Picturebooks

A dolgozat Janikovszky Éva és Réber László közösen alkotott „képeskönyveivel” foglalkozik.  Az írónő mindig egy adott korosztályt megszólító képeskönyvei világsikert arattak (pl. ha én FELNŐTT volnék, Kire ütött ez a gyerek?), mintegy harmincöt nyelvre fordították le őket. A tanulmány egyrészt megkísérli kijelölni ezeknek a műveknek a helyét az opuson belül, másrészt a bennük egy egységként megjelenő szöveg és rajz, valamint a réberi illusztráció jelentőségére is rámutat. A szerző, többek között, arra is keresi a választ, miben rejlik ezeknek a könyveknek máig nem lanyhuló hatalmas sikere.
Kulcsszavak: gyermekirodalom, illusztráció, „képeskönyv“, Janikovszky Éva, Réber László

The discussion of literary texts, and in particular picturebooks, is a valid resource for promoting critical thinking in education (McDaniel, 2006; Roche, 2015; among others). Based on this premise, this paper proposes an approach for dialogic reading, supported by maieutics, which causes a critical look not only at literary aspects but also at the democratic or anti-democratic behaviours present in the picturebooks. The approach integrates, with a writing task, the three critical skills pointed out by Cassany (2017). The methodology is qualitative; it is evaluative research comprising three phases. This article presents the results of the third one, in which the approach was applied to 157 students of the six grades of Elementary Education. The analysis of the responses allows us to contemplate two dimensions: how the students react to the situations that the picturebooks narrate; and how their interventions are produced in the discussion. It is possible to conclude that the guided conversation reinforces the skills of identification and perception of democratic or non-democratic situations, and increases critical abilities such as argumentation, contrasting of ideas, and questioning of what has been read, which become consolidated with writing.

La presente comunicación está enmarcada en el proyecto internacional «Visual Journeys: Understanding immigrant children’s responses to the visual image in contemporary picturebooks» y pretende analizar las maneras en que los niños inmigrantes interpretan las ilustraciones en el álbum Emigrantes, de Shaun Tan.
El artículo narra una experiencia de lectura compartida del libro Emigrantes, llevada a cabo en el primer año de E.S.O. de un instituto de Barcelona con un grupo de alumnos catalanes y otro de alumnos inmigrantes de primera generación. Este artículo analiza uno de los modos en que ambos grupos se apropian del texto y cómo sus experiencias
previas inciden en la lectura que realizan de las imágenes, a fin de indagar en las posibles contribuciones de la lectura de álbumes para la enseñanza e integración de los alumnos
inmigrantes.

“Why am I talking to you about May ’68?”, asked the children’s publisher Arthur Hubschmid at a conference in 2005, “well, it changed things for us radically, that’s why”. The years around May ’68 are widely understood to have marked an important moment for children’s literature, particularly picturebooks, in France. The late 1960s to the late 1970s are typically portrayed as a period of renewal, even revolution, in the ways people conceptualised children’s picturebooks, which led to great experimentation and ebullition in the genre. Some even speak of the “May ’68 of children’s books”. This essay argues that the visual transformation, and change in status of picturebooks, were also the product of a wider, political debate around children’s books, and that we should take seriously the role of ’68 in this narrative. Thus far, 68 has been a neat shorthand for scholars to paint these years as so exciting that even children’s publishers could be hippie rebels. This period, I will argue, can also tell us a lot more about the history of the child in the cultural rebellions of the sixties, and how children and their culture became caught up in postwar social and cultural ideals and their counter cultural response. At the same time, understood as a form of cultural politics, the ’68 of children’s picturebooks provides a telling and distinct example of the different effects of ‘68.

Restorative practice can be integrated into classrooms or community settings where conflict occurs; activities using picturebooks and restorative circles that include restorative practice support students' overall development, growth, social skills, and communication.

