Deconstructing Children’s Literature Children and Literature

Deconstructing Deconstructing Children’s Children’s LiteratureLiterature

Children Children and and

LiteratureLiterature

Concepts to RememberConcepts to Remember

Children are sufficiently Children are sufficiently different from adultsdifferent from adults..

There exists a literature written specifically for There exists a literature written specifically for children which attempts to children which attempts to fulfill children’s needsfulfill children’s needs for special texts.for special texts.

Who you are -- all the experience and Who you are -- all the experience and knowledge you have gained -- will knowledge you have gained -- will influence how you perceive and influence how you perceive and understand literature.understand literature.

Concepts to RememberConcepts to Remember

Children’s literature tends Children’s literature tends to to create special worlds create special worlds and to evoke moods and and to evoke moods and feelingsfeelings unlike those unlike those provided by other forms provided by other forms of literature. of literature.

The ability to enjoy The ability to enjoy literature is a literature is a learned skilllearned skill..

Readers tend to come from homes where Readers tend to come from homes where reading occurs.reading occurs.

VocabularyVocabulary

The The implied readerimplied reader is the person for whom the is the person for whom the text is written.text is written.

We can imagine we are the implied reader and We can imagine we are the implied reader and understand the text through the eyes of the understand the text through the eyes of the implied reader.implied reader.


A A repertoirerepertoire is the knowledge is the knowledge and experiences of life and and experiences of life and of other literature which a text of other literature which a text assumes the assumes the implied reader implied reader possesses.possesses.

StrategiesStrategies [of reading] are the [of reading] are the ways of thinking about texts ways of thinking about texts which allows us to see the text which allows us to see the text as meaningful. A set of as meaningful. A set of strategies strategies is part of the is part of the repertoire repertoire of the of the implied reader implied reader . .


IntertextualityIntertextuality refers to the link between ideas, refers to the link between ideas, images, emotions, stories in different stories. images, emotions, stories in different stories. This is like resemblances among people. One This is like resemblances among people. One person may do or say something which is like or person may do or say something which is like or reminds you of another person. reminds you of another person.

Reading and Making Sense of Reading and Making Sense of LiteratureLiterature

Consciousness of one’s own response to literature and of the response of others to literature is the most basic literary strategy.

A gap in a text is any aspect of that text that a reader makes sense of by providing knowledge from their pre-existing repertoire.

Reading and Making Sense of Reading and Making Sense of LiteratureLiterature

In reading, we have the In reading, we have the expectation of expectation of consistencyconsistency within the story; that is, within the story; that is, that everything that is said that everything that is said or done in the story fits or done in the story fits together to make a together to make a

meaningful whole story.meaningful whole story. When we fit the pieces of a When we fit the pieces of a story into a previously held story into a previously held schema, we are participating schema, we are participating in in consistency-buildingconsistency-building..

Strategies for building consistency Strategies for building consistency (filing in the (filing in the gaps gaps ) include: ) include:

ConcretizationConcretization - - forming mental forming mental pictures by pictures by imagining, as imagining, as exactly as the text exactly as the text will allow, what is will allow, what is being described.being described.

Strategies for building consistency Strategies for building consistency include:include:

CharacterCharacter - information about the personalities - information about the personalities of the people the text describes of the people the text describes

flat character flat character - has only one - has only one or two readily identifiable traits or two readily identifiable traits and those traits do not change and those traits do not change

round character round character - has a more - has a more complex cluster of traits which complex cluster of traits which develops or changes as the develops or changes as the story develops story develops


PlotPlot - the sequence of events that makes up the - the sequence of events that makes up the story story

ClimaxClimax -- the culminating point in the story; a -- the culminating point in the story; a series of actions lead up to the culminating point series of actions lead up to the culminating point and then the story’s plot quickly comes to an and then the story’s plot quickly comes to an endend


ThemeTheme - meaning(s) or central idea(s) in the - meaning(s) or central idea(s) in the story; the strategy of finding meaning in a text story; the strategy of finding meaning in a text consists of: consists of:

– IdentificationIdentification - perceiving that a character in the text is - perceiving that a character in the text is like oneself like oneself

– ManipulationManipulation - recognition that - recognition that something will happen to the something will happen to the character in the story which will character in the story which will teach the reader a lesson about him teach the reader a lesson about him or herself or herself


