a writer for children and young people, she has not been dignified with any entry in the dictionaries of Portuguese literature published by Figueirinhas, Presença or Verbo, nor even the briefest mention in any history of Portuguese literature. Emília de Sousa Costa wrote her books for children and young people at a time when such literature was undergoing a significant development, and despite her rather inflexible approach to style, language and morality she contributed to that process. The large number of books she wrote, the techniques she developed, and her numerous activities for promoting books and reading would on their own justify the study being devoted to her here. But many of her writings also have an undeniable aesthetic quality, in particular the short texts in which she rewrote tales from the oral tradition and the Polichinelo series, which make use of the well-known figure of Pinocchio. In this article, then, we shall focus on the literary output of Emília de Sousa Costa, while not neglecting in the first instance other aspects of her thinking and her activity, which we shall take as our point of departure, in terms of content, ideology and form, for some of the literary works that we regard as most significant — we cannot dissociate the woman who all her life defended feminine education from the woman who expressed her ideas in different types of text, whether for a juvenile audience or for an adult public. In all her writings, Emília de Sousa Costa expresses a moderate feminism, patriotic and devout. In each text we find a celebration of the modern woman, educated and free, and most likely devoted to her roles of wife, mother and educator. In each we find a denunciation of those men who regard women as an object and an instrument. And in each we find a defence of teaching according to modern principles.

This study used a multimethod approach to evaluate the relationship of alexithymia (measured by the 20-item Toronto Alexithymia Scale, and 30-item Emotion Awareness Questionnaire), psychosocial development (assessed with the Measure of Psychosocial Development), and risk behavior (as measured by the Youth Comprehensive Risk Assessment) in 67 rural adolescents in residential treatment. Results revealed that both measures of alexithymia demonstrated good internal consistency and convergent validity, adolescent females were more alexithymic than males, and demonstrated significantly more shame, diminished bodily awareness, and risk to self; whereas males demonstrated significantly more risk to others. Gender-specific treatment implications for female adolescents are included.

The paper presents research of poetry for children and youth in Slovak literary research and didactics of literature. The paper also suggests further research of poetry for children and youth in Slovak literary research and didactics of literature.

Heslo o slovenskom časopise Bibiana: revue o umení pre deti a mládež.
In: Gavura, Ján et al., 2021. Malý lexikón slovenskej literárnej kultúry po roku 1989 (Prolegomena). Fintice: FACE – Fórum alternatívnej kultúry a vzdelávania v spolupráci s Filozofickou fakultou Prešovskej univerzity v Prešove, pp. 27–28. ISBN 978-80-89763-80-1.

"Dobré je všetko, čo slúži životu; zlé je to, čo slúži smrti. Dobro je úcta k životu, všetko, čo život zmnožuje, čo znamená rast, rozvinutie. Zlo je všetko to, čo život dusí, utláča, trhá na kusy" (Fromm 1969, s. 36). Úvahy a diskusie o morálnom stave spoločnosti alebo ľudstva ako celku, vrátane úvah o podobe dobra a zla v jednotlivých obdobiach ľudských dejín, prípadne o mravnosti jednotlivcov, sú pravdepodobne integrálnou súčasťou celých ľudských dejín od čias, keď naši dávni predkovia dospeli do stavu sebauvedomenia (Gluchman 2007, s. 10). Tretie tisícročie je ešte stále časom dualistických dichotómií, kde popri láske nevyhnutne funguje nevraživosť, proti pravde stojí lož, proti hmote sa stavia duch, a preto aj zlo je nevyhnutné vnímať v kontexte s jeho náprotivkom -dobrom (Rusňák 2007, s. 3).

Keywords:

Representation of American Indians in Europe, Youth literature in Hungary, Youth literature in Poland, Popular culture, Movies, Multimedia, James Fenimore Cooper (1789-1851), Karl May (1842-1912), Winnetou, Liselotte Welskopf-Henrich (1901-1979), Tokei-ihto, Ehm Welk, Gojko Mitić (1940- ), Playing Indian

Os livros de Valter Hugo Mãe (Angola, 1971) destinados à infância e à juventude começam por seduzir pelo formato, pelas ilustrações e pela cor. As dimensões, com 16,5 por 24 cm, únicas ou muito raras no mercado editorial português, fazem de cada obra um objeto que apela a uma cumplicidade forte com o leitor. É este o caso de A Verdadeira História dos Pássaros, que articula consciência mítica, leis da natureza e estética: o vento, a personagem que desencadeia a ação, consciente de si e do mundo, aparece como o responsável pela evolução de duas espécies genericamente designadas de “galinholas” e “passarocos”; e o texto, representação do interminável e sublime poema que é a Natureza, encerra em si uma ideia de sabedoria e progresso ecológico.
A Verdadeira História dos Pássaros recorda-nos, com a expressividade da linguagem dos mitos, que a literatura é conhecimento e (re)invenção do mundo: “Um dia, num tempo já perdido da memória, o vento não suportou mais a solidão quando corria pelos ares a olhar para o mundo lá em baixo” (4). O título, à maneira dos folhetos de cordel que começam com o sintagma “a verdadeira história”, é já predição de uma narrativa original. As ilustrações, também de Valter Hugo Mãe, o tratamento e a disposição dos signos tipográficos prolongam os sentidos do texto, que busca a essência do ser humano nas palavras e na Natureza. (...)