The article provides teachers with explicit support for planning and implementing interactive read-aloud for social justice that is responsive to the needs of their own students. The authors present how to choose appropriate high-quality books and use a template for responsive planning with their children in mind. They share an implementation of an interactive read-aloud that demonstrates how responsive teaching builds exploratory talk to develop children’s co-construction of knowledge for the dialectic expression of reading the word and reading the world.

This article describes a classroom-based research project that implemented picture book discussions with students in Years 5 and 6. The aim was to empower the students and provide opportunities for them to become agentic learners. The article concludes with the researcher's observations of some of the preliminary findings.

Picture books are a genre of children’s literature with enormous educational potential. Their use in classrooms is currently spreading and should be further encouraged. Picture books are particularly suitable for the treatment of sensitive issues, such as those related to gender. For this reason, many educational projects are focused on reading picture books and aim at promoting them, in and outside of the classroom. But in reality, these projects have to face opposite points of view, which are intended to remove certain books from schools. Drawing on the initiative of the Mayor of Venice Luigi Brugnaro, who in June 2015 proposed withdrawing from schools 49 picture books thought to spread “gender ideology”, this essay proposes a thematic mapping of the 49 picture books in question with the aim of highlighting the inherent contradictions of this kind of initiative and, thereby, drawing attention to the consequences for young readers. Finally, the essay identifies several pedagogical proposals for reading instruction free from prejudice.

Para desarrollar el pensamiento crítico en el ámbito educativo, uno de los principios esenciales de la vida en democracia, se dispone de numerosos recursos, entre los cuales se encuentran los textos de diversa naturaleza. El alumnado debe ser capacitado para examinarlos críticamente, y a este fin pueden contribuir los mismos materiales utilizados, al presentar estrategias de promoción del pensamiento crítico. En este artículo se pone el foco en un género literario en el que se da tal circunstancia, el álbum ilustrado. Dado que el examen textual requiere de guías lo que se va a plantear es el diseño y evaluación de un modelo de análisis, que se ofrece tanto al campo científico como al profesorado. El objetivo es identificar los mecanismos empleados en los álbumes para fomentar el pensamiento crítico en su público lector. Tras el proceso de validación y diseño definitivo se ha obtenido una herramienta manejable y operativa que se aplica a las obras acompañándola de un análisis crítico...

Over the past fifty years, children’s picture books have made great strides toward literary equity by including more perspectives from and stories about marginalized groups, such as those whose gender identities do not conform to heteronormative standards. While texts featuring gender-variant male characters engage in topics that are far too often shoved into the proverbial closet, what is yet to be determined is the degree to which they adequately reflect the complexity of (gender) identity and to what extent such picture books can counter narratives related to traditional ‘‘masculinity.’’ The purpose of this paper is to critically examine picture book representations of gender variance, as exhibited by male characters, in order to determine the books’ potential for exploring issues of social justice with elementary-age students. This study utilizes a critical multiculturalist lens to challenge the ways in which gender variance is represented in children’s literature and the reasons that young gender-variant male protagonists achieve—or do not achieve—communal acceptance.

Para desarrollar el pensamiento crítico en el ámbito educativo, uno de los principios esenciales de la vida en democracia, se dispone de numerosos recursos, entre los cuales se encuentran los textos, de diversa naturaleza. El alumnado debe ser capacitado para examinarlos críticamente, y a este fin pueden contribuir los mismos materiales utilizados, al presentar estrategias de promoción del pensamiento crítico. En este artículo se pone el foco en un género literario en el que se da tal circunstancia, el álbum ilustrado. Dado que el examen textual requiere de guías lo que se va a plantear es el diseño y evaluación de un modelo de análisis, que se ofrece tanto al campo científico como al profesorado. El objetivo es identificar los mecanismos empleados en los álbumes para fomentar el pensamiento crítico en su público lector. Tras el proceso de validación y diseño definitivo se ha obtenido una herramienta manejable y operativa que se aplica a las obras acompañándola de un análisis crític...

