Satire og grotesktræk i den fantastiske fortælling for børn - med Ole Lund Kirkegaards Gummi-Tarzan som eksempel

Anna Karlskov Skyggebjerg ser på en af de mest læste danske børnebøger, Ole Lund Kirkegaards Gummi-Tarzen med hovedvægt på satire og grotesktræk i den fantastiske fortælling for bør

ANDEN VERDENSKRIG FORTALT FOR BØRN OG UNGE - HISTORIEFORTOLKNINGER I NYERE DANSK BØRNELITTERATUR

SECOND WORLD WAR NARRATED FOR CHILDREN AND YOUNGSTERS. INTERPRETATION OF HISTORY IN NEW DANISH LITERATURE FOR CHILDREN | Children’s books about the Second World War have been written and published ever since it ended. One would perhaps imagine that the ever-increasing distance from it would mean a waning interest, but that does not seem to be the case. Over the last few years, a whole range of remarkable children’s books have appeared in Denmark. New things can still be written about this period, and the time gap can be said to have had the effect of freeing up material. This should not be taken as meaning that newer books are less reliable, historically speaking, but rather that they present the period in a new light. In this article a number of recent Danish novels will be discussed with respect to how they deal with history. It is not the intention to try to make non-fiction out of historical novels for children, which would mean reading the books in a manner which was at variance with the genre they belong to, but one of the premises of the article is that the historical novel is to be understood as a form of discourse lying somewhere between history and pure fiction. The historical novel is seen as a piece of fiction presenting one or several interpretations of a given period of history by setting its story in a particular context

Er fagbøger en del af børnelitteraturen?

Is non-fiction also a part of children’ literature? In recent decades, children’s literature researchers have only considered fiction children’s literature (Maria Nikolajeva 1998 and Torben Weinreich 2004), and certain younger researchers has shown a tendency to write about experimental books by prize-winning authors (Bodil Kampp 2002). Very few researchers have shown an interest in non-fiction for children, and the consequence is that a great many publications for children have been overlooked. In the Nordic countries, Nina Goga’s doctoral thesis from 2008 is the only exception from this exclusive definition of children’s literature. In this article, I present a definition of children’s literature that includes non-fiction. In this definition, literature means ‛something written’ after ‛litera’ (Latin: letter). The purposes of the article are, on the one hand, to discuss different definitions and characteristics of non-fiction for children, and on the other hand to identify ways to analyze these books as literature for children. The article includes a discussion of a series of books about zoology by the Danish author Bent Jørgensen and the illustrator Birde Poulsen. One book in particular is discussed as an example of contemporary non-fiction and that is Om natten (In the Night, 2005). This book is subjected to analytical tools from literature studies, and one of the points is that non-fiction should be interpreted and described through a textanalytical approach

Hvad er faglitteratur for børn? Anmeldelse af J. S. Sanders: A Literature of Questions. Nonfiction for the Critical Child – What Is Children’s Nonfiction? Review of J. S. Sanders’ A Literature of Questions. Nonfiction for the Critical Child

Faglitteratur for børn har hidtil været noget stedmoderligt behandlet inden for både forskning og formidling. Der findes relativt få videnskabelige artikler og stort set ingen bøger om faglitteratur for børn, hvorimod skønlitteraturen for børn er teoretiseret og behandlet historisk og analytisk i adskillige ud-givelser, såvel inden for de internationale − oftest angelsaksisk funderede − forskningsfællesskaber som i en nordisk kontekst. På den baggrund er det overordentlig tiltrængt, at den amerikanske børnelitteraturforsker Joe Sutcliff Sanders, der for tiden er ansat som lektor på University of Cambridge, tager genren under nærmere behandling i sin seneste bog A Literature of Questions. Nonfiction for the Critical Child

En krig i det fjerne. Børne- og ungdomslitteratur om krigen i Afghanistan (2001-)

“A War in the Distance. Children’s and Young Adult’s Literature about the War in Afghanistan (2001-)”In the last decade several Danish children’s books about the war in Afghanistan and other ongoing military conflicts have been published. These books belong to various genres from novels to non-fiction picture books, and they have several purposes; from entertainment to classroom reading. They depict war in many ways and they address child readers at different levels. What they have in common is an ambition of realism and sharing of knowledge (or education) about war. The key questions in this article are: how is war constructed and how is the child reader confronted with extreme situations and the crucial consequences of war? The theoretical background for this article is research in descriptions of war in children’s literature and literature in general, theory about the construction of childhood in children’s literature and genre theory focused on the relation between fiction and non-fiction in children’s literature

