Literature for children

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.

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.

Children's novels may roughly be classified as fantasies and realistic. In realistic novels for children, usually the problems which the child may come across in his/her everyday life are dealt with. The writers of realistic novels for children may give some messages or imply some strategies for the children who face the problems in real life similar to the ones narrated in these novels so that they may overcome their problems. Peer bullying is a widespread and serious problem children may encounter at school. The researchers have displayed that peer bullying may cause some psychological problems, and it may even trigger suicidal ideation. Therefore some anti-bullying programmes have been put into practice in Britain as in some other countries. The first and the most important step in these programmes is to encourage children to report bullying. Otherwise, it will be impossible for the authorities to intervene in and remove bullying. Nevertheless, the investigations conducted to see the effects of these programmes display that there are still a great many of children who do not complain their teachers or parents of being bullied and suffer silently. This paper argues that carefully written novels for children about peer bullying may help the victims of bullying to cope with bullying by suggesting some coping strategies and encouraging them to report bullying. Anne Fine and Jacqueline Wilson are the two outstanding writers best known for their realistic novels for children. Fine in her novel titled The Angel of Nitshill Road and Wilson in her work entitled Bad Girls have dealt with peer bullying. Thus, this paper aims at analysing Anne Fine's The Angel of Nitshill Road and Jacqueline Wilson's Bad Girls to find out what characteristics of the victims, the bystanders, and bullying have been presented; what coping strategies have been recommended to children in these books.

AUNQUE la traducción entre los modernistas hispánicos fue una práctica recurrente desarrollada a la par que la creación de obras originales, 1 dicha actividad no estuvo casi nunca orientada a la recepción de un público infantil. En verdad, la articulación de una nueva sensibilidad artística de vocación elitista inspirada en modelos literarios extranjeros de diverso signo se destinó especialmente al consumo del lector adulto letrado de las sociedades burguesas de fin de siglo que, parapetado en los espejismos de una modernidad periférica, demandaba ese tipo de productos culturales. En cambio, la construcción de una literatura infantil en lengua española apenas tuvo cabida en las búsquedas estéticas de los escritores de las últimas décadas del siglo XIX. 2 De ahí la rareza de los pocos cuentos para niños que aparecieron en la revista dirigida y escrita íntegramente por el cubano José Martí (1853-1895) en 1889, La Edad de Oro, de la que sólo vieron la luz cuatro números y cuya finalidad básica se resumía en la formación de hombres de criterio independiente, capaces de pensar por sí mismos; hombres firmes en sus ideas, pero comprensivos con las de los demás; que conocieran la vida con sus verdades, que supieran que la desunión era uno de los mayores peligros, sobre todo ante el naciente imperialismo, y que se mostraran deseosos de defender valerosamente la libertad de su patria contra el invasor (Aguirre, 58-69). 3 El variado contenido de la publicación -artículos sobre fray Bartolomé de las Casas, defensor de la causa indígena, sobre tres adalides de la independencia americana (Bolívar, el padre Hidalgo, San Martín), sobre La Iliada de Homero, sobre las ruinas precolombinas, sobre la historia del hombre a través de sus viviendas, sobre la Exposición Universal de 1889, sobre el pueblo annamita, entonces casi desconocido en esta orilla del Atlántico, sobre juegos 31

This paper offers a critique of Satyajit Ray’s literature for young adults, a major part of which was dedicated to his popular and favorite sleuth, Feluda. The primary contention of this paper is that, since it was conceived on the pages of the Ray family magazine Sandesh, the Feluda stories have followed a rather taut, moral architecture that cannot be explained only in terms of categories that literature for young adults or children permit. The first part of the paper discusses at length the possible origins and formative influences of Ray’s sleuth. The second part proposes three hypotheses that consider the entrenched phallocentrism and gentrified eco-system of the stories as both a psychoanalytic and a cultural problematic.

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.

Peter Rabbit and Voices In The Park are picturebooks which reflect a lot of ideologies and values, one of the most significant and obvious issues that peter Rabbit and voices in the park present is the different images of motherhood. However, in both picturebooks the mothers are different in their characterization, their relationship between them and their children as they have a big role in their growing up. Peter Rabbit and Voices In The Park have two different kinds of mothers. However, both books are different where Voices in the Park is postmodern book and totally different from Peter Rabbit, thus the two depictions of motherhood are different. In Peter Rabbit, the mother is portrayed nearly in a very natural and simple way even though she is humanized but she is still pictured as a natural rabbit living under the tree. Otherwise, Mrs. Rabbit is a care mother as she is powerful because she is only a mother with her children and the father is dead. Moreover, she is able to control over the home and the children with the ability to protect them. On the other side, the depiction of the mother in Voices In The Park is much more complex as the Gorilla reflects most of the women in the human world and their struggling with the social systems. In this postmodern book, the mother presents the upper class woman who cares about the appearances and formalities much more than what is beyond as the " hat " is everywhere in the book. In addition, this mother hasn't any sense of others as she is very shallow where the story ends as it has begun for her without any changing in her perspectives or her feelings. Actually, she may be considered as a caring mother but from only one side which is the materialistic side, as she finds herself in a higher layer than Smudge and her father, " Then I saw him talking to a very rough-looking child " (Browne, 1999). Indeed, font is one of the metafictive features in the postmodern picturebooks and can add more to our understanding, thus, the font that used in the mother's voice is formal and reflects the culture

