Max et les maximonstres

Paris, Robert Delpire, "Dix sur dix"À la fin des années 1960, Robert Delpire est à l'origine du renouvellement du livre d'images en France. À ses yeux, les livres pour enfants doivent avoir la même rigueur et la même qualité que les livres pour adultes. En faisant le choix de traduire et d'éditer l'ouvrage de Maurice Sendak (né en 1928), Where the Wild things are, publié à New York chez Harper and Row en 1963, c'est, à travers l'histoire de Max, à la fois l'univers de l'inconscient enfantin qui est exploré, et un univers graphique totalement novateur. Max fait des bêtises : "Monstre, lui dit sa mère. Je vais te manger, répondit Max et il se retrouva au lit sans rien avoir mangé du tout. Ce soir-là, une forêt poussa dans la chambre de Max [.]." Au fur et à mesure du récit, l'image prend son indépendance, s'insère dans la page, l'envahit progressivement, la bouscule et devient un texte parallèle, voire se suffit à elle-même. Le génie de Sendak est d'avoir laissé à l'image le soin de raconter ce qui constitue le point d'orgue de son récit, à savoir le moment où Max s'amuse comme un fou avec les monstres qui l'ont sacré roi. Dans cette double page muette, le tout-petit peut mettre ses propres mots sur ce qu'il voit et être le véritable narrateur, les adultes étant généralement déboussolés par des histoires sans parole. Mais fatigué, affamé, Max finit par se lasser de la fête et tout rentre dans l'ordre : l'image retrouve le texte et Max retourne dans sa chambre où son dîner l'attend. "tout chaud". (C. G.-B.

Sendak at the Rosenbach: An Exhibition Held at the Rosenbach Museum & Library. Philadelphia, Rosenbach Museum & Library.

International audienc

Maurice Sendak: The Extravagant Gaze (The Artist's Vision)

This record consists of a transcript of a recording of an interview with Maurice Sendak

RISD/Arts & Humanities Lecture | Maurice Sendak

https://digitalcommons.risd.edu/archives_risdartsandhumanitieslectures_lecturevideos/1007/thumbnail.jp

Changelings: Children's Stories Lost and Found

Changelings contains proceedings from two panels occasioned by Maurice Sendak's visit to the UC Berkeley campus as visiting Avenali Professor in the Humanities in the Spring of 1996. Best known as a writer and illustrator of children's books (Where the Wild Things Are, In the Night Kitchen, Chicken Soup with Rice), Mr. Sendak's appearances on campus provoked lively discussion on a broad range of topics. In "They Know Everything: Children and Suffering," Dr. Herbert Schreier of Oakland's Children's Hospital highlights clinical knowledge about the durability of trauma and the frequent inability of onlookers, especially parents, to see the effects of trauma both on children and on adults. Maurice Sendak follows this talk with a discussion of how his own awareness, as a child, of the Lindbergh kidnapping led, finally, to the writing and illustrating of Outside Over There, a work in which the theme of the stolen child plays an important role. The open discussion that follows this panel returns to the issues of personal and community trauma, and the transformation of such suffering in art created for children.In the second part of this volume, "Mozart, Shakespeare and the Art of Maurice Sendak," Professors Stephen Greenblatt and Wye Allanbrook engage with Maurice Sendak in a discussion of Mozart and Shakespeare that is also an exploration of how Sendak's interpretation of the themes of childhood, adolescence and transformation into adulthood enhances our experience of these canonical artists. The panel begins with Stephen Greenblatt's discussion of folkloric tales of changelings (the ugly creatures left in place of the beautiful stolen children), and the role of changelings in Shakespeare's imagination. Focusing on the peculiar role of the changeling boy in the dispute between Oberon and Titania in A Midsummer Night's Dream, Professor Greenblatt asks why the thematic of the stolen and the replaced child so captured Shakespeare's attention, why the boy is so important even though he never appears on stage. Wye Allanbrook's discussion examines the similarities between Mozart's The Magic Flute and Sendak's playfully erotic In the Night Kitchen. She traces Mickey's mysterious transformation from mere material, Aristotelian hule, to mensch, a process which she sees as parallel with the growth experienced by Pamina and Tamino in The Magic Flute. The following conversation between Sendak and the presenters draws out these themes and focuses on the importance of a child's ability to see and understand meanings that often escape disbelieving adult eyes. Finally, questions from the audience expand further the consideration of Maurice Sendak's perspectives on opera, ballet, and other art forms

Where the Wild Things Are [Talking Book]

Bu eser Fatih Sultan Mehmet Vakıf Üniversitesi Sağlık, Kültür ve Spor Daire Başkanlığı ve Kütüphane ve Dokümantasyon Daire Başkanlığı işbirliğinde oluşturulan Sesli Kitaplık Projesi için seslendirilmiştir. 5846 sayılı Fikir ve Sanat Eserleri Kanunu'nun Ek 11. Maddesi kapsamında görme engelliler dışında kullanımı, çoğaltımı, dağıtımı, satışı yasalara aykırıdır.Vahşi şeylerin hükümdarı Max! Max, bir akşam giydiği kurt kostümü içinde çok fazla yaramazlık yapınca, annesi “Vahşi Şey!” diye azarlıyor onu. Max ise annesine, “Hapır hupur yerim seni!” diye karşılık veriyor ve tabii hemen odasına gönderiliyor. Suratında “vahşi” bir ifadeyle odasına çıkan Max, orada tuhaf mı tuhaf bir ormanın büyümekte olduğunu görüyor. Orman büyüyor büyüyor büyüyor... ve sonunda odasının duvarları koca bir dünya oluyor! Teknesiyle engin sulara yelken açan Max, tam bir yıl, gece gündüz yol alarak vatanına, yani “Vahşi Şeyler Ülkesi”ne varıyor. Bu acayip ülkede bütün vahşi şeylerin hükümdarı ilan edilen Max'ı neler bekliyor dersiniz? Göz alıcı resimlemeleriyle her yaştan çocuğun kütüphanesinde bulunması gereken bir klasik