Posted at 03.10.2018
The influence of record and traditions of children's literature is of great importance in the books and catalogs that are written and shared today. Not only do they give a construction for the writer to work from, they also give the audience an information into the kind of novel they are going to read. Depending on the sort of book we could reading its customs and record could stem back again to oral story and traditional fairy reports or even more recent breakthroughs of the Victorian catalogs for boy s and literature for women. This essay will trace the introduction of tradional and historial methods and exactly how they have affected popular childrens fiction today but also look at the ways in which popular fiction has advanced and developed to appeal to children today. I am looking strongly at BlocK 1: Instuction and joy; Block 4: The esteemed and the favorite; Block 6: Modern day fads and also touching on Block 5: Words and pictures, I will use these alongside the newest UK Carnegie Award champion Bog Child and the popular Harry Potter and the Philosopher's Natural stone, it will also touch on other stories and novels to show comparisons and improvements. All the customs and histories of children's literature have affected popular fiction of today and it is important that these methods are accepted and licensed.
Children's literature involves an array of styles such as fantasy (folk tales, fables, common myths and legends), fiction (science fiction, and historical fiction), informational books, picturere literature, biography and poetry. Children's literature has been used to build up language, literacy and creative thinking skills. It also functions as a identity development tool to shape behavior and behaviour. Knowing all aspects of children's literature is vital for parents, teachers, and librarians who play a significant role in selecting reading materials for children and so affect the reading patterns, behaviour and behaviour of children. 'Children's authors should become aware of the energy of terms, its possibilities and also the dangers it presents in terms of manipulating children, ' Teacher Nikolajeva said. 'A great deal of people presume that writing children's books is not at all hard, but in simple fact it needs great sophistication' (Kirk, Tom).
Word play is an essential role in children's literature. The nonsense conversation and odd puns help young readers develop, even though they appear completely nonsensical to adults. This curios words helps young visitors understand the difference between the imaginary and the symbolic. A. A. Milne's When We Were Very Young and the countless travels of Winnie-the-Pooh is a prime exemplory case of this. As Jackie Wullsclager in her essay 'A. A. Milne: WHENEVER WE Were Very Young' explains - when Milne commenced writing there was a transfer from the excited beliefs of the Victorians and of the 'earnest idealism' (133) of the Edwardians and 'had turned into 100 % pure escapist whimsy: mawkishness established not on a desperation to be flippant, unchallenged, intellectually and psychologically cosy' (133). The entire world that Milne created for Pooh and his friends is one of complete dream and escapism, this is at complete distinction to Bog Child which explores and exposes the potential issues and insecurity of life in Ireland during the 1980s although Dowd will give the audience and Fergus a getaway through the finding and revelation of Mel's life within a. D. 80. Where Milne uses fantasy and escapism, Dowd uses historical realism. However, there is an element of realism in Milne's work too - the trunk drop for his work is the Edwardian world.
Language plays an essential role in children's literature and is used in a variety of ways. The terms of an. A. Milne teaches children about the value of words and the power of language. Christopher Robin unlike the other heroes can differentiate between made-up words and real words and understands what they signify. This is quite similar as Harry Potter and the Philosopher's Stone the bookworm Hermione recognizes more magic words than almost every other wizards of her age group because she rests down and studies the spells from her catalogs she recognizes spells such as 'Alhomora' and 'Evanesco; that her contemporaries do not. By checking out dialect both Milne and Rowling through their 'literature also show that words is a versatile tool which, as well as presenting interpretation to the adult world, can be utilized creatively to provide expression to children's own imaginations' (Kirk, Tom). Bog Child is cross fiction so the language in it is ultimately adult (the teenagers who this publication is targeted at are not patronised with childish words and gentle topics). Siobhan Dowd's novel Bog Child talks about very real history - the politics and religious discontent that happened between North Ireland and the Republic of Ireland is not softened. Set in 1981, Bog Child brings modern viewers back into the center of the discord over Northern Ireland. Eighteen-year-old Fergus McCann lives with his family in the north counties, which are held by THE UK. The family is embroiled in the combat for independence against the foreign holders. Actually, his brother is currently in jail and has started a hunger affect, and he is not alone. You can find other men in the prison doing the same, plus some have even passed away from it. This leaves Fergus extremely concerned about the basic safety of his sibling.