CAMPAGNARO MARNIE (2014) (a cura di), Le terre delle fantasia. Leggere la letteratura per l’infanzia e l’adolescenza. ROMA:Donzelli Editore, ISBN: 978-88-6843-059-7

Policroma e mutante è la letteratura per l’infanzia, un universo affascinante e misterioso, spesso poco conosciuto anche dagli addetti ai lavori. Nonostante si inciampi sempre più frequentemente negli appetiti commerciali di redazioni allenate a vedere nel bambino più un consumatore da convincere che un lettore da formare, la letteratura per l’infanzia ha saputo evolvere nel tempo e opporre, a libri tronfi di storie mediocri o finali moraleggianti, trame raffinate, emozionanti, sovversive, che alimentano l’immaginario del bambino, ne esaltano la libertà, parlano di temi ostici quali la sessualità e la morte, rovesciano le finzioni degli adulti, generano un flusso di energia trasformatrice. Costruito sulla felice alternanza di saggi dallo stile asciutto e incisivo, il volume offre uno spaccato rigoroso della dinamicità del panorama contemporaneo della narrativa per ragazzi: tocca le terre fantastiche delle fiabe e i lidi ristoratori della poesia, della sperimentazione linguistica oulipiana; dibatte sull’imprescindibile ruolo svolto dai libri per la primissima infanzia e dai romanzi di formazione ed educazione sentimentale dedicati agli adolescenti; presenta una poderosa rassegna sui libri di divulgazione scientifica e su alcuni irrinunciabili albi per lo sviluppo dei concetti spazio-temporali e dei numeri già nella tenera età; ricorda l’attualità delle trame racchiuse in alcuni grandi classici di Otto e Novecento sino a lambire i territori della nuova letteratura digitale. Uno strumento prezioso per coloro che desiderano comprendere le forme, i temi e gli orientamenti contemporanei della letteratura per l’infanzia e l’adolescenza, che credono nel ruolo di mediatore dell’adulto, che mettono al centro del dibattito sempre e solo un protagonista: il bambino.

Das Modell besteht aus sechs eng miteinander verbundenen Dimensionen: 1. Im Fokus der paratextuellen und materiellen Dimension stehen der Paratext des Bilderbuchs, also alles, was den eigentlichen Text umschließt, sowie die materiellen Eigenheiten des Mediums Buch. 2. Die verbale Dimension geht auf die Parameter der sprachlichen Gestaltung ein. 3. Die bildliche Dimension umfasst alle Aspekte der visuellen Gestaltung und des Designs. 4. In der intermodalen Dimension wird das wechselseitige Verhältnis von Bild und Schrifttext erfasst. 5. Die narrative Dimension enthält erzähltextanalytische Kategorien auf der Ebene der histoire (Was wird erzählt?) und des discours (Wie wird erzählt?), die im Bilderbuch mithilfe von bildlichen als auch verbalen Codes bzw. in ihrem Zusammenspiel realisiert werden. 6. Die kontextuelle Dimension geht auf intertextuelle und extratextuelle Bezüge ein, die für das Verstehen und die Interpretation eines Bilderbuchs notwendig sind.

A collection of out-of-print and previously unpublished interviews with author and artist Maurice Sendak, ranging from 1966 until 2012. Highlights include an early New Yorker profile, a conversation with Dr. Seuss, Philp Nel's previously unpublished discussion with Sendak about his collaboration with Crockett Johnson and Ruth Krauss, and Terry Gross's last interview with Sendak.

