Children's literature

Source: Wikipedia, the free encyclopedia.
(Redirected from
Children's book
)
For the academic journal, see Children's Literature (journal).
"Children's book" redirects here. For the A. S. Byatt novel, see The Children's Book.
"Children's story" redirects here. For the song, see Children's Story.
A mother reads to her children, depicted by Jessie Willcox Smith in a cover illustration of a volume of fairy tales written in the mid to late 19th century.
The Adventures of Pinocchio (1883) is a canonical piece of children's literature and one of the best-selling books ever published.[1]

Children's literature or juvenile literature includes stories, books, magazines, and poems that are created for children. Modern children's literature is classified in two different ways: genre or the intended age of the reader, from

young adult fiction
.

Children's literature can be traced to traditional stories like fairy tales, that have only been identified as children's literature in the eighteenth century, and songs, part of a wider oral tradition, that adults shared with children before publishing existed. The development of early children's literature, before printing was invented, is difficult to trace. Even after printing became widespread, many classic "children's" tales were originally created for adults and later adapted for a younger audience. Since the fifteenth century much literature has been aimed specifically at children, often with a moral or religious message. Children's literature has been shaped by religious sources, like Puritan traditions, or by more philosophical and scientific standpoints with the influences of Charles Darwin and John Locke.[2] The late nineteenth and early twentieth centuries are known as the "Golden Age of Children's Literature" because many classic children's books were published then.

Definition

There is no single or widely used definition of children's literature.

cartoon books, and non-fiction works that are not intended to be read from front to back, such as dictionaries, encyclopedias, and other reference materials".[6] However, others would argue that children's comics should also be included: "Children's Literature studies has traditionally treated comics fitfully and superficially despite the importance of comics as a global phenomenon associated with children".[7]

The International Companion Encyclopedia of Children's Literature notes that "the boundaries of genre... are not fixed but blurred".[3]: 4  Sometimes, no agreement can be reached about whether a given work is best categorized as literature for adults or children. Some works defy easy categorization. J. K. Rowling's Harry Potter series was written and marketed for children, but it is also popular among adults. The series' extreme popularity led The New York Times to create a separate bestseller list for children's books.[8]

Despite the widespread association of children's literature with picture books, spoken narratives existed before printing, and the root of many children's tales go back to ancient storytellers.[9]: 30  Seth Lerer, in the opening of Children's Literature: A Reader's History from Aesop to Harry Potter, says, "This book presents a history of what children have heard and read.... The history I write of is a history of reception."[10]: 2 

History

Early children's literature consisted of spoken stories, songs, and poems, used to educate, instruct, and entertain children.[11] It was only in the eighteenth century, with the development of the concept of

childhood, that a separate genre of children's literature began to emerge, with its own divisions, expectations, and canon.[12]: x–xi  The earliest of these books were educational books, books on conduct, and simple ABCs—often decorated with animals, plants, and anthropomorphic letters.[13]

In 1962, French historian

clerics like the Venerable Bede and Ælfric of Eynsham, there was a lack of any genuine literature aimed specifically at children before the 18th century.[15][16]
: 11 

Other scholars have qualified this viewpoint by noting that there was a literature designed to convey the values, attitudes, and information necessary for children within their cultures,

religious lessons.[18]
: 6–8 

Early-modern Europe

An early Mexican hornbook pictured in Tuer's History of the Horn-Book, 1896.

During the seventeenth century, the concept of childhood began to emerge in Europe. Adults saw children as separate beings, innocent and in need of protection and training by the adults around them.[14]: 6–7 [19]: 9  The English philosopher John Locke developed his theory of the tabula rasa in his 1690 An Essay Concerning Human Understanding. In Locke's philosophy, tabula rasa was the theory that the (human) mind is at birth a "blank slate" without rules for processing data, and that data is added and rules for processing are formed solely by one's sensory experiences. A corollary of this doctrine was that the mind of the child was born blank and that it was the duty of the parents to imbue the child with correct notions. Locke himself emphasized the importance of providing children with "easy pleasant books" to develop their minds rather than using force to compel them: "Children may be cozen'd into a knowledge of the letters; be taught to read, without perceiving it to be anything but a sport, and play themselves into that which others are whipp'd for." He also suggested that picture books be created for children.

In the nineteenth century, a few children's titles became famous as classroom reading texts. Among these were the fables of Aesop and Jean de la Fontaine and Charles Perraults's 1697 Tales of Mother Goose.[20] The popularity of these texts led to the creation of a number of nineteenth-century fantasy and fairy tales for children which featured magic objects and talking animals.[20]

Another influence on this shift in attitudes came from

Puritanism, which stressed the importance of individual salvation. Puritans were concerned with the spiritual welfare of their children, and there was a large growth in the publication of "good godly books" aimed squarely at children.[11] Some of the most popular works were by James Janeway, but the most enduring book from this movement, still read today, especially in modernised versions, is The Pilgrim's Progress (1678) by John Bunyan.[21]

Puritan influence of the time.[16]
: 17 

The New England Primer

Hornbooks also appeared in England during this time, teaching children basic information such as the alphabet and the Lord's Prayer.[22] These were brought from England to the American colonies in the mid-seventeenth century.

The first such book was a

acronyms, spelling help and other educational items, all decorated by woodcuts.[9]
: 35 

In 1634, the Pentamerone from Italy became the first major published collection of European folk tales. Charles Perrault began recording fairy tales in France, publishing his first collection in 1697. They were not well received among the French literary society, who saw them as only fit for old people and children. In 1658, John Amos Comenius in Bohemia published the informative illustrated Orbis Pictus, for children under six learning to read. It is considered to be the first picture book produced specifically for children.[19]: 7 

The first

Erasmus. A Pretty and Splendid Maiden's Mirror, an adaptation of a German book for young women, became the first Swedish children's book upon its 1591 publication.[3]
: 700, 706  Sweden published fables and a children's magazine by 1766.

In Italy, Giovanni Francesco Straparola released The Facetious Nights of Straparola in the 1550s. Called the first European storybook to contain fairy-tales, it eventually had 75 separate stories and written for an adult audience.[24] Giulio Cesare Croce also borrowed from some stories children enjoyed for his books.[25]: 757 

Nikolai Novikov started the first juvenile magazine in Russia.[3]
: 765 

Origins of the modern genre

Newbery's A Little Pretty Pocket-Book, originally published in 1744

The modern children's book emerged in mid-18th-century England.[26] A growing polite middle-class and the influence of Lockean theories of childhood innocence combined to create the beginnings of childhood as a concept. In an article for the British Library, professor MO Grenby writes, "in the 1740s, a cluster of London publishers began to produce new books designed to instruct and delight young readers. Thomas Boreman was one. Another was Mary Cooper, whose two-volume Tommy Thumb's Pretty Song Book (1744) is the first known nursery rhyme collection. But the most celebrated of these pioneers is John Newbery, whose first book for the entertainment of children was A Little Pretty Pocket-Book."[27]

Widely considered the first modern children's book, A Little Pretty Pocket-Book was the first children's publication aimed at giving enjoyment to children,[28] containing a mixture of rhymes, picture stories and games for pleasure.[29] Newbery believed that play was a better enticement to children's good behavior than physical discipline,[30] and the child was to record his or her behaviour daily. The book was child–sized with a brightly colored cover that appealed to children—something new in the publishing industry. Known as gift books, these early books became the precursors to the toy books popular in the nineteenth century.[31] Newbery was also adept at marketing this new genre. According to the journal The Lion and the Unicorn, "Newbery's genius was in developing the fairly new product category, children's books, through his frequent advertisements... and his clever ploy of introducing additional titles and products into the body of his children's books."[32][33] Professor Grenby writes, "Newbery has become known as the 'father of children's literature' chiefly because he was able to show that publishing children's books could be a commercial success."[27]

A woodcut of the eponymous Goody Two-Shoes from the 1768 edition of The History of Little Goody Two-Shoes. It was first published in London in 1765.

The improvement in the quality of books for children and the diversity of topics he published helped make Newbery the leading producer of children's books in his time. He published his own books as well as those by authors such as Samuel Johnson and Oliver Goldsmith;[9]: 36 [34] the latter may have written The History of Little Goody Two-Shoes, Newbery's most popular book.