While all this is occurring, Fergus is also involved with a historic unknown. He has been dealing with his uncle over the border in the Republic of Ireland. As can be thought this is unlawful, but it will probably be worth the chance to plantation peat for use as petrol, which could be a major source of income on the dark market. In the process of working, Fergus results in the body of your bog child, a woman who had been put in the bog during the Iron Era. As the archaeologist focus on processing the facts, together with his Fergus' help, it quickly becomes clear that the girl passed on under terribly violent circumstances.
At the beginning of the Winnie-the-Pooh series Christopher Robin is merely a young youngster at the start of his education, him and Pooh go searching for the North Pole so when Pooh asks what it is Christopher Robin replies 'It's simply a thing you discover'. Through the entire series Christopher Robin grows up and learns to read a write and understands the power of language, the guy can frighten Pooh and Piglet (who are lesser-educated) with experiences of Heffalumps and Woozles. In much a similar way Harry Potter and Hermione (and other muggles) should try to learn the wizzarding words in order to manage at Hogwarts and become an integral part of the wizzarding world. Bog Child is written in dialect and through this the audience can connect with and understand the personas and the environment more. We also see the persona of Fergus develop throughout Bog Child we have been introduced to a man we seems to have few problems, by the end (when he leaves to go to school) he has changed into a man who is not only leaving to enter another level of his life but person who has been educated in the realities of life. He has lost his brother, he has seen for himself the realities of the Irish political situation and he has learnt about the life and death of a 'bog child'. Fergus's final few months along with his family provided him with a genuine learning curve as soon as again we are presented with a tale in which education (both accedemically and of life) enhances a person and allows them to go forward.
Another similarity that crops up between Harry Potter and the Philosopher's Rock and Winnie-the-Pooh is that of the role of the adult. A. A. Milne didn't write Winnie-the Pooh for children, he published them for the kid within us and Harry Potter's success supposed that it was also shared with a grown-up cover so that it too appealed to people. Bog Child being a book for young adults crosses the type of adult fiction. Many parents will keep in mind the Thatcher years and the conflict between Catholics and Protestants (it still continues to a smaller degree today).
'All Harry Potter reviews have something to say about the ways in which we presently think about child years, adulthood and the family; about the partnership between education and work; and about questions of good and evil, personal and collective responsibility' (Blake, Andrew, p. 309), I feel that this will additionally apply to every one of the books mentioned so far. Winnie-the Pooh celebrates years as a child and the thoughts but also how education helps a person to build up and move onto it also highlights the value of collective of collective responsibility (in Milne's circumstance, friendship) and how working jointly and supporting one anther is more fun than doing it by themselves. Bog Child certainly includes many of these issues, we could presented with a family of six, mum, father, two sons and two daughters. Both daughters are safeguarded from the reality of the eldest brother. . . . . . and enjoy their childhood performing and swimming. Fergus grows up through the book and becomes a man who is aware of the reality about his country's politics unrest and helps conceal the reality from his sister by firmly taking them going swimming but he also get bribed into assisting (or thinks he's aiding) his brothers cause by couriering parcels from one place to another. He is also educating himself so that he can better himself and move away so that he does not get caught up in every of the troubles. Fergus seems to understand the politics stance that has been taken and just why and through this the guy can develop and develop as a person also to see the privileges and wrongs of the proceedings. All three of the stories is seen to be affected by the tradional fairytale.