Предмет овог рада представља литерарно моделовање фрагмената словенске митологије у збирци прича Каљави коњ Весне Алексић. С обзиром на то да целовита митска прича о словенским боговима и прворадњама којима они моделују лице света, као демијурзи, не постоји, већ само неколико неповезаних фрагмената, врло штурих историјских података и сведочанстава из времена прихватања хришћанства, као и низ мотива, на нивоу ниже митологије (демонологије), приступ овој грађи изискује посебан опрез јер сваки наредни покушај њене литерарне реконструкције, или пре – трансформације, сусреће се са низом неусаглашености, тамних места, чак и произвољности. Нажалост, Весна Алексић није успела да дорасте таквом изазову: од талентоване списатељице за децу, у овој књизи она се своди на осредњег митотворца који, у покушају да реконструише одређене елементе мита (божанства, њихове атрибуте и функције) у уводним синтезама (причама), тј. дванаест тематских језгара око којих се потом групишу њене кратке приче (често с дететом као наратором или фокализатором) губи наративни ток, уводи нефункционалне ликове и непотребне детаље, само да би приказани свет древне словенске прошлости испао богатији, а митолошко-демонолошки персонални систем – (све)обухватнији.

Colección de cuentos folklóricos argentinos de la especie de cuentos animalísticos recopilados en investigaciones de campo, clasificados por el sistema ATU, acompañados de un estudio preliminar, con descripción de tipos temáticos y tabla de narradores

Publikácia Metodika na podporu čitateľstva žiakov v mladšom školskom veku je výstupom výskumného projektu VEGA 1/0455/18 Výskum a rozvoj čitateľstva žiakov mladšieho školského veku.
Zámerom projektu bolo objaviť príčiny znižovania čitateľstva žiakov s ich rastúcim vekom a zistiť možnosti stimulácie kognitívnej a receptívno-zážitkovej stránky čitateľstva na primárnom stupni školy a jeho následnej udržateľnosti. Našou ambíciou sa stalo vytvorenie čitateľského programu na podporu čitateľstva detí mladšieho
školského veku „Čítame deťom, čítame s deťmi“, ktorý synergicky spojil dospelých a deti s cieľom nájsť spôsoby, ako čitateľstvo „resuscitovať“ a zároveň inšpirovať k čítaniu.

My doctoral thesis. The main theme is the conflict between aesthetics and religious sense in Oscar Wilde literature.
I study fairy tales, the Picture of Dorian Gray, Salome, and comedies.
in all of there works, Wilde wrote both of aesthetics and religious sense, even though his works are very decadent.

Повість Наталі Пасічник, відзначена першою премією «Коронації слова», розповідає про таксу Терезку, яка мешкає у Львові на вулиці Медової печери. Поки Терезчиної господині немає вдома, вдвох із сусідським псом Бровком  вони мандрують сторінками улюблених книг, відвідують виставку собак і навіть полюють на чупакабру…

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.

Oscar Wilde (1854 - 1900), as the Irish aesthetic writer in the Victorian era, wrote religious fairy tales (The  Happy  Prince  and  Other  Tales ,  1888)  and  (The  House  of Pomegranates,  1891).  It  was  the beginning of his writer's career.
The aim of this paper is to investigate the universal characteristic of Wilde's fairy tales. The way of my research is to compare Wilde's fairy tales with the works of Lewis Carroll (1832 - 1898) and those of James Barrie (1860 - 1937), because the latter two writers are still popular as well as Wilde's short fictions.

The study is divided into two parts. The first (Fauna and flora in researches over literature and culture (subjective choice of issues)) presents in a draft chosen examples considered here as the most important issues regarding presence of fauna and flora mainly in literature and wider culture (chosen aspects), beginning from Bible and Mythology to the Old Polish literature and finishing in current times. The study signals such issues as symbols of plants and animals, their presence in exempla, literary animal fable, viridaries and bestiaries, function of plants and animals in creating descriptive world in literary and film output dedicated to children, finally fauna and flora in proverbs. The second part of the study (Paths leading to the current monograph attempt) shows scientific and organizational circumstances of ’The Motifs of Fauna And Flora in Literature and Culture’ conference, which was held in University of Łodź 11th June 2016, approaches also main problems discussed in monograph. Particular studies concentrate on the following topics: In te circle of Mythology, Symbolics, Oddities and phantasies, Philosophical perspective, Moralization and appraisal and Descriptions.