Another philosopher who influenced the development of children's literature was Jean-Jacques Rousseau, who argued that children should be allowed to develop naturally and joyously. His idea of appealing to a children's natural interests took hold among writers for children.[9]: 41  Popular examples included Thomas Day's The History of Sandford and Merton, four volumes that embody Rousseau's theories. Furthermore, Maria and Richard Lovell Edgeworth's Practical Education: The History of Harry and Lucy (1780) urged children to teach themselves.[35]

Rousseau's ideas also had great influence in Germany, especially on German Philanthropism, a movement concerned with reforming both education and literature for children. Its founder, Johann Bernhard Basedow, authored Elementarwerk as a popular textbook for children that included many illustrations by Daniel Chodowiecki. Another follower, Joachim Heinrich Campe, created an adaptation of Robinson Crusoe that went into over 100 printings. He became Germany's "outstanding and most modern"[3]: 736  writer for children. According to Hans-Heino Ewers in The International Companion Encyclopedia of Children's Literature, "It can be argued that from this time, the history of European children's literature was largely written in Germany."[3]: 737 

Pages from the 1819 edition of Kinder- und Haus-Märchen by the Brothers Grimm

The Brothers Grimm preserved and published the traditional tales told in Germany.[25]: 184  They were so popular in their home country that modern, realistic children's literature began to be looked down on there. This dislike of non-traditional stories continued there until the beginning of the next century.[3]: 739–740  In addition to their collection of stories, the Grimm brothers also contributed to children's literature through their academic pursuits. As professors, they had a scholarly interest in the stories, striving to preserve them and their variations accurately, recording their sources.[9]: 259 

A similar project was carried out by the Norwegian scholars Peter Christen Asbjørnsen and Jørgen Moe, who collected Norwegian fairy tales and published them as Norwegian Folktales, often referred to as Asbjørnsen and Moe. By compiling these stories, they preserved Norway's literary heritage and helped create the Norwegian written language.[9]: 260 

Danish author and poet Hans Christian Andersen traveled through Europe and gathered many well-known fairy tales and created new stories in the fairy tale genre.[36]

In Switzerland, Johann David Wyss published The Swiss Family Robinson in 1812, with the aim of teaching children about family values, good husbandry, the uses of the natural world and self-reliance. The book became popular across Europe after it was translated into French by Isabelle de Montolieu.

E. T. A. Hoffmann's tale "The Nutcracker and the Mouse King" was published in 1816 in a German collection of stories for children, Kinder-Märchen.[37] It is the first modern short story to introduce bizarre, odd and grotesque elements in children's literature and thereby anticipates Lewis Carroll's tale, Alice's Adventures in Wonderland.[38] There are not only parallels concerning the content (the weird adventures of a young girl in a fantasy land), but also the origin of the tales as both are dedicated and given to a daughter of the author's friends.

Golden age

The shift to a modern genre of children's literature occurred in the mid-19th century; didacticism of a previous age began to make way for more humorous, child-oriented books, more attuned to the child's imagination. The availability of children's literature greatly increased as well, as paper and printing became widely available and affordable, the population grew and literacy rates improved.[3]: 654–655 

Tom Brown's School Days by Thomas Hughes appeared in 1857, and is considered to be the founding book in the school story tradition.[39]: 7–8  However, it was Lewis Carroll's fantasy, Alice's Adventures in Wonderland, published in 1865 in England, that signaled the change in writing style for children to an imaginative and empathetic one. Regarded as the first "English masterpiece written for children"[9]: 44  and as a founding book in the development of fantasy literature, its publication opened the "First Golden Age" of children's literature in Britain and Europe that continued until the early 1900s. The fairy-tale absurdity of Wonderland has solid historical ground as a satire of the serious problems of the Victorian era. Lewis Carroll is ironic about the prim and all-out regulated life of the "golden" Victorian century.[39]: 18  One other noteworthy publication was Mark Twain's book Tom Sawyer (1876), which was one of the first "boy books", intended for children but enjoyed by both children and adults alike. These were classified as such for the themes they contained, consisting of fighting and work.[40] Another important book of that decade was The Water-Babies, A Fairy Tale for a Land Baby, by Rev. Charles Kingsley (1862), which became extremely popular and remains a classic of British children's literature.

In 1883, Carlo Collodi wrote the first Italian fantasy novel, The Adventures of Pinocchio, which was translated many times. In that same year, Emilio Salgari, the man who would become "the adventure writer par excellence for the young in Italy"[41] first published his legendary character Sandokan. In Britain, The Princess and the Goblin and its sequel The Princess and Curdie, by George MacDonald, appeared in 1872 and 1883, and the adventure stories Treasure Island and Kidnapped, both by Robert Louis Stevenson, were extremely popular in the 1880s. Rudyard Kipling's The Jungle Book was first published in 1894, and J. M. Barrie told the story of Peter Pan in the novel Peter and Wendy in 1911. Johanna Spyri's two-part novel Heidi was published in Switzerland in 1880 and 1881.[3]: 749 

In the US, children's publishing entered a period of growth after the

African American folk tales adapted and compiled by Joel Chandler Harris, appeared.[3]
: 478 

In the late nineteenth and early twentieth centuries, a plethora of children's novels began featuring realistic, non-magical plotlines. Certain titles received international success such as Robert Louis Stevenson's Treasure Island (1883), L. M. Montgomery's Anne of Green Gables (1908), and Louisa May Alcott's Little Women (1869).[20]

National traditions

United Kingdom

Illustration from Alice's Adventures in Wonderland, 1865

Literature for children had developed as a separate category of literature especially in the Victorian era, with some works becoming internationally known, such as Lewis Carroll's Alice's Adventures in Wonderland (1865) and its sequel Through the Looking-Glass. Another classic of the period is Anna Sewell's animal novel Black Beauty (1877). At the end of the Victorian era and leading into the Edwardian era, author and illustrator Beatrix Potter published The Tale of Peter Rabbit in 1902. Potter went on to produce 23 children's books and become very wealthy. A pioneer of character merchandising, in 1903 she patented a Peter Rabbit doll, making Peter the first licensed character.[42][43] Michael O. Tunnell and James S. Jacobs, professors of children's literature at Brigham Young University, write, "Potter was the first to use pictures as well as words to tell the story, incorporating coloured illustration with text, page for page."[44]

Rudyard Kipling published The Jungle Book in 1894. A major theme in the book is abandonment followed by fostering, as in the life of Mowgli, echoing Kipling's own childhood. In the latter years of the 19th century, precursors of the modern picture book were illustrated books of poems and short stories produced by English illustrators Randolph Caldecott, Walter Crane, and Kate Greenaway. These had a larger proportion of pictures to words than earlier books, and many of their pictures were in colour. Some British artists made their living illustrating novels and children's books, among them Arthur Rackham, Cicely Mary Barker, W. Heath Robinson, Henry J. Ford, John Leech, and George Cruikshank. In the 1890s, some of the best known fairy tales from England were compiled in Joseph Jacobs' English Fairy Tales, including Jack and the Beanstalk, Goldilocks and the Three Bears, The Three Little Pigs, Jack the Giant Killer and Tom Thumb.[45]

Peter Pan statue in Kensington Gardens, London

The

Robert Baden-Powell's first book, Scouting for Boys, was published. Inspiration for Frances Hodgson Burnett's novel The Secret Garden (1910) was the Great Maytham Hall Garden in Kent. While fighting in the trenches for the British Army in World War I, Hugh Lofting created the character of Doctor Dolittle, who appears in a series of twelve books
.

The Golden Age of Children's Literature ended with

The Famous Five, The Secret Seven, and The Adventure Series.[48] The first of these children's stories, Five on a Treasure Island
, was published in 1942.

Statue of C. S. Lewis in front of the wardrobe from his Narnia book The Lion, the Witch and the Wardrobe

In the 1950s, the book market in Europe began to recover from the effects of the two world wars. An informal literary discussion group associated with the English faculty at the University of Oxford, were the "Inklings", with the major fantasy novelists

Library Association, recognising the year's best children's book by a British author.[49]

uninhabited island
and their disastrous attempt to govern themselves.

Willy Wonka (from Roald Dahl's Charlie and the Chocolate Factory), and the Mad Hatter (from Lewis Carroll's Alice's Adventures in Wonderland) in London

Fantastic Mr. Fox (1970), The BFG (1982), The Witches (1983), and Matilda (1988). Starting in 1958, Michael Bond published more than twenty humorous stories about Paddington Bear.[52]

Jennings series by Anthony Buckeridge
.

Stormbreaker
(2000).

photograph
J. K. Rowling reads from her novel Harry Potter and the Philosopher's Stone

Philip Pullman's His Dark Materials is an epic trilogy of fantasy novels consisting of Northern Lights (1995, published as The Golden Compass in North America), The Subtle Knife (1997), and The Amber Spyglass (2000). It follows the coming of age of two children, Lyra Belacqua and Will Parry, as they wander through a series of parallel universes. The three novels have won a number of awards, most notably the 2001 Whitbread Book of the Year prize, won by The Amber Spyglass. Northern Lights won the Carnegie Medal for children's fiction in 1995.[53]

Neil Gaiman wrote the dark fantasy novella Coraline (2002). His 2008 fantasy, The Graveyard Book, traces the story of a boy who is raised by the supernatural occupants of a graveyard. In 2001, Terry Pratchett received the Carnegie Medal (his first major award) for The Amazing Maurice and His Educated Rodents.[54] Cressida Cowell's How to Train Your Dragon series were published between 2003 and 2015.[55]

best selling book-series in history. The series has been translated into 67 languages,[56][57] so placing Rowling among the most translated authors in history.[58]

Adventure fiction

Illustration from Robert Louis Stevenson's 1883 pirate adventure Treasure Island

While Daniel Defoe wrote Robinson Crusoe in 1719 (spawning so many imitations it defined a genre, Robinsonade), adventure stories written specifically for children began in the nineteenth century. Early examples from British authors include Frederick Marryat's The Children of the New Forest (1847) and Harriet Martineau's The Peasant and the Prince (1856).[59]

The Victorian era saw the development of the genre, with

R. M. Ballantyne and G. A. Henty specializing in the production of adventure fiction for boys.[60] This inspired writers who normally catered to adult audiences to write for children, a notable example being Robert Louis Stevenson's classic pirate story Treasure Island (1883).[60]

In the years after the First World War, writers such as

adventurer, by W. E. Johns. Between 1941 and 1961 there were 60 issues with stories about Biggles,[62] and in the 1960s occasional contributors included the BBC astronomer Patrick Moore. Between 1940 and 1947, W. E. Johns contributed sixty stories featuring the female pilot Worrals.[63] Evoking epic themes, Richard Adams's 1972 survival and adventure novel Watership Down
follows a small group of rabbits who escape the destruction of their warren and seek to establish a new home.