Harry Potter and the Philosopher's Natural stone can even be seen to follow the traditional design of fairy stories. Jack Zipes in his article 'The Phenomenon of Harry Potter, or Why All the Have a discussion? Explains that the formulation for a fairy tale has four parts: 'Part I. Jail. . . Part II. The Noble Getting in touch with. . . Part III. The Heroic Travels. . . Part IV. The hesitant go back' (294). It is not hard to see this style occurring in both Rowling's book and the traditional fairy stories such only a small amount Red Operating Hood. That is certainly not a structure that Bog Child employs. Harry Potter and the Philosopher's Natural stone as highlighted by Nicola J. Watson attracts upon and posts the 'long-standing customs in children's fiction. Scholars have mentioned Rowling's revival of the boarding-school report. . . using its stock cast of characters. . . and its stock situations' (288). The structure of the historical book that Bog Child follows is completely different to that of the fantasy/magical realism that is shown to us by Rowling's. The new historical novel uses the past as its backdrop and the characters a fictional. The public situation of the story is very important but it's the personas who dominate the storyplot. The 1981 North Ireland time story is very important to the novel but the Natural stone age story is not, this is only an interesting augmentation but otherwise irrelevant. This is in sharp distinction to '[T]he creation of the Magic world' (Gupta, Suman, p. 297) where things and situations are not questioned these are just accepted, 'this is the reason why things are wonderful in the Magic world' (Gupta, Suman, p. 297). In Bog Child, all incidents are questioned, such as Thatcher's decisions, the keeping the British military and the appetite strike. Time is not a very important feature in Harry Potter but the fantastical place setting up is - this provides the audience with the compare the story must make it more fantastical and also provides the escapism from the mundane that Harry needs, the same could be said of Mel in Dowdes' novel, the Stone era wish/story provides Fergus with an escape from the reality of his own life and the globe in which he's living.
The earliest types of everything we today consider to be children's books was actually intended for adults. The dental misconceptions and legends of traditional text messages were created to clarify natural phenomena. The stories were often advised around a fire or in court in the form of ballads, sagas and epic stories, with an audience of both individuals and children.
Children's literature creates all sorts of questions and these questions are essential. Children's books above any kind is a power struggle - it's been written for children's by adults, 'and this means that like it or not, individuals are exercising electricity, and children are either being manipulated, or resisting manipulation' (Hunt, Peter, p. 14) this is where the question on whether children's literature is written to instruct or to amuse. Bog Child by Siobhan Dowd seems to embody both these. Bog Child is classified as historical realism and employing this genre Dowd has to provide the reader with a certain amount of historical facts, she informs the reader of spiritual divides which exist in Ireland (both north and south) and the politics and personal/communal tension that breeds. 'Mel' (who's found in the bog by Fergus) is delivered to the reader through Fergus' dreams - it is this combination of fact and fiction and the everyday going life of an adolescent growing up bounded by this anxiety that provides the entertainment in this book and light relief through Fergus' romance with Cora and his boyish banter with his friends. Some writer's case to write solely to entertain however, this is not completely possible because writers 'have their own ideological position, their own ideas of what's right and wrong, their own way of discovering the world, which is impossible that they shouldn't for some reason convey this in their writing, manipulatively or not' (Hunt, Peter, p. 15). J. K. Rowling's Harry Potter and the Philosopher's Natural stone is a superb example of this; Rowling's does not provide the reader with this depth of historical knowledge but does provide entertainment as the audience practices harry and his friends and enemies through his first yr at Hogwarts University of Witchcraft and Wizardry. If there is any instructions in Rowling's book it is the fact that life contains problems and things do not necessarily go our way however in the end good over comes evil and happenings (however unlucky) happen for grounds.
Harry Potter and the Philosopher's Rock contrasts effectively with Bog Child. Harry Potter will fit into the genre of illusion while Bog Child is regarded as as an historical novel. Fantasy novels contain powerful, mythical animals or other supernatural elements which co-exist invisibly with the mundane world, with almost all of people none the wiser. Historical books must be well explored and have an authentic historical backdrop, the past must be truthfully represented.
Bog Child explores politics conflict, personal heroism, individuals frailty and love and fatality. These designs are explored in both Harry Potter and the Philosopher's Stone and Coram Young man. J. K. Rowling's booklet addresses 'many of the anxieties inside our changing political and ethnical world', these issues have to be addressed(in both Harry Potter and the Philosopher's Rock and Bog Child so that the reader can truly understand where the author is coming from. In 1997 the Labour Federal (under Tony Blair) required over from John Major's Traditional government, (it is worth noting that enough time body in Bog Child is also under traditional guideline). Under Conventional rule Great Britain and North Ireland were governed by 'Parliament Lords [that] preserved the feudal system' (Blake, Andrew, p. 304) there is also great unrest in North Ireland (which is shown in Dowdes' book) but since 1998 there's been great change and 'the tranquility process in North Ireland resulted in the come back of devolved federal government, with the potential for closer ties to the Republic of Ireland' (Blake, Andrew, p. 304). Rowling's has certainly rebranded Britain in her books. 'Before Harry Potter, the 1990s children's literature tried to package directly with the 'real' - and a distressing real at that. . . Whatever its sociological correctness, this politically appropriate mode of literary production was out of kilter with the 1990s times; Harry Potter, on the other palm, was directly on the button' (Blake, Andrew, p. 305). Bog Child fits into the 1990s stereotype - it exposes the politics and personal actuality of many organisations and individuals who lived in Northern Ireland through the early 1980s and the imposing power of Margaret Thatcher.
