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مراجع وقراءات إضافية

مقدمة

  • In PMLA vol. 126, January 2011, pp. 209–16, Marah Gubar details the problems that have resulted in a series of failed attempts to define children’s literature, suggests a definition is unnecessary for good scholarship, and proposes that such efforts be abandoned.
  • Walter Benjamin discusses children’s books in ‘Old Forgotten Children’s Books’, in Marcus Bullock and Michael W. Jennings (eds.), Walter Benjamin: Selected Writing, Vol. I, 1913–1926 (Cambridge, MA: Belknap of Harvard University Press, 1996 [1924]), pp. 406–13.
  • Works cited: Jacqueline Rose, The Case of Peter Pan, or, The Impossibility of Children’s Fiction (London: Macmillan, 1984).

الفصل الأول: دراسة تاريخية موجزة عن النشر للأطفال باللغة الإنجليزية

  • More information about individual works, writers, printers, and publishers for children mentioned throughout can be found in the following, many of which are referred to in this chapter: Brian Alderson and Felix de Marez Oyens, Be Merry and Wise: Origins of Children’s Book Publishing in England, 1650–1850 (London: British Library and New Castle; Delaware: Oak Knoll Press, 2006); Brian Alderson’s edition of F. J. Harvey Darton’s Children’s Books in England: Five Centuries of Social Life (Cambridge: Cambridge University Press, 1982 [1932]); Humphrey Carpenter and Mari Prichard, The Oxford Companion to Children’s Literature (Oxford and New York: Oxford University Press, 1984); J. S. Bratton, The Impact of Victorian Children’s Fiction (London: Croom Helm, 1981); Patricia Demers (ed.), From Instruction to Delight: An Anthology of Children’s Literature to 1850, 2nd edn. (Ontario: Oxford University Press, 2004); Peter Hunt (ed.), Children’s Literature: An Illustrated History (Oxford and New York: Oxford University Press, 1995); Seth Lerer, Children’s Literature: A Reader’s History from Aesop to Harry Potter (London and Chicago: University of Chicago Press, 2008); Percy Muir, English Children’s Books, 1600–1900 (London: B. T. Batsford, 1954); John Rowe Townsend, Written for Children: An Outline of English-Language Children’s Literature, 5th edn. (London: Bodley Head, 1995 [1965]); Jack Zipes (ed.), The Oxford Encyclopedia of Children’s Literature (New York: Oxford University Press, 2006).
  • Digital versions of many early children’s books can be read at, for example, Eighteenth-Century Collections Online (information at http://gale.cengage.co.uk/product-highlights/history/eighteenthcentury-collections-online.aspx), the Hockcliffe Collection (http://www.cts.dmu.ac.uk/hockliffe/) and Project Gutenberg (http://www.gutenberg.org/catalog/).
  • The importance of radical Protestantism in relation to children’s literature is considered in C. John Sommerville, The Discovery of Childhood in Puritan England (Athens, GA: University of Georgia Press, 1992).
  • For information about the materials made by Jane Johnson, see Evelyn Arizpe, Morag Styles, and Shirley Brice Heath, Reading Lessons from the Eighteenth Century (Lichfield: Pied Piper Press, 2006).
  • Charles Lamb is quoted by Nicholas Tucker in Suitable for Children? Controversies in Children’s Literature (London: Chatto & Windus for Sussex University Press, 1976), p. 116.
  • The quote from George Crabbe appears in Mary Trim, ‘A Rediscovery of John Bunyan’s A Book for Boys and Girls’, in International Review of Children’s Literature and Librarianship, 8.3, pp. 149–67, p. 150.
  • Attention to marginalia and other evidence of how books were used and valued by the child readers has been discussed by Brian Alderson and Felix de Marez Oyens (as above) and more by M. O. Grenby, The Child Reader, 1700–1840 (Cambridge: Cambridge University Press, 2011).
  • Henry James’s views and their impact on children’s literature are discussed in Felicity A. Hughes, ‘Children’s Literature: Theory and Practice’, in Peter Hunt (ed.), Children’s Literature: The Development of Criticism (London and New York: Routledge, 1990 [1978]), pp. 71–90.
  • A useful discussion of ‘the century of the child’ appears in Hugh Cunningham, Children and Childhood in Western Society since 1500 (London: Longman, 1995).
  • The quote from Myles McDowell comes from ‘Fiction for Children and Adults: Some Essential Differences’, in Geoff Fox (ed.), Children’s Literature in Education, 4.1 (March 1973), pp. 50–63, p. 58.
  • Peter Hunt has written insightfully about ‘books that are and books that were for children’ in ‘Passing on the Past’, Children’s Literature Association Quarterly, 21.4 (1996), pp. 200–2.
  • For details about reading levels and Potter’s books, see http:// americanenglishdoctor.com/wordpress/.
  • Rumer Godden’s invented exchange of letters between Beatrix Potter and an American publisher committed to simple language in children’s texts deserves to be read: ‘An Imaginary Correspondence’, in Horn Book Magazine, 38 (August 1963), pp. 197–206.
  • Works cited: Erik Erikson, Childhood and Society (New York: W. W. Norton, 1993 [1950]); Maria Nikolajeva, Power, Voice and Subjectivity in Literature for Young Readers (London: Routledge, 2009); Perry Nodelman, The Hidden Adult: Defining Children’s Literature (Baltimore: Johns Hopkins University Press, 2008); Barbara Wall, The Narrator’s Voice: The Dilemma of Children’s Fiction (London: Macmillan, 1991); Torben Weinreich, Children’s Literature—Art or Pedagogy? (Copenhagen: Rothskilde University Press, 2000).