Geoffrey Trease and Rosemary Sutcliff brought a new sophistication to the historical adventure novel.[64][60] Philip Pullman in the Sally Lockhart novels and Julia Golding in the Cat Royal series have continued the tradition of the historical adventure.[60]

Magazines and comics

See also: Children's comics
Statue of Minnie the Minx, a character from The Beano. Launched in 1938, the comic is known for its anarchic humour, with Dennis the Menace appearing on the cover.

An important aspect of British children's literature has been

comic books and magazines. Amongst the most popular and longest running comics have been The Beano and The Dandy, both first published in the 1930s.[65][66] British comics in the 20th century evolved from illustrated penny dreadfuls of the Victorian era (featuring Sweeney Todd, Dick Turpin and Varney the Vampire).[67] First published in the 1830s, according to The Guardian, penny dreadfuls were "Britain's first taste of mass-produced popular culture for the young."[68] Robin Hood featured in a series of penny dreadfuls in 1838 which sparked the beginning of the mass circulation of Robin stories.[69]

Boy's Own Paper, published from 1879 to 1967[71] and The Girl's Own Paper published from 1880 until 1956.[72] In the 1890s, half-penny publications succeeded the penny dreadfuls in popularity among British children. These included The Half-penny Marvel and Union Jack. From 1896, the cover of the half-penny comic Illustrated Chips featured the long-running comic strip of the tramps Weary Willie and Tired Tim, with its readers including a young Charlie Chaplin.[73]

Other story papers for older boys were

Scout Movement. Contributors to The Girl's Own Paper included Noel Streatfeild, Rosa Nouchette Carey, Sarah Doudney (1841–1926), Angela Brazil, Richmal Crompton, Fanny Fern, and Baroness Orczy
.

The

Tiger in 1954.[81] First published by Martin Handford in 1987, more than 73 million Where's Wally? picture puzzle books had been sold around the world by 2007.[82]

United States

Newbery Award
winner

Children's literature has been a part of American culture since Europeans first settled in America. The earliest books were used as tools to instill self-control in children and preach a life of morality in Puritan society. Eighteenth-century American youth began to shift away from the social upbringing of its European counterpart, bringing about a change in children's literature. It was in this time that A Little Book for Little Children was written by T. W. in 1712. It includes what is thought to be the earliest nursery rhyme and one of the earliest examples of a textbook approaching education from the child's point of view, rather than the adult's.[83]

Children's magazines in the United States began with the Young Misses' Magazine (1806) of Brooklyn, New York.[84]

One of the most famous books of American children's literature is L. Frank Baum's fantasy novel The Wonderful Wizard of Oz, published in 1900. "By combining the English fondness for word play with the American appetite for outdoor adventure", Connie Epstein in International Companion Encyclopedia Of Children's Literature says Baum "developed an original style and form that stands alone".[3]: 479  Baum wrote fourteen more Oz novels, and other writers continued the Oz series into the twenty-first century.

Demand continued to grow in

The Bookman magazine began to publish regular reviews of children's releases. The first Children's Book Week was launched in 1919. In that same year, Louise Seaman Bechtel became the first person to head a juvenile book publishing department in the country. She was followed by May Massee in 1922, and Alice Dalgliesh in 1934.[3]: 479–480  During this period, Black authors began writing and publishing books for African American children. Writers like Helen Adele Whiting (1885–1959) and Jane Dabney Shackelford (1895–1979) produced books designed to instill pride in Black history and culture.[85]

The

Sue Barton nurse book series by Helen Dore Boylston.[88]
: 11 

The already vigorous growth in children's books became a boom in the 1950s, and children's publishing became big business.[3]: 481  In 1952, American journalist E. B. White published Charlotte's Web, which was described as "one of the very few books for young children that face, squarely, the subject of death".[25]: 467  Maurice Sendak illustrated more than two dozen books during the decade, which established him as an innovator in book illustration.[3]: 481  The Sputnik crisis that began in 1957, provided increased interest and government money for schools and libraries to buy science and math books and the non-fiction book market "seemed to materialize overnight".[3]: 482 

The 1960s saw an age of new realism in children's books emerge. Given the atmosphere of social revolution in 1960s America, authors and illustrators began to break previously established taboos in children's literature. Controversial subjects dealing with alcoholism, death, divorce, and child abuse were now being published in stories for children. Maurice Sendak's Where the Wild Things Are in 1963 and Louise Fitzhugh's Harriet the Spy in 1964 are often considered the first stories published in this new age of realism.[44]

Esther Forbes in Johnny Tremain (1943) and Mildred D. Taylor in Roll of Thunder, Hear My Cry (1976) continued the tradition of the historical adventure in an American setting.[60] The modern children's adventure novel sometimes deals with controversial issues like terrorism, as in Robert Cormier's After the First Death in 1979, and warfare in the Third World, as in Peter Dickinson's AK in 1990.[60]

In books for a younger age group, Bill Martin and John Archambault's Chicka Chicka Boom Boom (1989) presented a new spin on the alphabet book. Laura Numeroff published If You Give a Mouse a Cookie in 1985 and went on to create a series of similarly named books that is still popular for children and adults to read together.

Lloyd Alexander's The Chronicles of Prydain (1964–1968) was set in a fictionalized version of medieval Britain.

Continental Europe

Johann David Wyss wrote the adventure novel The Swiss Family Robinson (1812). The period from 1890 until World War I is considered the Golden Age of Children's Literature in Scandinavia. Erik Werenskiold, Theodor Kittelsen, and Dikken Zwilgmeyer were especially popular, writing folk and fairy tales as well as realistic fiction. The 1859 translation into English by George Webbe Dasent helped increase the stories' influence.[89] One of the most influential and internationally most successful Scandinavian children's books from this period is Selma Lagerlöfs The Wonderful Adventures of Nils. Astrid Lindgren (Pippi Longstocking) and Jostein Gaarder (Sophie's World) are two of the best-known Scandinavian writers internationally. In Finland, some of the most significant children's book writers include Tove Jansson (Moomins), Oiva Paloheimo (Tirlittan) and Elina Karjalainen (Uppo-Nalle).

The interwar period saw a slow-down in output similar to Britain's, although "one of the first mysteries written specifically for children", Emil and the Detectives by Erich Kästner, was published in Germany in 1930.[90] German writers Michael Ende (The Neverending Story) and Cornelia Funke (Inkheart) achieved international success with their fantasy books.

The period during and following World War II became the Classic Age of the picture book in Switzerland, with works by Alois Carigiet, Felix Hoffmann, and Hans Fischer.[91] Nineteen sixty-three was the first year of the Bologna Children's Book Fair in Italy, which was described as "the most important international event dedicated to the children's publishing".[92] For four days it brings together writers, illustrators, publishers, and book buyers from around the world.[92]

Russia and the Soviet Union

Postal stamp of Russia celebrating children's books.

Vera Zhelikhovsky, Elizaveta Kondrashova, and Nadezhda Lukhmanova also wrote for girls during this period.[3]
: 767 

Children's non-fiction gained great importance in Russia at the beginning of the century. A ten-volume children's encyclopedia was published between 1913 and 1914.

Realism took a gloomy turn by frequently showing the maltreatment of children from lower classes. The most popular boys' material was Sherlock Holmes, and similar stories from detective magazines.[3]
: 768 

The state took control of children's literature during the

Maksim Gorky edited the first children's Northern Lights under Soviet rule. People often label the 1920s as the Golden Age of Children's Literature in Russia.[3]: 769  Samuil Marshak led that literary decade as the "founder of (Soviet) children's literature".[93]: 193  As head of the children's section of the State Publishing House and editor of several children's magazines, Marshak exercised enormous influence by[93]: 192–193  recruiting Boris Pasternak and Osip Mandelstam
to write for children.

