International Companion Encyclopedia of Children’s Literature
unconsciously, and it is the job of the critic to deconstruct the work in order to expose its underlying ideological nature and ...
the gendered roles that serve such interests. The collection as a whole analyses how such material both constructs and meets the ...
above. The evidence comes under three headings: identification, the polysemous text, and contradictory readings. Identification ...
Jack Zipes (1979) takes the argument one stage further and suggests that popular work too will be found to be contradictory. He ...
aspirations. Christian-Smith and her colleagues (1993) explore similar dualities and demonstrate the complexity of the problem. ...
The overlap with the discourse of child rearing, and in particular, education, reveals another conflict, that between determinis ...
and girls are themselves excluded from full educational opportunity (Taylor 1993, Davies 1993). In Christian-Smith’s collection ...
Fox, G. (1979) ‘Dark watchers: young readers and their fiction’, in English in Education 13, 1:32– 35. Frye, N. (1957) Anatomy o ...
Protherough, R. (1983) Developing Response to Fiction, Milton Keynes: Open University Press. Rose, J. (1984) The Case of Peter P ...
5 Linguistics and Stylistics John Stephens Because the contexts in which children’s literature is produced and disseminated are ...
Writers have many options to select from. Thus fiction offers a large range of generic options, such as the choice between fanta ...
think of this as a kind of ‘word magic’ (for example, Sullivan 1985)—and numerous fantastic fictions so represent it—though it i ...
an attempt to solve’. But a creative writer cannot resolve those incompatible assumptions about the nature of language and lingu ...
experience does not enable him to make sense of the present. Instead, in the second paragraph Charlie produces a fantastic (mis- ...
because the primary association of beard is with human (male) facial hair, and hence is always to some degree figurative when tr ...
Fienberg 1992:9–10 The scene from the movie is presented in the conventional register of the Gothic (dusk, shadows, bled, moanin ...
I throw my spoon on the table. That’s it. I’m leaving. Linda follows me out. It’s like a revolution. Nothing like this has ever ...
on the mind of a single focalising character. Most novels which are third-person narrations include at least one focalising char ...
branching and contains very few qualifiers. There, as elsewhere, subtlety depends on textual strategies which open, rather than ...
and as shaped by narratorial tagging. It also illustrates how a children’s book makes use of the main principles which inform ac ...
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