Literatura popularnonaukowa jako część oferty wydawniczej skierowanej do dzieci

Children’s literature is often scholarly defined as fiction for children, but from recent surveys of children’s reading habits we know that very many children prefer to read both fiction and non-fiction. Especially young boys prefer to read books about animals, football and volcanoes in their spare time, and in a country like Denmark twentyfive percent of all books for children are categorized as non-fiction. If we want to know more about children’s reading preferences, it is very important to gain knowledge about non-fiction for children and to develop analytical tools to understand the different strategies of communication in this kind of books. In article author will present a number of recent books and make some conclusions about non-fiction for children in general.Literatura dla dzieci jest często naukowo definiowana jako beletrystyka dla dzieci, ale z ostatnich badań dziecięcych nawyków czytelniczych wiemy, że wiele dzieci woli czytać zarówno beletrystykę, jak i pozycje popularnonaukowe. Szczególnie młodzi chłopcy wybierają książki o zwierzętach, piłce nożnej i wulkanach, a w kraju takim jak Dania 25% wszystkich książek dla dzieci klasyfikowanych jest jako popularnonaukowe. Jeśli chcemy wiedzieć więcej o czytelniczych preferencjach dzieci, to bardzo ważne jest, aby zdobyć wiedzę na temat literatury popularnonaukowej dla dzieci oraz rozwoju narzędzi analitycznych w celu zrozumienia różnych strategii komunikacji w tego rodzaju książkach. W artykule przedstawiono kilka ostatnio wydanych książek wraz z wnioskami na temat literatury popularnonaukowej dla dzieci w ogóle.Udostępnienie publikacji Wydawnictwa Uniwersytetu Łódzkiego finansowane w ramach projektu „Doskonałość naukowa kluczem do doskonałości kształcenia”. Projekt realizowany jest ze środków Europejskiego Funduszu Społecznego w ramach Programu Operacyjnego Wiedza Edukacja Rozwój; nr umowy: POWER.03.05.00-00-Z092/17-00

Den fantastiske fortælling for børn

Artikeln nedan består av en teoretisk diskussion och en sammanfattande definition av den fantastiska berättelsen i barnlitteraturen. En distinktion dras mellan två traditioner inom genren: en innehållsorienterad berättande och en språkorienterad, experimenterande

Vidnesbyrdlitteraturens stille stemmer: Flygtningekrise i dansk børnelitteratur efter 2015

The Silent Voices of Witness Literature. Refugee Crisis in Danish Children’s Literature since 2015 In 2015, Europe experienced the most massive refugee crisis since World War II. This crisis has been reflected in different kinds of art from poetry to picturebooks. In Denmark as well as in other countries, a number of children’s books has been published about the war in Syria and Syrian and other war refugees. These books have a common ground in sharing knowledge about violence, escape and death. Although fleeing is a known topic and the death of a child character is not an unusual event in children’s books (Clement and Jamali), it may be difficult or even controversial to address traumatizing war experiences and death in works for relatively young readers. Very few refugee children are able to tell their stories themselves since they are eithertoo small, displaced in language, traumatized or even dead (Nel). These children’s stories tend to be represented by others (authors and illustrators) who strive to imagine and bear witness to their situation in an artificial language. In this article, three Danish children’s books by widely acknowledged authors and illustrators are chosen as examples of fictional interpretations of refugee children’s experiences. The texts are diverse in genres and target groups and the stories are told with different levels of realism and fantasy, but they are allconnected to the same theme and context. What and how do these contemporary authors and illustrators tell us about refugees and their experiences, and how are they able to represent or bear witness to the experiences of the child victims who are silenced? The theoretical background of this study is Giorgio Agamben’s theory about witness literature and lacunas in language (Agamben; Engdahl ”Philomelas tunge”).&nbsp

En forfatterskole for børn: Fritidslivets bud på et praksisfællesskab

Title: An Author School for Children: Spare Time Writing and Communities of Practice Children’s interest in writing fiction in their spare time is an increasing phenomenon and children’s texts and writing practices get attention from established literary institutions as libraries and publishing houses. In recent years, many children have participated in organized writing courses and the so called author schools are very popular. This article is about an author school which takes place in a public library in Copenhagen. The author school is looked upon as a new literary institution with guidelines and concepts which both correspond and conflict with the concepts and ideas of the public library. The article is based on documentary analysis, observation studies and interviews with 14 young participants from the author school. They meet once a week with the ambition of writing fiction and they are taught by professional authors who position them as equal writers. The theoretical background of the analysis is Etienne Wenger’s theory about learning in a community of practice. According to Wenger, collaboration, engagement and motivation are important elements in a community of practice, and these elements are identified and critically discussed in this concrete setting. In the last part of the article, it is discussed how the practice in the author school could be related to other reading and writing practices in children’s lives