This paper offers a critique of Satyajit Ray’s literature for
young adults, a major part of which was dedicated to his popular and favorite sleuth, Feluda. The primary contention of this paper is that, since it was conceived on the pages of the Ray family magazine Sandesh, the Feluda stories have followed a rather taut, moral architecture that cannot be explained only in terms of categories that literature for young adults or children permit. The first part of the paper
discusses at length the possible origins and formative influences of Ray’s sleuth. The second part proposes three hypotheses that consider the entrenched phallocentrism and gentrified eco-system of the stories as both a psychoanalytic and a cultural problematic.

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.

RESUMEN: En este trabajo, comparo relatos folklóricos infantiles recogidos de boca de los mismos niños, con registros escriturarios y mediatizados de las matrices " Caperucita Roja " y " Blancanieves ". La comparación permite advertir las brechas intertextuales entre narración oral, fijación escritural y recreación mediatizada, y reconocer estilos de narración diferenciados. Los relatos dan cuenta de un entramado intertextual de resignificaciones desde el universo de experiencias infantiles, con una performance propia. Palabras-clave: Caperucita Roja. Blancanieves. Fuga mágica. Narrativa folklórica infantil. Argentina. ABSTRACT: This article offers a comparison between oral folktales narrated by children and scriptural and filmic versions of two narrative matrices: Red Riding Hood and Snow White. Such comparison shows the intertextual gap between orality and literacy, and reflects as well differential styles of storytelling, dealing with different cultural contexts. Comparative analysis also reveals the intertextual gap between orality and the media, mixed up in the children's voices which recontextualise folk matrices with their own styles. The aim is to point out such recontextualization of folk narrative patterns in the voices of the children, who give new meanings to old stories.

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.

Peter Pan in Kensington Gardens – elusive and whimsical tale about pre-Neverland life of the Boy Who Would Not Grow Up, non-adult excerpt from the novel originally written for adults, published separately in 1906 as the book for children – collects and combines many translation difficulties which can be found in children’s classics. That is, first and foremost, dual (or multi) address of the text, whose virtual reader is situated – like Peter Pan himself – between childhood and adulthood. Secondly, complex narration interlacing different voices, multiplicity of stylisations, brisk humour and lyricism mixed with nostalgia. For Barrie’s translators a great challenge is also the language of his novel – precise, ironic, immersed in actuality of place and time, full of linguistic invention and poetic qualities. Simultaneously, the novel gains interesting contexts in Barrie’s later works concentrated on Peter Pan – through Kensington Gardens a straight path leads to the Neverland.
Peter Pan in Kensington Gardens was translated into Polish only twice – by Zofia Rogoszówna in 1913 and by Maciej Słomczyński in 1991. This two translations, telling the Peter’s story in two different and somehow antithetical voices, can be analysed not only in terms of narrative and linguistic issues but also in terms of literary conventions influencing the translation, translator’s censorship, and the ways translators understand their role towards the texts (translator-moralist versus impartial objectivist). The main aim of the article is to present translation challenges in Barrie’s novel and analyse different strategies engaged in translation process. This critical perspective will be complemented with practical attitude developed while working on new Polish translation of Peter Pan in Kensinton Gardens, created with the willingness to restore and refresh this slightly forgotten masterpiece to the Polish reader.

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.

The aim of this paper is to examine selected stories from "Mali bohaterowie.
Opowieść o dzieciach walczącej Warszawy 1940–1944" by Zofia Lorentz (1947,
2nd edition 1971). The book presents citizens of occupied Warsaw as they take
part in the Warsaw Uprising. The author describes their struggles by relating
to canonical fairy tales. The analysis concerns intertextual references to several
characters and motifs from Hans Christian Andersen’s tales. The key research
issues are the method and the goal of such an intertextual strategy employed
by Lorentz to speak about war, trauma, living under constant threat, fight for
freedom, and fear of death. As a result of this analysis the notion of prosthetic
memory is discussed, as it is constructed and consolidated in aforementioned
stories by applying intertextual fairy-tale references.

