Children's Literature: New Approaches by Karin Lesnik-Oberstein

By Karin Lesnik-Oberstein

Kid's Literature: New techniques is a advisor for graduate and upper-level undergraduate scholars of kid's literature. it's based via critics examining person texts to carry out wider concerns which are present within the box. contains chronology of key occasions and courses, a selective consultant to extra studying and an inventory of web-based assets.

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Sample text

There is, after all, of course, no conclusive evidence of which critic predicts better than which other critic which children will like which book and why; or a critical method that addresses once and for all the demands made by children’s literature criticism of itself to find the way to improved literacy, education, morality and emotional well-being through the reading of suitable children’s books. Indeed, how could there be? )? ), every critic and every other reader? My reply, therefore, must be that children’s literature criticism as it stands, and as it defines itself, cannot succeed in achieving its own aim: finding the good book for the child, through knowing the child and the book.

60 Rudd consolidates this ‘move from adult discursive threads … to the way that most children seem to read the text’ with quotes from his interviews, which must, then, in these formulations, also be read as being accepted as that very ‘truth’ (outside of discourse) that Rudd was earlier denying as possible. The question for me remains (besides the problem, discussed earlier, of the interviewing of children as such anyway), how Rudd’s empirical base is doing anything new or different compared with interviews deployed in children’s literature criticism previously.

Secondly, since ‘I’ is used, in parentheses and also towards the end of the passage, there is after all a distinction operating in the text between ‘I’ and ‘you’, and the question then becomes, what is that distinction? 48 With the caveat in place, that ‘little people are not alike’, Effie nevertheless becomes ‘some Effie’ and ‘that Effie’. Yet another distinction the preface makes is between reading and telling. Reading becomes something that is done quietly and telling is done aloud, and while the preface acknowledges the written-ness of the text, it suggests that ‘you’ ‘tell the tales precisely as I have written them down’.

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