الفصل الثاني: لماذا تدرَس كتب الأطفال وكيف؟

  • Discussions of the relationship between children’s literature and critical theory are contained in Peter Hunt, Criticism, Theory and Children’s Literature (Oxford: Basil Blackwell, 1991); Roderick McGillis, The Nimble Reader: Literary Theory and Children’s Literature (New York: Twayne, 1996); David Rudd (ed.), The Routledge Companion to Children’s Literature (London and New York: Routledge, 2010) and David Rudd, ‘Theorizing and Theories: The Conditions of Possibility of Children’s Literature’, in Peter Hunt (ed.), International Companion Encyclopedia of Children’s Literature, 2nd edn. (London and New York: Routledge, 2004), where more detailed discussions of individual critical approaches can also be found.
  • The quote from T. S. Eliot is taken from Margaret Drabble’s The Pattern in the Carpet: A Personal History with Jigsaws (London: Atlantic Books, 2009), p. 56.
  • The references from Spufford occur in the first chapter of The Child that Books Built (London: Faber and Faber, 2002).
  • The quote from F. J. Harvey Darton (Alderson’s 1982 revised edition as above) appears on p. 260.
  • Emer O’Sullivan discusses Hazard and the founding of comparative children’s literature in Peter Hunt (ed., 2004), as above, pp. 13–25.
  • Discussions of the more open style of writing used by some writers when addressing children are found in Hamida Bosmajian, ‘Psychoanalytic Criticism’, in Peter Hunt (ed., 2004), as above, pp. 129–39; James R. Kincaid, Child Loving: The Erotic Child and Victorian Culture (London: Routledge, 1992); Catherine Robson, Men in Wonderland: The Lost Girlhood of the Victorian Gentleman (Princeton and Oxford: Princeton University Press, 2001), and Jacqueline Rose (as above).
  • For more on Jungian theory and children’s literature, see Susan Hancock, The Child that Haunts Us: Symbols and Images in Fairy Tales and Miniature Literature (London and New York: Routledge, 2008).
  • Discussion of Jacqueline Rose’s The Case of Peter Pan can be found in Karín Lesnik-Oberstein, Children’s Literature: Criticism and the Fictional Child (Oxford: Clarendon Press, 1994); Kimberley Reynolds, Radical Children’s Literature: Future Visions and Aesthetic Transformations (Basingstoke: Palgrave Macmillan, 2007); David Rudd and Anthony Pavlik (eds.), ‘The (Im)possibility of Children’s Fiction: Rose Twenty-Five Years On’, Children’s Literature Association Quarterly, 35.3 (2010).
  • For a detailed analysis of progressive children’s literature during the McCarthy era, see Julia L. Mickenberg, Learning from the Left: Children’s Literature, the Cold War, and Radical Politics in the United States (New York: Oxford University Press, 2006).
  • The quote from Peter Hunt comes from ‘How Not to Read a Children’s Book’, in Children’s Literature in Education, 26.4 (1995), pp. 231–40, p. 239.
  • The quote from Aidan Chambers appears in Peter Hunt (ed.), Children’s Literature: The Development of Criticism (London and New York: Routledge, 1990 [1985]), pp. 91–114, p. 91.
  • The quote from C. Walter Hodges is taken from David Rudd (2004) as above.
  • Comics Scholarship on the Net: A Brief Annotated Bibliography is accessed at http://www.dr-mel-comics.co.uk/sources/academic.html).