While reading the landscape of knowing is easy for English teachers when presented with words, understanding story through images is less clear. One of my personal challenges as a literature teacher has been how to teach about visual literacy. Most of our English education focuses on the textual aspects of literature, covering basics like plot, theme, characterization, and setting almost every year. On the other hand, visual literacy is often left to the realm of art class, which typically enjoys less curricular support. Even tradition dictates less attention to the pictures of books than the text; Ken Marantz bemoans “What I find in a typical review are some four or five sentences outlining the narrative, a few words of judgment, and most often at the very end, a line or two about the ‘illustrations.’”
In order to focus on understanding visual terrain, I often start by introducing vocabulary so that we have a common language to begin to discuss it. In search of a good activity to apply and practice new terms, I have settled on one that I like to call The Elements of Design Scavenger Hunt. After experimenting with several variations, I feel that this is the best method yet to teach vocabulary for discussing the pictorial aspects of literature.
The Elements of Design Scavenger Hunt asks participants to apply knowledge of the elements of design—in this case from Charlotte Huck’s Children’s Literature (line, shape, value, color, composition, media, space, perspective/point of view, artistic conventions, style, and format). Each person or group is asked to find two different examples of each element from a selection of books. By using multiple books and focusing on comparison, I’ve observed that college level students increase their understanding of illustration more than if just focusing on one title’s use of each element. In particular, they become more aware of the wide range of expression that each element is capable of.
I would like to share this technique because of its wide applicability. Although I use the scavenger hunt in a college level classroom focusing on pre-service teachers, it would work well at a variety of age levels and with graphic novels, advertisements, or magazines as well as picturebooks. In my poster and accompanying handout, I break down the evolution of the activity and provide tips, rationale, examples, procedures, additional activities, and additional resources based on my experiences. I hope that with this activity, fellow teachers will feel confident bringing exploration of the visual landscape of story into their classrooms.

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

“Gli albi illustrati e i nuovi modelli maschili e femminili, per un immaginario oltre gli stereotipi”, in S. Polenghi, F. Cereda, P. Zini (a cura di), La responsabilità della Pedagogia nelle trasformazioni dei rapporti sociali. Storia linee di ricerca e prospettive, PensaMultimedia, Lecce-Brescia, 2021, 978‐88‐6760‐830‐0, pp. 377-384.

The many benefits of using picturebooks in the primary classroom include language development as well as an introduction to real-world issues through storytelling and fictitious characters that children can relate to. However, the representation of diversity in children's literature, both cultural and especially linguistic, has been inadequate. Even though there is a drive to increase cultural diversity in children's literature, from a linguistic perspective there is still a dearth of multilingual literature in English as foreign language classrooms, for example, selected picturebooks tend to be mostly monolingual. Although they offer a window to difference in faraway places and a mirror of otherness closer to home through the characters and illustrations, they don't always acknowledge the linguistic aspect of the cultures they are highlighting. Yet, language reinforces the differences and similarities in cross-cultural spaces. This paper investigates the potential role of multilingual picturebooks in the primary EFL classroom. First, it explores the multilingual-multicultural nexus; next, it investigates the representation of cultural and linguistic diversity in picturebooks; finally, it uses the bilingual picturebook, Marisol MacDonald Doesn't Match / Marisol MacDonald no combina (2011), by Monica Brown and Sarah Palacios (illustrator) to identify the benefits of a multilingual approach to developing intercultural citizenship.

L’articolo vuole offrire una panoramica sul tema delle famiglie non tradizionali nella letteratura per l’infanzia contemporanea. Considerando tanto gli autori di lingua italiana quanto le traduzioni effettuate dall’inglese all’italiano, verranno presentati i libri più influenti sul divorzio, sull’adozione e sulle famiglie arcobaleno. Questi temi molto contemporanei sono sviluppati sia in libri illustrati per bambini in età prescolare, sia in romanzi per ragazzi, coprendo così una vasta gamma di lettori. Lo scopo di questo saggio è osservare come l’editoria italiana stia reagendo a queste nuove tendenze che, pur essendo sempre più comuni in alcuni stati, non riescono a emergere completamente in altri. Secondo i recenti studi, i libri illustrati e i romanzi per bambini in cui vengono mostrate famiglie ‘diverse’ sono in realtà un importante strumento per insegnare la diversità e la tolleranza.