Blake talks about that 'Harry Potter is part of this political and ethnic world. . . Hogwarts symbolizes the multicultural Great britain. . . And although there is a category system in operation at Hogwarts, it generally does not determine the plat as you'll expect from a Victorian book or perhaps a 1920s public institution tale' (Blake, Andrew, 308). In a way the modern culture in Bog Child appears to reflect that present in the Victorian book because the population is controlled by a higher power and regardless of what the working class do to be been told (going on hunger affect for example) they remain disregarded, this is the kind of course system that the Conventional get together of the 1970-80s seemed to support and symbolize.
There are extensive similarities between Bog Child and Coram Youngster. Both are historical books with political goal. Bog Child tells us the storyline of Fergus and Mel. Fergus can be an eighteen time old moving into Northern Ireland through the Thatcher years, his sibling is on appetite reach in 'The Maze' and troops have taken up evidence all over. Mel is a stone-age body that he found and her report unravels itself to him in his dreams.
Both the modern and the Flat iron Age stories deal with political destiny and self-sacrifice; each includes a protagonist under huge pressure to unite a fragmented tribe. With such conflict comes sadness, an undertow of internal darkness, but also a belief in love's power to redeem the individual spirit, and even, perhaps, the future of mankind. As Mel dies, she explains to us that 'Silver light fizzed and taken apart. Love fell in particles, like snow'.
Children's books is written, posted, advertised and purchased by individuals and directed at children because of their education and entertainment. The first literature written specifically for children was intended to instruct. Generally speaking this confirms that it's the expected audience as opposed to the makers of the texts define the field of what's and is also not children's literature.
Children's books reveal and embody the ideologies of the culture where these are written and the period's assumptions of children and appropriate behavior. 'Fiction is fiction, and children's books say too much to people about the connections of adults to children, or about the idea of childhood at a specific period, rather than portraying genuine childhoods' (Hunt, Peter p. 14). This generally means that children's books embodies adult concerns and ideas of childhood against the topics that we child might decided for oneself.
The publication that wins the Carnegie Medal should be a book of excellent literary quality. The whole work should provide pleasure, not only from the surface pleasure of a good read, but also the deeper subconscious satisfaction of experiencing gone through a vicarious, but during reading, a real experience that is maintained afterwards.
Both Bog Child and Harry Potter and the Philosopher's Stone have been greatly received and also have both won awards as literary works. They have also both been designed Bog Child for the level and Harry Potter and the Philosopher's Natural stone as a film.
Through close analysis ofBog Child, Harry Potter and the Philosophers Stone and touching on other novels from the course I have been in a position to explore the many styles that are evident in Children's literature and the way the traditions and history of children's literature has influenced children's creators today in their writing of children's fiction. By researching dating back to tradional fairy tales and oral stories I have been able to expose the origins of children's fiction and this then led me onto whether children's literature was ment to teach or joy and why is children's books popular and how the ability of the publisher has affects and effected how we able to access different types of literature be it on film or level. Bog Child and Harry Potter and the Philosopher's Rock are excellent samples of the way the children's book has altered and adapted over the years but also the way they have both jammed to the traditional buildings of children's reserve writing. Children's Books, much such as a cultural construct continues to evolve over time. Children's literature is defined and comprised by text messages which may have been specifically written for children and also text messages that children have chosen to learn and the restrictions between children's and adult's books is surprisingly easy.
Kirk, Tom www. admin. cam. ac. uk/news/press/dpp/2009051305 (16th May, 2010).