In 1932, professional writers in the Soviet Union formed the

Alexander Belyayev, who wrote in the 1920s and 1930s, became Russia's first science fiction writer.[3]: 770  According to Ben Hellman in the International Companion Encyclopedia of Children's Literature, "war was to occupy a prominent place in juvenile reading, partly compensating for the lack of adventure stories", during the Soviet Period.[3]: 771  More political changes in Russia after World War II brought further change in children's literature. Today, the field is in a state of flux because some older authors are being rediscovered and others are being abandoned.[3]
: 772 

China

The Chinese

Revolution of 1911 and World War II brought political and social change that revolutionized children's literature in China. Western science, technology, and literature became fashionable. China's first modern publishing firm, Commercial Press, established several children's magazines, which included Youth Magazine, and Educational Pictures for Children.[3]: 832–833  The first Chinese children's writer was Sun Yuxiu, an editor of Commercial Press, whose story The Kingdom Without a Cat was written in the language of the time instead of the classical style used previously. Yuxiu encouraged novelist Shen Dehong to write for children as well. Dehong went on to rewrite 28 stories based on classical Chinese literature specifically for children. In 1932, Zhang Tianyi published Big Lin and Little Lin, the first full-length Chinese novel for children.[3]
: 833–834 

The

Chinese Revolution of 1949 changed children's literature again. Many children's writers were denounced, but Tianyi and Ye Shengtao continued to write for children and created works that were aligned with Maoist ideology. The 1976 death of Mao Zedong provoked more changes that swept China. The work of many writers from the early part of the century became available again. In 1990 came General Anthology of Modern Children's Literature of China, a fifteen-volume anthology of children's literature since the 1920s.[3]
: 834–835 

Brazil

In Brazil, Monteiro Lobato[94] wrote a series of 23 books for children known as Sítio do Picapau Amarelo (The Yellow Woodpecker Ranch), between 1920 and 1940. The series is considered representative of Brazilian children's literature and the Brazilian equivalent to children's classics such as C. S. Lewis, The Chronicles of Narnia and L. Frank Baum's The Wonderful Wizard of Oz series.[according to whom?] The concept was introduced in Monteiro Lobato's 1920 short story "A Menina do Narizinho Arrebitado", and was later republished as the first chapter of "Reinações de Narizinho", which is the first novel of the series.[citation needed] The main setting is the "Sítio do Picapau Amarelo", where a boy (Pedrinho), a girl (Narizinho) and their living and thinking anthropomorphic toys enjoy exploring adventures in fantasy, discovery and learning. On several occasions, they leave the ranch to explore other worlds such as Neverland, the mythological Ancient Greece, an underwater world known as "Reino das Águas Claras" (Clear Waters Kingdom), and even the outer space. The "Sítio" is often symbolized by the character of Emília, Lobato's most famous creation.[citation needed]

India

The Crescent Moon by Rabindranath Tagore illus. by Nandalal Bose, Macmillan 1913

Christian missionaries first established the Calcutta School-Book Society in the 19th century, creating a separate genre for children's literature in the country. Magazines and books for children in native languages soon appeared.[3]: 808  In the latter half of the century, Raja Shivprasad wrote several well-known books in Hindustani.[3]: 810  A number of respected Bengali writers began producing Bengali literature for children, including Ishwar Chandra Vidyasagar, who translated some stories and wrote others himself. Nobel Prize-winner Rabindranath Tagore wrote plays, stories, and poems for children, including one work illustrated by painter Nandalal Bose. They worked from the end of the nineteenth century into the beginning of the twentieth. Tagore's work was later translated into English, with Bose's pictures.[3]: 811  Behari Lal Puri was the earliest writer for children in Punjabi. His stories were didactic in nature.[3]
: 815 

The first full-length children's book was Khar Khar Mahadev by

Oriya literature, who wrote many good books for children, including Pari Raija, Kuhuka Raija, Panchatantra, and Adi Jugara Galpa Mala. He wrote biographies of many historical personalities, such as Kapila Deva. In 1978, the firm organized a writers' competition to encourage quality children's writing. The following year, the Children's Book Trust began a writing workshop and organized the First International Children's Book Fair in New Delhi.[3]: 809  Children's magazines, available in many languages, were widespread throughout India during this century.[3]: 811–820  Ruskin Bond
is also a famous Anglo-Indian writer for children.

Iran

One of the pioneering children's writer in

Classical Persian literature re-written for children.[96]

Nigeria

Originally, for centuries, stories were told by Africans in their native languages, many being told during social gatherings. Stories varied between mythic narratives dealing with creation and basic proverbs showcasing human wisdom. These narratives were passed down from generation to generation orally.[97] Since its independence in 1960, Nigeria has witnessed a rise in the production of children's literature by its people,[98] the past three decades contributing the most to the genre. Most children's books depict the African culture and lifestyle, and trace their roots to traditional folktales, riddles, and proverbs. Authors who have produced such works include Chinua Achebe, Cyprian Ekwensi, Amos Tutuola, Flora Nwapa, and Buchi Emecheta. Publishing companies also aided in the development of children's literature.

Classification

Children's literature can be divided into categories, either according to genre or the intended age of the reader.

A Tagore illustration of a Hindu myth

By genre

A literary genre is a category of literary compositions. Genres may be determined by technique, tone, content, or length. According to Anderson,[99] there are six categories of children's literature (with some significant subgenres):

By age category

The criteria for these divisions are vague, and books near a borderline may be classified either way. Books for younger children tend to be written in simple language, use large print, and have many illustrations. Books for older children use increasingly complex language, normal print, and fewer (if any) illustrations. The categories with an age range are these:

  • Picture books, appropriate for pre-readers or children ages 0–8
  • appropriate for children
    ages 5–7. These are often designed to help children build their reading skills and help them make the transition to becoming independent readers
  • Chapter books, appropriate for children ages 7–10
  • Middle grade fiction, appropriate for children ages 8–12
  • Young adult fiction
    , appropriate for children ages 12–18

Illustration

Comenius
, the first children's picture book.

Pictures have always accompanied children's stories.

Byzantine Egypt, shows illustrations accompanied by the story of Hercules' labors.[100] Modern children's books are illustrated in a way that is rarely seen in adult literature, except in graphic novels
. Generally, artwork plays a greater role in books intended for younger readers (especially pre-literate children). Children's picture books often serve as an accessible source of high quality art for young children. Even after children learn to read well enough to enjoy a story without illustrations, they (like their elders) continue to appreciate the occasional drawings found in chapter books.

According to Joyce Whalley in The International Companion Encyclopedia of Children's Literature, "an illustrated book differs from a book with

Comenius. Acting as a kind of encyclopedia, Orbis Pictus had a picture on every page, followed by the name of the object in Latin and German. It was translated into English in 1659 and was used in homes and schools around Europe and Great Britain for many years.[3]
: 220 

Early children's books, such as Orbis Pictus, were illustrated by

The Frog Prince
, 1874.

Another method of creating illustrations for children's books was etching, used by George Cruikshank in the 1850s. By the 1860s, top artists were illustrating for children, including Crane, Randolph Caldecott, Kate Greenaway, and John Tenniel. Most pictures were still black-and-white, and many color pictures were hand colored, often by children.[3]: 224–226  The Essential Guide to Children's Books and Their Creators credits Caldecott with "The concept of extending the meaning of text beyond literal visualization".[25]: 350 

Twentieth-century artists such as

Kay Nielson, Edmund Dulac, and Arthur Rackham produced illustrations that are still reprinted today.[3]: 224–227  Developments in printing capabilities were reflected in children's books. After World War II, offset lithography became more refined, and painter-style illustrations, such as Brian Wildsmith's were common by the 1950s.[3]
: 233 

Illustrators of Children's Books, 1744–1945 (Horn Book, 1947), an extensively detailed four volume work by Louise Payson Latimer, Bertha E. Mahony and Beulah Folmsbee, catalogs illustrators of children's books over two centuries.

Scholarship

Professional organizations, dedicated publications, individual researchers and university courses conduct scholarship on children's literature. Scholarship in children's literature is primarily conducted in three different disciplinary fields: literary studies/cultural studies (literature and language departments and humanities), library and information science, and education. (Wolf, et al., 2011).

Typically, children's literature scholars from literature departments in universities (English, German, Spanish, etc. departments), cultural studies, or in the humanities conduct literary analysis of books. This literary criticism may focus on an author, a thematic or topical concern, genre, period, or literary device and may address issues from a variety of critical stances (poststructural, postcolonial, New Criticism, psychoanalytic, new historicism, etc.). Results of this type of research are typically published as books or as articles in scholarly journals.

The field of Library and Information Science has a long history of conducting research related to children's literature.

Most educational researchers studying children's literature explore issues related to the use of children's literature in classroom settings. They may also study topics such as home use, children's out-of-school reading, or parents' use of children's books. Teachers typically use children's literature to augment classroom instruction.

Distribution

Number of children's books titles published by the trade sector in 2020

The US reported revenue of USD 4.7 billion from children's books in 2020, followed by Germany (USD 2 billion), the UK (USD 508 million), Spain (USD 427 million) and France (USD 406 million).[101]

Literary criticism

Controversies often emerge around the content and characters of prominent children's books.

literary critics such as Peter Hunt
.