The philosophy for children curriculum was specially written by Matthew
Lipman and colleagues for the teaching of philosophy by non-philosophically educated
teachers from foundation phase to further education colleges. In this article I argue that
such a curriculum is neither a necessary, not a sufficient condition for the teaching of
philosophical thinking. The philosophical knowledge and pedagogical tact of the teacher
remains salient, in that the open-ended and unpredictable nature of philosophical enquiry
demands of teachers to think in the moment and draw on their own knowledge and
experience of academic philosophy. Providing specialist training or induction in the P4C
curriculum cannot and should not replace undergraduate and postgraduate degrees in
academic philosophy at universities. However, although for academic philosophers the use
of the P4C curriculum could be beneficial, I will argue that its use poses the risk of wanting
to form children into the ideal ‘abnormal’ child, the thinking child—the adult philosopher’s
child positioned as such by the Lipman novels. The notion of narrativity is central in
my argument. With the help of two picturebooks—The Three Pigs (2001) by David
Weisner and Voices in the Park (1998) by Anthony Browne—I illustrate my claim that
philosophy as ‘side-shadowing’ or meta-thinking can only be generated in the space ‘in
between’ text, child and educator, thereby foregrounding a ‘pedagogy of exposure’ (Biesta
2011) rather than ‘teacher proof’ texts.

RESUMO (Abstract in English below)
Esse artigo explora o livro infantil interativo como forma de expressão literária que exige do leitor infantil orques-trar diversos tipos de letramento para, em última instân-cia, desenvolver sua capacidade de ler criticamente textos multimodais, digitais e interativos diversos. O modelo de análise envolvendo os níveis perceptivo, estrutural e ideológico (SERAFINI, 2010; 2015) é proposto para promover, por meio dos livros digitais, a articulação de múltiplos letramentos na escola.

ABSTRACT
This work explores the interactive book app for children
as a form of literary expression that requires from the
young reader the capacity to orchestrate various forms
of literacy to promote their ability to read critically
multimodal, digital and interactive texts. Serafini’s
model for the analysis of picturebooks in three levels,
perceptive, structural, and ideological (SERAFINI,
2010; 2015), is proposed as a didactic tool to promote
these multiliteracies at school through the reading of
picturebook apps.

"En un período marcado por la reproductibilidad técnica y proliferación de formas diversas de representación gráfica, el desarrollo de la alfabetización visual se asume como una estrategia fundamental para la formación de las personas más informadas y competentes, capaces de comprender e interpretar una realidad más compleja. En esta comunicación, vamos a explorar cómo la ilustración es capaz de constituirse en una herramienta fundamental para el desarrollo de la alfabetización visual. Nos proponemos discutir los vínculos entre la alfabetización visual y el papel (nuevo) de la ilustración, a partir de un estudio de caso: análisis de algunos títulos publicados por Planeta Tangerina (PT). La línea editorial de PT es un buen ejemplo para reflexionar sobre cómo la ilustración se pueden desarrollar nuevas formas de pensar y actuar.
Esta comunicación es una investigación en curso, desarrollada en el master en Diseño Gráfico y Proyectos Editoriales de la FBAUP."

A Planeta Tangerina é uma jovem editora nacional, criada no início em 2004, que muito tem contribuído para a renovação da literatura infantil em Portugal, afirmando-se pela sua criatividade e originalidade. No âmbito deste trabalho, iremos analisar alguns dos traços que distinguem a Planeta Tangerina, no panorama da literatura para a infância em Portugal, e que justificam o seu sucesso.

Este trabalho realizado sob orientação do professor Jorge Silva, no âmbito da disciplina de Direção de Arte do Mestrado em Design Gráfico e Projetos Editoriais (Faculdade de Belas Artes da Universidade do Porto), é resultado de uma entrevista realizada à ilustradora Madalena Matoso (em junho de 2012).

Picturebooks (and silent books, with images only and without words) are children's books commonly considered suitable only for young children of preschool age or in the earliest years of schooling. For this reason, picturebooks are mostly neglected in teaching in higher educational stages. Nevertheless, the educational potential of picturebooks is considerable, especially in the later years of primary school. For example, in Italian language teaching, they can be extraordinary tools for planning didactic projects that allow instructors to integrate the teaching/learning of all linguistic skills and of metalinguistic reflection, which are the main elements in the curricula related to Italian language teaching in Italian-speaking countries and contexts. The article aims to show the validity of the above claim by establishing a possible classification of picturebooks into six distinct types and by describing some didactic projects and activities developed in primary schools in Canton Ticino (Italian Switzerland). Focusing on the pleasure of reading engaging stories and on motivation, picturebooks enable teachers to pursue ambitious and challenging goals, such as creating one or more new picturebooks inspired by the one read initially or transposing a picturebook into a theatre script. At the same time, picturebooks enable students to develop their speaking, listening, reading, and writing skills.