  • Works cited: Brian Alderson and Felix de Marez Oyens, Be Merry and Wise (as above); Bruno Bettelheim, The Uses of Enchantment: The Meaning and Importance of Fairy Tales (London: Thames and Hudson, 1976); Aidan Chambers, ‘The Reader in the Book’, in Booktalk: Occasional Writing on Literature and Children (Stroud: Thimble Press, 1977), pp. 34–58; Karen Coats, Looking Glasses and Neverlands: Lacan, Desire and Subjectivity in Children’s Literature (Iowa City: University of Iowa Press, 2004); F. J. Harvey Darton (see Brian Alderson, above); Jane Doonan, Looking at Pictures in Picture Books (Stroud: Thimble Press, 1992); Stanley Fish, Is There a Text in this Class? (Cambridge, MA: Harvard University Press, 1980); Gretchin R. Galbraith, Reading Lives: Reconstructing Childhood, Books and Schools in Britain, 1870–1920 (New York: St Martin’s Press, 1997); M. O. Grenby, ‘Children’s Literature: Birth, Infancy, Maturity’, in Janet Maybin and Nicola J. Watson (eds.) (2009) as below; D. W. Harding, ‘Psychological Processes in the Reading of Fiction’, in British Journal of Aesthetics 2, 2 (1962), pp. 113–47; Norman Holland, 5 Readers Reading (New Haven: Yale University Press, 1975); Peter Hollindale, Signs of Childness in Children’s Books (Stroud: Thimble Press, 1997); Wolfgang Iser, The Act of Reading: A Theory of Aesthetic Response (London: Routledge, 1978); U. C. Knoepflmacher and Mitzi Myers, ‘“Cross-Writing” and the Reconceptualizing of Children’s Literary Studies’, Children’s Literature, 25 (New Haven: Yale University Press, 1997), pp. vii–xvii; Karín Lesnik-Oberstein, Children’s Literature: Criticism and the Fictional Child (Oxford: Clarendon Press, 1994); David Lewis, Reading Contemporary Picturebooks: Picturing Text (London: Routledge Falmer, 2001); Scott McCloud, Understanding Comics: The Invisible Art (New York: HarperCollins, 1993); Margaret Mackey, Literacies Across Media: Playing the Text (London and New York: Routledge, 2007 [2002]); Kerry Mallan, Gender Dilemmas in Children’s Fiction (Basingstoke: Palgrave Macmillan, 2009); Janet Maybin and Nicola J. Watson (eds.), Children’s Literature: Approaches and Territories (Basingstoke: Palgrave Macmillan with the Open University, 2009); Margaret Meek, Aidan Warlow, and Griselda Barton (eds.), The Cool Web: The Pattern of Children’s Reading (London: Random House, 1977); William Moebius, ‘Introduction to Picturebook Codes’, in Word and Image, 2, 2 (1986), pp. 63–6; Beverley Naidoo Through Whose Eyes? Exploring Racism: Reader, Text and Context (Stoke-on-Trent: Trentham Books, 1992); Maria Nikolajeva (as above); Maria Nikolajeva and Carole Scott, How Picturebooks Work (New York: Garland, 2001); Perry Nodelman, Words about Pictures: The Narrative Art of Children’s Picture Books (Athens, GA: University of Georgia Press, 1988); Perry Nodelman, ‘The Other, Orientalism, Colonialism, and Children’s Literature’, in Children’s Literature Association Quarterly, 17.1 (1992), pp. 29–35; Nicholas Orme, Medieval Children (New Haven: Yale University Press, 2001); Jacqueline Rose (as above); Louise Rosenblatt, Literature as Exploration (New York: Appleton-Century, 1938); Margaret and Michael Rustin, Narratives of Love and Loss: Studies in Modern Children’s Literature, revised edn. (London and New York: Karnac, 2001); Edward Said, Orientalism (London: Routledge and Kegan Paul, 1978); Zohar Shavit, The Poetics of Children’s Literature (Athens, GA: University of Georgia Press, 1986); Francis Spufford, The Child that Books Built (London: Faber and Faber, 2002); John Stephens, Language and Ideology in Children’s Fiction (London: Longman, 1992) and Ways of Being Male: Representing Masculinity in Children’s Literature and Film (London: Routledge, 2002); Maria Tatar, Enchanted Hunters: The Power of Stories in Childhood (New York: W. W. Norton, 2009); Nicholas Tucker, The Child and the Book: A Psychological and Literary Exploration (Cambridge: Cambridge University Press, 1991 [1981]); Barbara Wall (as above).