Debate over controversial content

A widely discussed and debated topic by critics and publishers in the children's book industry is whether outdated and offensive content, specifically racial stereotypes, should be changed in new editions. Others argue instead that original content should remain but that publishers should add information to guide parents in conversations with their children about the problematic elements of the particular story.[107][108] Some see racist stereotypes as cultural artifacts that should be preserved.[109] In The Children's Culture Reader, scholar Henry Jenkins references Herbert R. Kohl's essay "Should We Burn Babar?" which raises the debate whether children should be educated on how to think critically towards oppressive ideologies rather than ignore historical mistakes. Jenkins suggests that parents and educators should trust children to make responsible judgments.[110]

Some books have been altered in newer editions and significant changes can be seen, such as illustrator

Little Black Sambo have been remade as more appropriate and without prejudice.[112]

Stereotypes, racism and cultural bias

1900 edition of the controversial The Story of Little Black Sambo

Popular classics such as

racial stereotyping.[102][113][114][115]

The academic journal Children's Literature Review provides critical analysis of many well known children's books. In its 114th volume, the journal discusses the cultural stereotypes in Belgian cartoonist

Herge's Tintin series in reference to its depiction of people from the Congo.[116]

After the scramble for Africa which occurred between the years of 1881 and 1914 there was a large production of children's literature which attempted to create an illusion of what life was like for those who lived on the African continent. This was a simple technique in deceiving those who only relied on stories and secondary resources. Resulting in a new age of books which put a "gloss" on imperialism and its teachings at the time. Thus encouraging the idea that the colonies who were part of the African continent were perceived as animals, savages and inhuman-like. Therefore, needing cultured higher class Europeans to share their knowledge and resources with the locals. Also promoting the idea that the people within these places were as exotic as the locations themselves. Examples of these books include:

Mary Lennox.[120][121][122] Hugh Lofting's The Story of Doctor Dolittle has been accused of "white racial superiority",[123] by implying through its underlying message that an ethnic minority person is less than human.[124]

The picture book The Snowy Day, written and illustrated by Ezra Jack Keats was published in 1962 and is known as the first picture book to portray an African-American child as a protagonist. Middle Eastern and Central American protagonists still remain underrepresented in North American picture books.[125] According to the Cooperative Children's Books Center (CCBC) at University of Wisconsin Madison, which has been keeping statistics on children's books since the 1980s, in 2016, out of 3,400 children's books received by the CCBC that year, only 278 were about Africans or African Americans. Additionally, only 92 of the books were written by Africans or African Americans.[126] In his interview in the book Ways of Telling: Conversations on the Art of the Picture Book, Jerry Pinkney mentioned how difficult it was to find children's books with black children as characters.[127] In the literary journal The Black Scholar, Bettye I. Latimer has criticized popular children's books for their renditions of people as almost exclusively white, and notes that Dr. Seuss books contain few ethnic minority people.[128] The popular school readers Fun with Dick and Jane which ran from the 1930s until the 1970s, are known for their whitewashed renditions of the North American nuclear family as well as their highly gendered stereotypes. The first black family did not appear in the series until the 1960s, thirty years into its run.[129][130][131]

Writer Mary Renck Jalongo In Young Children and Picture Books discusses damaging stereotypes of Native Americans in children's literature, stating repeated depictions of indigenous people as living in the 1800s with feathers and face paint cause children to mistake them as fictional and not as people that still exist today.[132] The depictions of Native American people in Laura Ingalls Wilder's Little House on the Prairie and J. M. Barrie's Peter Pan are widely discussed among critics. Wilder's novel, based on her childhood in America's midwest in the late 1800s, portrays Native Americans as racialized stereotypes and has been banned in some classrooms.[133] In her essay, Somewhere Outside the Forest: Ecological Ambivalence in Neverland from The Little White Bird to Hook, writer M. Lynn Byrd describes how the natives of Neverland in Peter Pan are depicted as "uncivilized", valiant fighters unafraid of death and are referred to as "redskins", which is now considered a racial slur.[134][135]

Imperialism and colonialism

The presence of

imperialist themes in children's literature have been identified in some of the most well known children's classics of the late nineteenth and early twentieth centuries.[136][137][138]

In the French illustrator Jean de Brunhoff's 1931 picture book Histoire de Babar, le petit elephant (The Story of Babar, The Little Elephant), prominent themes of imperialism and colonialism have been noted and identified as propaganda. An allegory for French colonialism, Babar easily assimilates himself into the bourgeois lifestyle. It is a world where the elephants who have adapted themselves dominate the animals who have not yet been assimilated into the new and powerful civilization.[139][140][141][142] H. A. Rey and Margret Rey's Curious George first published in 1941 has been criticized for its blatant slave and colonialist narratives. Critics claim the man with the yellow hat represents a colonialist poacher of European descent who kidnaps George, a monkey from Africa, and sends him on a ship to America. Details such as the man in colonialist uniform and Curious George's lack of tail are points in this argument. In an article, The Wall Street Journal interprets it as a "barely disguised slave narrative."[143][144][145] Rudyard Kipling, the author of Just So Stories and The Jungle Book has also been accused of colonial prejudice attitudes.[146] Literary critic Jean Webb, among others, has pointed out the presence of British imperialist ideas in The Secret Garden.[147][148] Colonialist ideology has been identified as a prominent element in Peter Pan by critics.[149][150]

Gender roles and representation of women

Some of the earliest children's stories that contain feminist themes are

Moomin series which features strong and individualized female characters.[151] In recent years, there has been a surge in the production and availability of feminist children's literature as well as a rise in gender neutrality
in children's literature.

In addition to perpetuating stereotypes about appropriate behavior and occupations for women and girls, children's books frequently lack female characters entirely, or include them only as minor or unimportant characters.

Kanga, who is a mother to Roo.[154] Even animals and inanimate objects are usually identified as being male in children's books.[152] The near-absence of significant female characters is paradoxical because of the role of women in creating children's literature.[152] According to an article published in the Guardian in 2011, by Allison Flood, "Looking at almost 6,000 children's books published between 1900 and 2000, the study, led by Janice McCabe, a professor of sociology at Florida State University, found that males are central characters in 57% of children's books published each year, with just 31% having female central characters. Male animals are central characters in 23% of books per year, the study found, while female animals star in only 7.5%".[155]

On the one hand Growing up with Dick and Jane highlights the heterosexual,

sexist stereotypes for women.[125]

In her book Children's Literature: From the fin de siècle to the new millennium, professor Kimberley Reynolds claims gender division stayed in children's books prominently until the 1990s. She also says that capitalism encourages gender-specific marketing of books and toys.[157] For example, adventure stories have been identified as being for boys and domestic fiction intended for girls.[158] Publishers often believe that boys will not read stories about girls, but that girls will read stories about both boys and girls; therefore, a story that features male characters is expected to sell better.[152] The interest in appealing to boys is also seen in the Caldecott awards, which tend to be presented to books that are believed to appeal to boys.[152] Reynolds also says that both boys and girls have been presented by limited representations of appropriate behaviour, identities and careers through the illustrations and text of children's literature. She argues girls have traditionally been marketed books that prepare them for domestic jobs and motherhood. Conversely, boys are prepared for leadership roles and war.[159] During the 20th century, more than 5,000 children's picture books were published in the U.S; during that time, male characters outnumbered female characters by more than 3 to 2, and male animals outnumbered female animals by 3 to 1.[160] No children's picture book that featured a protagonist with an identifiable gender contained only female characters.[160]

I'm Glad I'm a Boy! I'm Glad I'm a Girl! (1970) by Whitney Darrow Jr. was criticized for narrow career depictions for both boys and girls. The book informs the reader that boys are doctors, policemen, pilots, and presidents while girls are nurses, meter maids, stewardesses and first ladies.[161]

Nancy F. Cott, once said that "gender matters; that is, it matters that human beings do not appear as neuter individuals, that they exist as male or female, although this binary is always filtered through human perception. I should add that when I say gender, I am talking about meaning. I am talking about something in which interpretation is already involved."[162]

In her book La sua barba non è poi così blu... Immaginario collettivo e violenza misogina nella fiaba di Perrault (2014, translated into Spanish Su barba no era tan azul and winner of the first international CIRSE award 2015[163]), Angela Articoni analyzes the fairy tale Bluebeard dwelling on the sentence pronounced by the protagonist to convince herself to accept marriage, an expression that recites to repeat the women victims of violence who hope to be able to redeem their prince charming.[164]

Effect on early childhood development

fairy tales have on the developing child. Bettelheim states the unconscious mind of a child is affected by the ideas behind a story, which shape their perception and guides their development.[165] Likewise, author and illustrator Anthony Browne contends the early viewing of an image in a picture book leaves an important and lasting impression on a child.[166] According to research, a child's most crucial individual characteristics are developed in their first five years. Their environment and interaction with images in picture books have a profound impact on this development and are intended to inform a child about the world.[167]

Children's literature critic Peter Hunt argues that no book is innocent of harbouring an ideology of the culture it comes from.[168] Critics discuss how an author's ethnicity, gender and social class inform their work.[169] Scholar Kimberley Reynolds suggests books can never be neutral as their nature is intended as instructional and by using its language, children are embedded with the values of that society.[170] Claiming childhood as a culturally constructed concept,[171] Reynolds states that it is through children's literature that a child learns how to behave and to act as a child should, according to the expectations of their culture. She also attributes capitalism, in certain societies, as a prominent means of instructing especially middle class children in how to behave.[159] The "image of childhood"[172] is said to be created and perpetuated by adults to affect children "at their most susceptible age".[173] Kate Greenaway's illustrations are used as an example of imagery intended to instruct a child in the proper way to look and behave.[172] In Roberta Seelinger Trites's book Disturbing the Universe: Power and Repression in Adolescent Literature, she also argues adolescence is a social construct established by ideologies present in literature.[174] In the study The First R: How Children Learn About Race and Racism, researcher Debra Ausdale studies children in multi-ethnic daycare centres. Ausdale claims children as young as three have already entered into and begun experimenting with the race ideologies of the adult world. She asserts racist attitudes are assimilated[175] using interactions children have with books as an example of how children internalize what they encounter in real life.[176]

Benefits of children's books

Children's books are critical to child development, especially at preschool ages. Children have had limited engagement in social contexts at this age. Reading books will help them to prepare for future social interactions and real-life situations because reading helps language, cognitive, social, and emotional development.[citation needed]

Children's books increase language development by introducing new vocabulary and helping children to learn about using language in context.[177] Children are also exposed to various words and sentence structures when reading. Moreover, children's books enhance children's cognitive development in memory, attention, and imagination. Reading allows them to relate to their experience and understanding to make meaning of the sensory message, which is how the brain understands the world around them.[178] Children's books also benefit children's social and emotional development. Reading books help "personal development and self-understanding by presenting situations and characters with which our own can be compared".[179] Children's books often present topics that children can relate to, such as love, empathy, family affection, and friendship. Reading those books helps children to understand emotion and helps them transfer their learning to social contexts.