Forni D., “Amare e proteggere il mare. La letteratura per l’infanzia e la sensibilizzazione ambientale”, in Annacontini G., Birbes C. (a cura di), Scenari di futuro: creatività e immaginazione per lo sviluppo sostenibile, Zeroseiup, Bergamo 2020, pp. 55-62.

Crossover literature generally denotes literature that blurs child readership and adult readership, in other words, literature that transgresses the age boundaries. Crossover yet can refer to boundary crossing in more than one sense – generic and sociocultural. This article argues that a text's crossover potential is more about the way of representation than the subject matter itself, and the significance of the way of representation for the text's crossover potential comes to the fore when it is translated into another language. Focusing on crossover as a transgression of the sociocultural boundaries, this article moreover suggests that the investigation of crossover literature should situate the text in its context of production and reception. The arguments are illustrated with a close analysis of Jimmy Liao's picturebooks When the Moon Forgot and The Sound of Colors, alongside their English translations – in particular, how the themes of loneliness, family relationships, and death are rendered in different ways in the Chinese and English versions.

This thesis aims to identify the artistic devices and their relations on Shaun Tan's picturebooks which are directed to cause estrangement. Thus, by drawing theoretical and methodological relations with Literature and Art, we propose to expand research on the concept of estrangement within the field of Design, broadening its scope on the collaboration of discussions regarding artistic devices in general. Besides, it supports picturebooks studies by an aesthetic approach and conveying autonomy as a mode of pictorial and narrative experimentations for illustrators, artists and authors. To answer our research problem, on the first chapter, we aim to particularize the meaning of estrangement by establishing a genealogy of concepts and authors related to the cognitive phenomenon of estranging. Next, we delve into the main modern aesthetic currents and their concepts: alienation, the uncanny and ostranenie. Specifically, we look over Viktor Shklovsky's recent readings that emphasize the concept's ethical and political implications as opposed to prevailing structuralist readings up to the end of the 20th century. Then, we begin the second chapter by discussing the concept of medium and follow Russian Formalism's meaning in order to argue for the idea that picturebooks and comics are categories that operate according to the parameters of graphic narratives. Then, we establish the properties of the medium aiming to expound their devices on the analyses. On the third chapter, we present Shaun Tan in order to consider the ways that his works relate life and art. Through his artistic path, we understand the circumstances and personal motivations, and by exploring his pictorial techniques and his imagery, we visualize his aesthetic motivations that develop images that comprehend worldviews. At last, we analyze three picturebooks according to their relations between picture and text: The Red Tree (2001), The Arrival, (2006) and Tales from Outer Suburbia (2008). Underlying their specificities, Shaun Tan's picturebooks display devices of estrangement for they are able to realize the fantastic and estrange the mundane, allowing the reader to "trans-live" the experience through the poetic perception unlocked by the work of art.

Wimmelbooks are a type of wordless picture books which display a series of panoramas teeming with an immense amount of characters and details. They constitute a narrative threshold genre with the potential to accompany children a good piece of way along their path to literacy and introduce them to different strategies of coping with the world and of telling stories. In contrast to puzzle or search books, wimmelbooks rely on their readers to find their own way through the rich material they present and do not direct readers' attention by phrasing explicit search tasks. Visual references to other works of fiction may provide an additional stimulus and motivation for adult readers and thus constitute the "dual address" of such books. They allow for manifold reading options and encourage a highly active response from children and adults alike, which rightfully might be described as a form of playing. Books discussed include works by Ali Mitgutsch, Thé Tjong-Khing, and Rotraut Susanne Berner.