الفصل الثالث: تحويل نصوص الطفولة

  • Discussions of the effects of new media on how children read and how new media are represented in children’s literature are found in Noga Applebaum, Representations of Technology in Science Fiction for Young People (New York and London: Routledge, 2009); Peter Hunt, ‘Futures for Children’s Literature: Evolution or Radical Break?’, in Peter Hunt (ed.), Children’s Literature: Critical Concepts in Literary and Cultural Studies, Vol. 1 (London: Routledge, 2006), pp. 237–45; Gunther Kress, Literacy in the New Media Age (London: Routledge, 2003); Sonia Livingstone, Young People and New Media (London: Sage, 2002).
  • The quotes from Henry Jenkins’s Convergence Culture: Where Old and New Media Collide (New York and London: New York University Press, 2008 [2006]) appear on pp. 186, 2, and 21.
  • ‘Remediation’ is a term coined by Jay David Bolter and Richard Grusin in Remediation: Understanding New Media (Cambridge, MA, and London: MIT Press, 1999). For a discussion of remediation in relation to children’s literature, see Lisa Sainsbury, ‘Rousseau’s Raft: The Remediation of Narrative in Romain Victor-Pujebet’s CD-ROM Version of Robinson Crusoe’, in Fiona M. Collins and Jeremy Ridgman (eds.), Turning the Page: Children’s Literature in Performance and the Media (Bern: Peter Lang, 2006), pp. 207–26.
  • The quote from Button Sound Books is found at http://www.buttonsoundbook.com.
  • For more on the narrative qualities of Assassin’s Creed I and II, see Marcello Arnaldo Picucci, ‘A New Dimension of Children’s Literature: Exploring Narratives in the Video Games of the Twenty-First Century’, unpublished M.Litt thesis for Newcastle University, UK, 2010.
  • Works cited: Andrew Burn, ‘Multi-Text Magic: Harry Potter in Book, Film and Videogame’, in Fiona M. Collins and Jeremy Ridgman (eds.), Turning the Page: Children’s Literature in Performance and the Media (Bern: Peter Lang, 2006), pp. 227–49, and ‘Potterliteracy: Cross-Media Narratives, Cultures and Grammars’, in Papers: Explorations into Children’s Literature, 14.2 (2004), pp. 5–17; Margaret Mackey, ‘Media Adaptations’, in David Rudd (ed., 2010) as above, pp. 112–24; Maria Tatar, as above; Jacquelyn Ford Morie and Celia Pearce, ‘Uses of Digital Enchantment: Computer Games as the New Fairy Tales’ (n.d.) can be read online at http://www.lcc.gatech.edu/~cpearce3/PearcePubs/MoriePearceFROG-FINAL.pdf (accessed 04/11/2010).

الفصل الرابع: الأجناس الأدبية والأجيال: القصة العائلية مثالًا

  • Details of the development of the individual genres discussed are found in Peter Hunt (ed., 2004) as above; discussions of the family/domestic story are found in M. O. Grenby, Edinburgh Critical Guide: Children’s Literature (Edinburgh: Edinburgh University Press, 2008); Nicholas Tucker and Nikki Gamble, Family Fictions (London: Continuum, 2001).
  • For a discussion of children’s literature as a genre, see Perry Nodelman (2008) as above.
  • The quote from Jacqueline Rose (1984, as above) appears on p. 44.
  • Works cited: Kimberley Reynolds (2007) as above; Andrew O’Malley, The Making of the Modern Child: Children’s Literature and Childhood in the Late Eighteenth Century (New York and London: Routledge, 2003).