Awards

Many noted awards for children's literature exist in various countries, parts of the world, or for specific languages:

  • Africa – In Africa, The Golden Baobab Prize runs an annual competition for African writers of children's stories. It is one of the few African literary awards that recognizes writing for children and young adults. The competition is the only pan-African writing competition that recognizes promising African writers of children's literature. Every year, the competition invites entries of unpublished African-inspired stories written for an audience of 8- to 11-year-olds (Category A) or 12- to 15-year-olds (Category B). The writers who are aged 18 or below, are eligible for the Rising Writer Prize.
  • Australia – In Australia, the Children's Book Council of Australia runs a number of annual CBCA book awards. There are also the annual Prime Minister's Literary Awards which since 2010 include categories for children's and young adult literature.
  • Canada – In Canada, the Governor General's Literary Award for Children's Literature and Illustration, in English and French, is established. A number of the provinces' school boards and library associations also run popular "children's choice" awards where candidate books are read and championed by individual schools and classrooms. These include the Blue Spruce (grades K-2) Silver Birch Express (grades 3–4), Silver Birch (grades 5–6) Red Maple (grades 7–8) and White Pine (high school) in Ontario. Programs in other provinces include The Red Cedar and Stellar Awards in BC, the Willow Awards in Saskatchewan, and the Manitoba Young Readers Choice Awards. IBBY Canada offers a number of annual awards.
  • China – In China, the National Outstanding Children's Literature Award is the highest award given to children's literature.
  • Japan – In Japan, there are many awards for children's books.[180]
  • Philippines – In the Philippines, The Carlos Palanca Memorial Award for Literature for short story literature in the English and Filipino languages (Maikling Kathang Pambata) has been established since 1989. The Children's Poetry in the English and Filipino languages has been established since 2009. The Pilar Perez Medallion for Young Adult Literature was awarded in 2001 and 2002. The Philippine Board on Books for Young People gives major awards, which include the PBBY-Salanga Writers' Prize for excellence in writing and the PBBY-Alcala Illustrator's Prize for excellence in illustration. Other awards are The Ceres Alabado Award for Outstanding Contribution in Children's Literature; the Gintong Aklat Award (Golden Book Award); The Gawad Komisyon para sa Kuwentong Pambata (Commission Award for Children's Literature in Filipino) and the National Book Award (given by the Manila Critics' Circle) for Outstanding Production in Children's Books and young adult literature.
  • Guardian Award
    are a few notable awards.
  • nonfiction
    for children.

International awards also exist as forms of global recognition. These include the

Cybils Awards
, or Children's and Young Adult Bloggers' Literary Awards.