Ein Wimmelbuch ist eine besondere Form des textlosen Bilderbuchs. Es besteht aus einer Reihe von Panoramen, die mit einer immensen Anzahl von Figuren und Details nur so zu wimmeln scheinen. Solche Bücher bilden ein narratives Schwellengenre, das Kinder ein langes Stück auf ihrem Weg zur Lese- und Schreibkompetenz zu begleiten vermag und sie verschiedene Strategien entdecken läßt, mittels derer sie die Welt bewältigen und Geschichten aus ihr entwickeln können. Im Gegensatz zu Suchbüchern vertrauen Wimmelbücher darauf, daß ihre Leser sich auf eigene Faust einen Weg durch den Dschungel ihrer Fülle zu bahnen vermögen; sie versuchen deshalb nicht, die Aufmerksamkeit der Leser durch explizite Suchaufträge gezielt auf bestimmte Details zu lenken. Erwachsene Mitleser werden durch visuelle Anspielungen auf eine Vielzahl weiterer Bücher zusätzlich herausgefordert und motiviert. Damit ermöglichen Wimmelbücher zahlreiche Lektüreweisen und fordern kleine und große Leser zu einer höchst aktiven Rezeption heraus, die sich mit vollem Recht als eine Form des Spielens beschreiben lässt. Besprochen werden u. a. Werke von Ali Mitgutsch, Thé Tjong-Khing und Rotraut Susanne Berner.

Resumen Este artículo se sitúa en el ámbito de la investigación en didáctica de la literatura. El objetivo principal es caracterizar el libro-álbum y evidenciar sus potencialidades para la educación literaria de los niños. Este tipo de libro se ha convertido en el género por excelencia o soporte (una cuestión actualmente en discusión) de la literatura infantil del siglo XXI. Diferentes indicadores demuestran eso. Por ejemplo, la producción, tanto por lo que respecta a creadores como editoriales. La crítica, cuyos premios y recomendaciones presentan un porcentaje altísimo de libros-álbum en comparación con otros géneros. Su impacto en otros ámbitos, como la poesía infantil o la literatura para adultos y la disolución de fronteras entre espacios literarios y lectores. La investigación confirma esta tendencia, puesto que está generando innumerables estudios sobre los aspectos distintivos del libro-álbum. La caracterización que se presenta se complementa con las potencialidades de este tipo de libro para la educación literaria de los niños en términos de desarrollo cognitivo y emocional. Tras esta panorámica general, se ofrece un corpus que incluye algunas de las obras más recomendadas por la crítica especializada estos últimos años, la mayoría disponible en el mercado brasileño. Palabras clave: educación literaria; libro-álbum; literatura infantil; primeras edades.

The 8th International Conference of The European Network of Picturebook "Picturebooks in Time", Tel Aviv University (3-4 October 2021)

Debuted in Perrault’s 1697 Contes de ma Mère l’Oye, Little Red Riding Hood represents one of those key literary works which have been retold and reinterpreted countless times around the world. Over the centuries, it has attracted an impressive pleiad of authors and illustrators, scholars and critics, historians and sociologists, psychoanalysts and educators, gaining the status of “the most popular and certainly the most provocative fairy tale of the Western world” (Zipes, 2017: 3). The tale has undoubtedly turned into a global brand encompassing multiple media and a crossover audience of children and adults. But why after all these years does this little girl in red continue to make her way through the woods of cultural imagination? Among the most common reasons stated by literary scholars are its recognisability and intertextual accessibility for even the youngest readers, and, of course, the proven track record of being a successful selling commodity (Beckett, 2002).
One of the most frequent formats of Little Red Riding Hood retellings is a picturebook. Using a variety of illustration styles and techniques, picturebook versions often produce alternative, twisted reinterpretations such as the unexpected Wolf’s Story by Toby Forward and Izhar Cohen (2005), the empowering Little Red by Bethan Woollvin (2015), or the intriguing Into the Forest by Anthony Browne (2004). At this point one would not be surprised to come across a version told from the viewpoint of the cakes. But as Marie Tartar rightly notes, “Fairy tales are always more interesting when something is added to them. Each new telling recharges the narrative, making it crackle and hiss with cultural energy” (2014: 1).
In this paper I will look at yet another modern take on this classic tale – a picturebook Red and the City (2018) written and illustrated by Marie Voigt. Adopting the Grimm Brothers’ version as her narrative canvas, Voigt reshapes it to reflect the social concerns of the time, thus rejuvenating it for a contemporary audience. Masterfully depicting the obsession of the modern world with digital devices, fast food and compulsive buying, as well as the sense of rushing and disconnect, Voigt creates a cautionary tale for both children and adults, a reminder that sometimes “a big bad wolf” can take the form of a city with its “shiny toys”, “shocking news”, and “tempting food” which distract us from what is really important.