الفصل الخامس: رؤًى للمستقبل

  • Works that raise questions about messages contained in children’s literature include: Herbert R. Kohl, Should We Burn Babar?: Essays on Children’s Literature and the Power of Stories (New York: The New Press, 1995), and Joseph Zornado, Inventing the Child: Culture, Ideology and the Story of Childhood (London: Garland, 2000). A detailed study of recent dystopian children’s fiction is Clare Bradford, Kerry Mallan, John Stephens, and Robyn McCallum, New World Orders in Contemporary Children’s Literature: Utopian Transformations (Basingstoke: Palgrave Macmillan, 2008).
  • The quote is from Chapter 26 of Uncle Tom’s Cabin.
  • The quote from Trease is from the 2009 edition (London: Elliott and Thompson), p. 102.
  • The quotes from Mitchison appear on pp. 5 and 11.
  • Other works that show adolescents as victimized include Gillian Rubenstein’s Galax-Arena (1992), Koushun Takemi’s Battle Royale (1999, also released as a film and serialized in manga form), and Suzanne Collins’s Hunger Games trilogy (2008–10).
  • Works cited: Farah Mendlesohn, The Inter-Galactic Playground: A Critical Study of Children’s and Teens’ Science Fiction (Jefferson, NC: McFarland, 2009); Julia Mickenberg (2006), as above; Julia Mickenberg and Philip Nel (eds.), Tales for Little Rebels: A Collection of Radical Children’s Literature (New York: New York University Press, 2008); Ted Nordhaus and Michael Shellenberger, Break Through: From the Death of Environmentalism to the Politics of Possibility (Boston: Houghton Mifflin, 2007).

الفصل السادس: الجدل الأخلاقي في أدب الأطفال

  • Italian Fascism and children’s literature are discussed in Lindsay Myers, ‘Meo’s Fists—Fighting For or Against Facism? The Subversive Nature of Text and Image in Giovanni Bertinetti’s I pugni de Meo’, in International Research in Children’s Literature, 1.1 (2008), pp. 1–15.
  • The quote from The New Pioneer Story Book is taken from Paul C. Misher, ‘Communism for Kids: Class, Race and Gender in Communist Books in the United States’, in Anne Lundin and Wayne A. Wiegand (eds.), Defining Print Culture for Youth: The Cultural Work of Children’s Literature (Westport, CT: Libraries Unlimited, 2003), pp. 27–41, p. 31.
  • Lisa Sainsbury is currently writing a monograph on the relationship between philosophical thinking and children’s literature. She explores aspects of this material in ‘A Boy’s Duty: Ethics and Masculinity in B.B.’s Brendon Chase and Nina Bawden’s The Real Plato Jones’, in Paola Bottala and Monica Santini (eds.), What Are Little Boys and Girls Made Of? (Padua: Unipress, 2009), pp. 67–85.
  • For more on the similarities between children, servants, and animals, see Seth Lerer (2008) as above, and Kristina Straub, ‘In the Posture of Children’, in Andrea Immel and Michael Witmore (eds.), Childhood and Children’s Books in Early Modern Europe, 1550–1800 (New York and London: Routledge, 2006), pp. 127–52.
  • The quote from Mao Tse-tung is taken from Hsing, Chia Hui, ‘Gained in Translation: The Effects of Translators’ Gender on English-Language Children’s Literature as Translated in China and Taiwan’, unpublished PhD thesis submitted to the University of Newcastle, UK, 2011, p. 15.
  • For discussions of writing about the Holocaust for children, see Hamida Bosmajian, Sparing the Child: Grief and the Unspeakable in Youth Literature about Nazism and the Holocaust (New York: Routledge, 2002); Adrienne Kertzer, My Mother’s Voice: Children, Literature and the Holocaust (Peterborough, Ontario: Broadview Press, 2001); Lydia Kokola, ‘Holocaust Narratives and the Ethics of Truthfulness’, in Bookbird, 45.4 (2007), pp. 5–12.
  • Works cited: Roberta Seelinger Trites, Disturbing the Universe: Power and Repression in Adolescent Literature (Iowa City: University of Iowa Press, 2000); Maria Nikolajeva (2009) as above.
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