See also

Lists

References

  1. ^ ...remains the most translated Italian book and, after the Bible, the most widely read... by Francelia Butler, Children's Literature, Yale University Press, 1972.
  2. OCLC 176980408.{{cite book}}: CS1 maint: location missing publisher (link
    )
  3. ^
    ISBN 978-0-203-16812-7
    .
  4. ^ Library of Congress. "Children's Literature" (PDF). Library of Congress Collections Policy Statement. Library of Congress. Archived (PDF) from the original on 17 February 2017. Retrieved 1 June 2013.
  5. ISBN 978-0-912289-95-3
    .
  6. ^ Anderson 2006, p. 2
  7. ^ Hatfield, C. "Abstract":, "Comic Art, Children's Literature, and the New Comic Studies." The Lion and the Unicorn, vol. 30 no. 3, 2006, pp. 360–382. Project MUSE, doi:10.1353/uni.2006.0031 [1] Archived 2018-12-15 at the Wayback Machine
  8. ^ Smith, Dinitia (June 24, 2000). "The Times Plans a Children's Best-Seller List". The New York Times. Archived from the original on 21 June 2009. Retrieved 24 July 2012.
  9. ^
    Scott, Foresman
    .
  10. ^ a b c d Lerer, Seth (2008). Children's Literature: A Reader's History, from Aesop to Harry Potter. University of Chicago.
  11. ^ a b "To Instruct and Delight A History of Children's Literature". Random History. Archived from the original on July 15, 2012. Retrieved July 16, 2012.
  12. ISBN 978-0-313-29614-7
    .
  13. ^ •Lyons, Martyn. 2011. Books: a living history. Los Angeles: J. Paul Getty Museum.
  14. ^
    ISBN 978-0-8203-3481-3
    .
  15. S2CID 146379422
    .
  16. ^
    ISBN 978-0-549-34070-6.[permanent dead link
    ]
  17. ^ Wilye, Andrea Schwenke, ed. (2008). Considering Children's Literature: A Reader. Broadview. p. 46.[permanent dead link]
  18. ^
    ISBN 978-0-8153-3312-8
    .
  19. ^ a b c Reynolds, Kimberley (2011). Children's Literature: A Very Short Introduction. Oxford University Press.
  20. ^ a b c Lyons, Martyn. 2011. Books: a living history. Los Angeles: J. Paul Getty Museum.
  21. ^ e. g. The New Amplified Pilgrim's Progress (both book and dramatized audio) – as retold by James Pappas. Published by Orion's Gate (1999) and The Evergreen Wood: An Adaptation of the "Pilgrim's Progress" for Children written by Linda Perry, illustrated by Alan Perry. Published by Hunt & Thorpe, 1997. The Pilgrim's Progress#Retellings.
  22. ^ The Columbia Encyclopedia: Children's Literature. Columbia University Press. 2009. Archived from the original on 2012-04-22. Retrieved 2017-08-25.[ISBN missing]
  23. OCLC 191256117
    .
  24. ISBN 978-0-19-211559-1
    .
  25. ^
    ISBN 978-0-618-19082-9
    .
  26. ^ Upton, Emily (2013-07-19). "How the Newbery Award Got Its Name". Today I Found Out. Archived from the original on 2019-04-05. Retrieved 2013-10-14.
  27. ^ a b Grenby, M O (15 May 2014). "The origins of children's literature". British Library. Archived from the original on 1 March 2020. Retrieved 18 January 2020.
  28. ^ "Early Children's Literature: From moralistic stories to narratives of everyday life". Archived from the original on 2013-06-01. Retrieved 2013-10-14.
  29. Libraries Unlimited
    . p. 201.
  30. ISBN 0-06-446125-4
    , pp. 15–16.
  31. S2CID 143693178
    .
  32. S2CID 144833564
    .
  33. ^ Rose 1984, p. 218
  34. ^ Rose 1984, p. 219
  35. ISBN 9781317381235
    .
  36. ISBN 0-7148-1636-1
  37. ISBN 978-0-385-34864-5
    .
  38. ISBN 978-3-15-028377-6
    .
  39. ^
    ISBN 978-0-203-41975-5
    .
  40. ^ JulJulBulak, History of England in fifteenth century [full citation needed]
  41. ^ Lawson Lucas, A. (1995) "The Archetypal Adventures of Emilio Salgari: A Panorama of his Universe and Cultural Connections New Comparison", A Journal of Comparative and General Literary Studies, Number 20 Autumn
  42. ^ "How Beatrix Potter Invented Character Merchandising". Smithsonian. Archived from the original on 6 October 2022. Retrieved 6 October 2022.
  43. ^ "Peter Rabbit blazed a trail still well trod". The Times. Archived from the original on 6 October 2022. Retrieved 6 October 2022.
  44. ^
    ISSN 1936-2714
    .
  45. ISBN 978-0-393-05163-6
    .
  46. ISBN 978-0-203-16812-7
    , pp. 682–683.
  47. ^ Hunt, Peter (editor) (1996). International Companion Encyclopedia Of Children's Literature, pp. 475–476.
  48. ISBN 978-0-233-97441-5
  49. CILIP
    . Retrieved 11 July 2012.
  50. ^ Once upon a time, there was a man who liked to make up stories ... Archived 2012-01-30 at the Wayback Machine The Independent (Sunday, 12 December 2010)
  51. ^ "Chocolate Wars, The inspiration for Charlie and the Chocolate Factory". Slate. Archived from the original on 27 July 2021. Retrieved 27 July 2021. During Dahl's childhood, the two largest British candy firms, Cadbury and Rowntree, sent so many moles to work in competitors' factories that their spying became legendary
  52. ^ "Happy birthday little bear – Sunderland Echo, 26 June 2008". Archived from the original on 27 January 2009. Retrieved 5 June 2022.
  53. ^ "Questions Frequently Asked". Philip Pullman. Retrieved 2019-05-14.[permanent dead link]
  54. ^ Ezard, John (12 July 2002). "'Pied Piper' brings belated literary reward". The Guardian. London. Retrieved 8 November 2019.
  55. ^ "Children's author Cressida Cowell scoops philosophers' award for fight against stupidity" Archived 2018-06-12 at the Wayback Machine. The Guardian. Retrieved 15 June 2017
  56. ^ "Rowling 'makes £5 every second'". British Broadcasting Corporation. 3 October 2008. Archived from the original on 11 March 2009. Retrieved 17 October 2008.
  57. ^ Dammann, Guy (18 June 2008). "Harry Potter breaks 400m in sales". London: Guardian News and Media Limited. Archived from the original on 31 October 2013. Retrieved 17 October 2008.
  58. ^ KMaul (2005). "Guinness World Records: L. Ron Hubbard Is the Most Translated Author". The Book Standard. Archived from the original on 8 March 2008. Retrieved 19 July 2007.
  59. ISBN 0-19-212320-3
    (pp. 98–100)
  60. ^
    ISBN 978-0-19-514656-1
    (pp. 12–16).
  61. ^ Hugh Brogan, The Life of Arthur Ransome. Jonathan Cape, 1984
  62. ^ [email protected]. "Boys Own Paper featuring the work of Captain W E Johns". www.boysown.info. Archived from the original on 2017-06-09. Retrieved 2017-06-07.
  63. ^ [email protected]. "Girls Own Paper featuring the work of Captain W E Johns". www.girlsown.info. Archived from the original on 2017-05-20. Retrieved 2017-06-07.
  64. ^ Hunt, 1995, (p. 208–209)
  65. ^ "BBC News, 16 August 2012". BBC News. 16 August 2012. Archived from the original on 9 September 2018. Retrieved 20 July 2018.
  66. ^ "The Telegraph, 27 July 2015". 27 July 2015. Archived from the original on 12 April 2018. Retrieved 5 April 2018.
  67. ^ John Sringhall (July 1994). "Horror Comics: The Nasties of the 1950s". History Today. 44 (7). Archived from the original on 4 May 2012. Retrieved 23 October 2010.
  68. ^ "Penny dreadfuls: the Victorian equivalent of video games". The Guardian. Archived from the original on 22 November 2018. Retrieved 3 September 2019.
  69. ^ Swordsmen of the Screen: From Douglas Fairbanks to Michael York. Routledge. 2014. p. 191.
  70. ^ "Issue 79 – The Beano". 28 June 2013. Archived from the original on 28 June 2013.
  71. ^ "Galactic Central". Archived from the original on 2017-06-14. Retrieved 2017-08-06.
  72. ^ "Galactic Central". Archived from the original on 2017-08-06. Retrieved 2017-08-06.
  73. ^ Murray, Chris (2017). The British Superhero. University Press of Mississippi. p. 22.
  74. ^ "British Comics". Archived from the original on 2017-08-06. Retrieved 2017-08-06.
  75. ^ Roger Sabin, Adult comics: an introduction (illustrated ed.), London: Taylor & Francis, 1993, p. 25.
  76. ^ Dan Dare and the Birth of Hi-Tech Britain, sciencemuseum.org.uk, archived from the original on 21 July 2010, retrieved 19 June 2010
  77. doi:10.1093/ref:odnb/31192. Retrieved 16 June 2010. (Subscription or UK public library membership
    required.)
  78. ^ A Tribute to Frank Hampson 1918–1985, tameside.gov.uk, 12 September 2007, archived from the original on 16 June 2010, retrieved 24 June 2010
  79. ^ Crompton, Alastair (25 October 1985), "Where Eagle dared", The Times, no. 62278, p. 12
  80. ^ Mike Conroy, 500 great comicbook action heroes (illustrated ed.), London: Collins & Brown, 2002, pp. 362–363.
  81. ^ "The 10 best comic book footballers", The Observer, 30 November 2003, archived from the original on 24 February 2012, retrieved 25 March 2022
  82. ^ "Where's Wally founder tracks down a fortune". The Guardian. Archived from the original on 21 July 2021. Retrieved 6 August 2021.
  83. ISBN 978-0-313-22164-4
    .
  84. ^ Tedder, Henry Richard (1911). "Periodicals" . In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 21 (11th ed.). Cambridge University Press. p. 155.
  85. S2CID 256417001
    .
  86. ^ "Newbery Awards". 1999-11-30. Archived from the original on 2011-10-24. Retrieved May 5, 2012.
  87. ^ "Caldecott Medal Awards". 1999-11-30. Archived from the original on 2019-04-24. Retrieved May 5, 2012.
  88. ISBN 978-0-8389-1045-0
    .
  89. ^ Peter Hunt, editor (1996). International Companion Encyclopedia Of Children's Literature. Taylor & Francis, p. 705.
  90. ^ Anita Silvey, (editor) (2002). The Essential Guide to Children's Books and their Creators. New York: Houghton Mifflin, p. 315
  91. ^ Peter Hunt, (editor) (1996). International Companion Encyclopedia Of Children's Literature. Taylor & Francis. pp. 683–685, 399, 692, 697, and 750.
  92. ^ a b "Italy | Bologna Children's Book Fair". Culture360. Archived from the original on 5 November 2012. Retrieved 3 August 2012.
  93. ^
    ISBN 978-0-7656-0521-4
    .
  94. ^ "MONTEIRO LOBATO". Archived from the original on 2015-04-25. Retrieved 2017-01-13.
  95. ^ به یاد مردی که قصههای خوب را برای بچههای خوب نوشت
  96. ^ "Image from UNESCO" (PDF). Archived (PDF) from the original on 2017-06-10. Retrieved 2017-05-08.
  97. ^ Shafii, Zainab. "Aesthetics of Children's Literature in Nigeria: a Study of Selected Books" (PDF). Zainab Shafii. Archived from the original (PDF) on 5 August 2017. Retrieved 5 August 2017.
  98. doi:10.1163/18757421-90000224
    .
  99. ^ Anderson 2006
  100. ^ Cribiore, Raffaella, Gymnastics of the Mind, p. 139 Princeton University, 2001, cited in Lerer, Seth, Children's Literature, p. 22, University of Chicago, 2008.
  101. doi:10.34667/tind.46277
    . Retrieved 2023-11-13.
  102. ^ a b Arteaga, Juan; Champion, John (2011-12-19). "The 6 Most Secretly Racist Classic Children's Books". CRACKED. Archived from the original on 2015-12-06. Retrieved 8 December 2015.
  103. ISBN 978-1-928896-15-9
    .
  104. ^ Lurie, Alson (2003). Boys and Girls Forever: Reflections on Children's Classics. London: Chatto & Windus. p. 38.