In a period marked by technical reproducibility and the consequent proliferation of multiple graphical forms, the development of visual literacy is a fundamental strategy for the education of informed and competent individuals able to understand and interpret a more complex reality. In this communication, we will explore how can illustration constitute itself as a fundamental tool for the development of visual literacy. We propose to discuss the links between visual literacy and the (new) role of illustration, from a case study: analysis of some titles published by Planeta Tangerina (PT). How will try underline, the editorial line of PT is a good example to reflect on how the illustration can develop new ways of thinking and acting. This communication is an ongoing investigation, developed under the master’s degree in Graphic Design and Editorial Projects at Faculty of Fine Arts, University of Porto.

Σύμφωνα με τη διεθνή βιβλιογραφία, κατά το τέλος του 20ού αιώνα το είδος του εικονοβιβλίου χωρίς λόγια ή σχεδόν χωρίς λόγια καθιερώθηκε στην παγκόσμια Παιδική Λογοτεχνία και αποτέλεσε μια σύγχρονη εκδοτική τάση. Στην Ελλάδα, αποδόσεις τίτλων τέτοιων έργων υπάρχουν στην αγορά εδώ και δεκαετίες, ωστόσο μόλις στο τέλος του 2018 κάνει την εμφάνισή του το πρώτο βιβλίο χωρίς λόγια από Ελληνίδα δημιουργό, στις εκδόσεις Καλειδοσκόπιο. Πρόκειται για το σιωπηλό βιβλίο (silent book) Η φάλαινα, το αγόρι και η θάλασσα ανάμεσά τους, από την Πέρσα Ζαχαριά. Πώς διαβάζονται αυτού του είδους τα βιβλία και από ποιες ηλικίες; Τι σκοπούς εξυπηρετούν, πόσο κατανοητά είναι και τι δεξιότητες χρειάζονται για να διαβαστούν και να ερμηνευθούν; Σε ποιο βαθμό η οπτική αφήγηση μπορεί να καλλιεργήσει την κατανόηση του εαυτού και του άλλου μέσα από μια πιο φιλελεύθερη και αυτενεργούμενη προοπτική; Η μελέτη αυτή, αφού αναλύσει το συγκεκριμένο έργο, εντάσσοντάς το στα ειδολογικά του συμφραζόμενα, θα επιχειρήσει να φωτίσει πτυχές των πιο πάνω ερωτημάτων.

Crossover literature generally denotes literature that blurs child readership and adult readership, in other words, literature that transgresses the age boundaries. Crossover yet can refer to boundary crossing in more than one sense — generic and sociocultural. This article argues that a text’s crossover potential is more about the way of representation than the subject matter itself, and the significance of the way of representation for the text’s crossover potential comes to the fore when it is translated into another language. Focusing on crossover as a transgression of the sociocultural boundaries, this article moreover suggests that the investigation of crossover literature should situate the text in its context of production and reception. The arguments are illustrated with a close analysis of Jimmy Liao’s picturebooks When the Moon Forgot and The Sound of Colors, alongside their English translations — in particular, how the themes of loneliness, family relationships, and death are rendered in different ways in the Chinese and English versions.