The novels for children about violence against children may be shocking for some adults, for those in particular who are not used to reading contemporary realistic novels for children. Violence against children is dealt with by the writers for children, and these writers are encouraged by some researchers. However, violence is the subject matter which must be dealt with cautiously. Anne Fine and Jacqueline Wilson are the two British writers for children dealing with violence against children in their novels. The aim of this paper is to discuss how Fine in the Tulip Touch and Wilson in Secrets deal with violence against children. Both Fine and Wilson have been able to write novels about physical abuse, depicting less violence scenes. Fine has focused on the consequences of the indifference of people and the institutions to violence against the child while Wilson displays what the abused child feels and how she is able to overcome her problem. Besides, Wilson emphasizes the significance of the concern of the people around the abused child. Considering both writers' efforts to emphasize the function of adults' concern for the problem of the abused children and the role of the adults in solving violence problem, we may suggest that the realistic novels for children about abuse should be read by adults as well. Öz Gerçekçi Çocuk Romanlarında Çocuğa Karşı Şiddet: Anne Fine'nın Tulip Dokunuşu, Jacqueline Wilson'ın Sırlar Adlı Romanları Çocuğa karşı fiziksel şiddet hakkındaki çocuk romanları, bazı yetişkinlere, özellikle gerçekçi çağdaş çocuk romanlarını okumaya alışkın olmayanlara çok şaşırtıcı gelebilir. Ancak çocuğa uygulanan şiddet, çocuk kitapları yazarlarınca ele alınır ve bu konuyu ele alan yazarlar, bazı araştırmacılarca da yüreklendirilir.

Les Misérables , written by Victor Hugo, a writer who was also a republican politician, has many adaptations like musical shows, literature for children, cartoons and animat ions . Considering the fact that quite a small number of studies have been made to make clear the connections between the original work and its adapted versions, this article focuses on the various adapted counterparts of Les Misérables, especially i n the field of literature for children and musical shows. And then to understand characteristic features of adapted counterparts of Les Misérables , comparison will be made with some equivalent works of The Happy Prince of O scar Wilde and Anne of Green Gable of Lucy Montgomery.

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. ISBN 978-80-89763-80-1.

Szanto’s study examines a collection of Twelver Shi’i children’s books from the Syrian shrine-town of Sayyida Zaynab. As there are few Twelver Shi’is and Shi’i publishers in Syria, the Shi’i children’s books are imported from Lebanon, Iraq, and Iran. As a result, they reflect both local and regional conceptions and concerns. By drawing on the theoretical models offered by Judith Butler and Saba Mahmood, this article analyzes the processes of pious subject cultivation as well as the construction of religious authority through illustrated children’s books. It demonstrates how the nurturing of Shi’i subjects occurs in stages that emphasize affect, openness to authoritative others, and the acquisition and habituation of virtues. Within this general framework, there also exist differences in opinion with respect to precisely what kind of authorities pious Shi’is should relate to, emulate, and follow.

В статье рассматривается цикл С. Я. Маршака "Детки в клетке", первое значительное произведение писателя для детей. Книга исследуется в контексте других детских бестиариев 1920-х гг. Сопоставление разных редакций текста, сильно расходящихся между собою, позволяет глубже понять поэтику и проблематику цикла и выделить важнейшие тенденции работы поэта над стихотворным сборником.

The aim of this article is to examine images of the child perceived as the Other that appear in contemporary Polish children’s and young adult literature. The analysis focus on the following aspects of “otherness”: (1) physical disability and its results (in the novels of Barbara Ciwoniuk, Irena Landau, Ewa Nowak); (2) intellectual disability and its results (in the works of Katarzyna Ryrych, Beata Wróblewska); and (3) national belonging (in the works of Grzegorz Gortat and Ewa Grętkiewicz). The key research questions concern the literary strategies applied by Polish authors to present strangeness, the Other, as well as the relations between the latter and his or her social environment. Moreover, the author analyses the literary visions of identity dilemma and the diverse
attitudes to otherness that are reflected in the works discussed.

The Coronavirus outbreak has disturbed innocent lives of our children. Children have great observation skills inherent in them. In present scenario, we cannot ignore the psychological well being of our kids. On the other hand, we have to  prepare them for the existing times when they will return to school with greater anxiety.  This is a story for kids which intends to motivate the little ones and teach them to fight against this pandemic---psychologically in particular. This story is also made available at https://infeed.in/lockdown-in-jungle/

The aim of this paper is to examine three contemporary Polish tales about refugees: Wędrówka Nabu (The Journey of Nabu) by Jarosław Mikołajewski; Kot Karima i obrazki (Karim’s Cat and Pictures) by Liliana Bardijewska; and Hebanowe serce (The Ebony Heart) by Renata Piątkowska. My analysis concerns the literary strategies these authors
employ to speak about refugees and their trauma via the use of fairy-tale conventions. I am interested in how the above-mentioned stories present and explain to young readers migration as a refugee experience and how the authors construct the child’s way of thinking about refugees.

Статья посвящена фольклорно-мифологическому плану в повести в стихах С.Я. Маршака «Мистер Твистер», способам его текстуальной репрезентации  и функциональной нагруженности. Анализируются мифопоэтические компоненты образов Кука, носильщиков-великанов, американского пространства и эпизода сновидения.