  105. ^ Sharon (2012-04-10). "Should We Ban "Little House" for Racism?". Adios Barbie. Archived from the original on 2015-12-08. Retrieved 8 December 2015.
  106. ^ Finan, Victoria (3 April 2015). "BBC chooses best children's books of all time – do you agree?". The Guardian. Archived from the original on 27 July 2020. Retrieved 27 October 2019.
  107. ^ Rao, Kavitha (23 July 2009). "Are some children's classics unsuitable for kids?". The Guardian. Archived from the original on 10 December 2015. Retrieved 8 December 2015.
  108. ^ a b Marche, Stephen (15 June 2012). "How to Read a Racist Book to Your Kids". The New York Times. Archived from the original on 5 January 2018. Retrieved 8 December 2015.
  109. ^ McCorquodale, Duncan (December 29, 2009). Illustrated Children's Books. London: Black Dog Publishing. p. 78.
  110. ^ Jenkins, Henry (1998). The Children's Cultural Reader. New York and London: New York University Press. pp. 31–32.
  111. ^ Ha, Thu-Huong (10 November 2015). "Spot the difference: This update to a classic children's book reimagines gender roles". Quartz. Archived from the original on 9 December 2015. Retrieved 8 December 2015.
  112. ^ a b Jalongo, Mary Renck (2004). Young Children and Picture Books. Washington, DC: National Association for the Education of Young Children. p. 17.
  113. ^ a b Flood, Alison (9 November 2011). "Pippi Longstocking books charged with racism". The Guardian. Archived from the original on 31 August 2019. Retrieved 27 October 2019.
  114. ISBN 978-0-8143-3028-9
    .
  115. ISBN 978-0-8242-0501-0
    .
  116. ^ Burns, Tom (2006). "Tintin". Children's Literature Review. 114: 3.
  117. ISBN 9780313312441
    .
  118. ^ McCorquodale, Duncan (December 29, 2009). Illustrated Children's Books. London: Black Dog Publishing. p. 22.
  119. ISBN 9780525464907
    .
  120. ^ Burns, Tom (2007). "The Secret Garden". Children's Literature Review. 122: 22–103.
  121. ^ Arteaga, Juan; Champion, John (2011-12-19). "The 6 Most Secretly Racist Classic Children's Books". Cracked. Archived from the original on 2015-12-08. Retrieved 8 December 2015.
  122. ^ Sprat, Jack (2011-06-27). "Exploring the Classics: The Secret Garden". TreasuryIslands. Archived from the original on 11 December 2015. Retrieved 8 December 2015.
  123. ^ Egoff, Sheila A. (1981). Thursday's Child: Trends and Patterns in Contemporary Children's Literature. Chicago, Ill.: American Library Association. p. 248.
  124. ISBN 978-0-8018-8980-6
    .
  125. ^ a b Jalongo, Mary Renck (2004). Young Children and Picture Books. Washington, DC: National Association for the Education of Young Children. p. 37.
  126. ^ "Publishing Statistics on Children's Books about People of Color and First/Native Nations and by People of Color and First/Native Nations Authors and Illustrators". Cooperative Children's Book Center. School of Education, University of Wisconsin-Madison. 8 October 2019. Archived from the original on 24 October 2019. Retrieved 27 October 2019.
  127. ISBN 9780525464907
    .
  128. doi:10.1080/00064246.1973.11431316
    .
  129. ^ Kismaric, Carole; Heiferman, Marvin (1996). Growing up with Dick and Jane: Learning and Living the American Dream. San Francisco: Collins San Francisco. p. 98.
  130. ^ Shabazz, Rika. "Dick and Jane and Primer Juxtaposition in "The Bluest Eye"". KALEIDO[SCOPES]: DIASPORA RE-IMAGINED. Williams College, Africana. Archived from the original on 2015-12-10. Retrieved 8 December 2015.
  131. ^ Wards, Jervette R. (April 1, 2012). "In Search of Diversity: Dick and Jane and Their Black Playmates". Making Connections. 13 (2). Archived from the original on December 10, 2015. Retrieved December 9, 2015.
  132. ^ Jalongo, Mary Renck (2004). Young Children and Picture Books. Washington, DC: National Association for the Education of Young Children. p. 39.
  133. ^ Burns, Tom (2006). "Laura Ingalls Wilder 1867–1957". Children's Literature Review. 111: 164.
  134. ^ Dobrin, Sidney I (2004). Wild Things: Children's Culture and Ecocriticism. Detroit: Wayne State UP. p. 57.
  135. ^ Nodelman, Perry (2008). The Hidden Adult: Defining Children's Literature. Baltimore, Md: Johns Hopkins UP. p. 272.
  136. ^ Reynolds, Kimberley (2012). Children's Literature from the Fin De Siecle to the New Millennium. Tavistock, Devon, U.K.: Northcote House. p. 24.
  137. ^ Thacker, Deborah Cogan; Webb, Jean (2002). Introducing Children's Literature: From Romanticism to Postmodernism. London: Routledge. London: Routledge. p. 91.
  138. ^ Nodelman, Perry (2008). The Hidden Adult: Defining Children's Literature. Baltimore: Johns Hopkins United Press. p. 272.
  139. ^ Burns, Tom (2006). "Babar". Children's Literature Review. 116: 31.
  140. ^ McCorquodale, Duncan (2009). Illustrated Children's Books. London: Black Dog Publishing. p. 43.
  141. ^ Wieland, Raoul (9 February 2018). "Babar The Elephant – Racism, Sexism, and Privilege in Children's Stories". The Good Men Project. Archived from the original on 11 December 2015. Retrieved 9 December 2015.
  142. ^ Gopnik, Adam (15 September 2008). "Freeing the Elephants: What Babar brought". The New Yorker. Archived from the original on 11 December 2015. Retrieved 8 December 2015.
  143. ^ Miller, John J. (2 February 2006). "Curious George's Journey to the Big Scree". The Wall Street Journal. The Wall Street Journal. Archived from the original on 10 December 2015. Retrieved 8 December 2015.
  144. ^ Munson, Kyle. "Does monkey tale speak of slavery?". The Des Moines Register. Retrieved 8 December 2015.[dead link]
  145. ^ Peacock, Scot; Marion, Allison (2004). "Margret and H. A. Rey". Children's Literature Review. 93: 77–99.
  146. ^ McCorquodale, Duncan (2009). Illustrated Children's Books. London: Black Dog Publishing. p. 66.
  147. ^ Webb, Jean; Thacker, Deborah Cogan (2002). Introducing Children's Literature: From Romanticism to Postmodernism. London: Routledge. p. 91.
  148. ^ Burns, Tom (2007). "The Secret Garden". Children's Literature Review. 122: 33.
  149. ^ Dobrin, Sydney I (2004). Wild Things: Children's Culture and Ecocriticism. Detroit: Wayne State UP. p. 65.
  150. ^ Stoddard Holms, Martha (2009). Peter Pan and the Possibilities of Child Literature. New Brunswick: Rutgers University Press. p. 138&144.
  151. ^ Lurie, Alison (2003). Boys and Girls Forever: Reflections on Children's Classics. London: Chatto & Windus. pp. 18–20, 25–45 & 82.
  152. ^
    ISSN 0190-8286. Archived
    from the original on 2016-01-08. Retrieved 2016-01-09.
  153. ^ Lurie, Alison (2003). Boys and Girls Forever: Reflections on Children's Classics. London: Chatto & Windus. pp. 43 & 98.
  154. ^ Lurie, Alison (2003). Boys and Girls Forever: Reflections on Children's Classics. London: Chatto & Windus. p. 82.
  155. ISSN 0261-3077. Archived
    from the original on 2014-12-09. Retrieved 2019-05-14.
  156. ^ Kismaric, Carole; Heiferman, Marvin (1996). Growing up with Dick and Jane: Learning and Living the American Dream. San Francisco: Collins San Francisco.
  157. ^ Reynolds, Kimberley (2012). Children's Literature from the Fin De Siècle to the New Millennium. Tavistock, Devon, U.K.: Northcote House. p. 6.
  158. ^ Thacker, Deborah Cogan; Webb, Jean (2002). Introducing Children's Literature: From Romanticism to Postmodernism. London: Routledge. London: Routledge. p. 53.
  159. ^ a b Reynolds, Kimberley (2012). Children's Literature from the Fin De Siècle to the New Millennium. Tavistock, Devon, U.K.: Northcote House. p. 5.
  160. ^
    S2CID 15089732
    .
  161. ^ Popova, Maria (20 January 2014). "I'm Glad I'm a Boy! I'm Glad I'm a Girl! "Boys fix things. Girls need things fixed"". brain pickings. Archived from the original on 11 December 2015. Retrieved 8 December 2015.
  162. ^ "AP United States History: What Is Gender History? | AP Central – The College Board". AP Central. 2006-07-10. Archived from the original on 2020-07-27. Retrieved 2019-05-14.
  163. ^ "Premio CIRSE, la dottoranda UniFg Angela Articoni tra le vincitrici | Università di Foggia". Archived from the original on 2021-07-10. Retrieved 2021-07-10.
  164. ^ "L'Unifg ricorda Angela Articoni, stimata studiosa di Letteratura per l'infanzia". 6 July 2021. Archived from the original on 10 July 2021. Retrieved 10 July 2021.
  165. ^ Bettelheim, Bruno (2010). The Uses of Enchantment: The Meaning and Importance of Fairy Tales. United States: Vintage Books. p. 6.
  166. ^ McCorquodale, Duncan (December 29, 2009). Illustrated Children's Books. London: Black Dog Publishing. p. 6.
  167. ISBN 9780824205010
    .
  168. ^ Hunt, Peter (2003). Literature for Children Contemporary Criticism. London: Routledge. p. 18.
  169. ^ Nodelman, Perry (2008). The Hidden Adult: Defining Children's Literature. Baltimore: Johns Hopkins United Press. p. 100.
  170. ^ Reynolds, Kimberley (2012). Children's Literature from the Fin de Siècle to the New Millennium. Tavistock, Devon, U.K.: Northcote House. p. ix.
  171. ^ Reynolds, Kimberley (2012). Children's Literature from the Fin de Siècle to the New Millennium. Tavistock, Devon, U.K.: Northcote House. p. 4.
  172. ^ a b Reynolds, Kimberley (2012). Children's Literature from the Fin De Siècle to the New Millennium. Tavistock, Devon, U.K.: Northcote House. p. 23.
  173. ^ Egoff, Sheila A. (1981). Thursday's Child: Trends and Patterns in Contemporary Children's Literature. Chicago, Ill: American Library Association. p. 247.
  174. ^ Trites, Roberta Seelinger (2000). Disturbing the Universe Power and Repression in Adolescent Literature. Iowa City: U of Iowa. p. xi–xii.
  175. ISBN 9780847688616
    .
  176. ISBN 9780847688616
    .
  177. ^ Nespeca, Sue McCleaf; Joan B, Joan B (2003). Picture Books Plus : 100 Extension Activities in Art, Drama, Music, Math, and Science, ALA Editions. Chicago: American Library Association.
  178. ISBN 9781317439530.{{cite book}}: CS1 maint: location missing publisher (link
    )
  179. ISBN 1853961442
    .
  180. ^ "Major children's literature awards in Japan". International Library of Children's Literature, National Diet Library. Archived from the original on February 16, 2021. Retrieved February 16, 2021.
  181. ^ "Winners 2012: Fiction". Bologna Children's Book Fair. BolognaFiere S.p.A. Archived from the original on June 28, 2012. Retrieved July 23, 2012.

Further reading

External links

Wikibooks has a book on the topic of: Choosing High Quality Children's Literature
Wikisource has original text related to this article:
Wikimedia Commons has media related to Children's literature.
Library resources about
Children's literature

Digital libraries

Retrieved from "https://en.wikipedia.org/w/index.php?title=Children%27s_literature&oldid=1219658726"