StructureStructure - the way the various parts of a story - the way the various parts of a story relate to each other and form relate to each other and form patterns; structure depends on patterns; structure depends on repetition and variation of the repetition and variation of the same or similar elements same or similar elements

FocalizationFocalization - the position of the - the position of the person who sees and understand person who sees and understand the events being described in the events being described in the story (this is different from the story (this is different from the person who is telling the story) the person who is telling the story)


Point of viewPoint of view - the perspective from which a - the perspective from which a story is told; implied speaker - the person who is story is told; implied speaker - the person who is telling the story and whose personality is telling the story and whose personality is suggested by the words of the textsuggested by the words of the text – First-person narratorFirst-person narrator - the person who is - the person who is

telling the story is relaying events he or telling the story is relaying events he or she personally experienced; could be a she personally experienced; could be a character in the story or a participant in character in the story or a participant in the action of the story who never really the action of the story who never really appears as a character in the story itself; "I" appears as a character in the story itself; "I"

– Third-person narratorThird-person narrator - the person who is - the person who is telling the story is someone separate from telling the story is someone separate from the events taking place; "he," "she" the events taking place; "he," "she"

Consistency-building within the text as Consistency-building within the text as a wholea whole

Stories tend to have two Stories tend to have two plotsplots at once: the series at once: the series of actions that make up the events the story of actions that make up the events the story narrates and the series of actions that make up narrates and the series of actions that make up the narration of those events:the narration of those events: – DiscourseDiscourse - how a story is told: some events in great - how a story is told: some events in great

detail, some events in brief mention, some events in detail, some events in brief mention, some events in flashback; the order and detail of events in the flashback; the order and detail of events in the discourse affects how the reader understands the discourse affects how the reader understands the

events of the story.events of the story.

Consistency-building within the text as Consistency-building within the text as a wholea whole

– TrajectoryTrajectory - the path of the discourse through the - the path of the discourse through the story; this is the order in which the author chooses to story; this is the order in which the author chooses to inform us of what is or has been going on in the story; inform us of what is or has been going on in the story; the order in which the story is revealed to the reader the order in which the story is revealed to the reader affects how the reader understand the events of the affects how the reader understand the events of the story. story.

Deconstructing Deconstructing Children’s Children’s LiteratureLiterature

Approaches Approaches to reading a to reading a text (Literary text (Literary

Criticism) Criticism)

Methods of deriving meaning from Methods of deriving meaning from collected words [on a page] collected words [on a page]

Reader-Response ApproachReader-Response Approach – Prior to the reader-response approach, it was believed Prior to the reader-response approach, it was believed

the text itself held all components of the text itself held all components of meaning and the reader was to meaning and the reader was to

discover that meaning in reading.discover that meaning in reading. – Today we acknowledge that Today we acknowledge that

each reader brings his/her each reader brings his/her own background and understandings own background and understandings to a text and meaning is derived, to a text and meaning is derived, in part, through what the reader brings to the in part, through what the reader brings to the

reading.reading.

Methods of deriving meaning from Methods of deriving meaning from collected wordscollected words

– The The reader-response approachreader-response approach attempts to account attempts to account for the differences in interpretations by seeing the for the differences in interpretations by seeing the reader and the text as equal partners in the reader and the text as equal partners in the interpretative process. That is, the text is the stimulus interpretative process. That is, the text is the stimulus which recalls in the reader past experiences and other which recalls in the reader past experiences and other texts, permitting one to give meaning to the other. texts, permitting one to give meaning to the other.

– As experiences and exposure As experiences and exposure to other literature occur between to other literature occur between re-readings of a text, meaning re-readings of a text, meaning from one reading to another from one reading to another is transactional. is transactional.


Historical Approach Historical Approach – How the period in which a work was written influenced How the period in which a work was written influenced

the work itself. the work itself. – The effect of external political, The effect of external political,

social, and intellectual social, and intellectual influences on literature. influences on literature.

– How these influences affect How these influences affect writings about an earlier period writings about an earlier period or future time. or future time.

– The historical context can help The historical context can help in the understanding of a work in the understanding of a work and vice versa. and vice versa.


Psychoanalytical Approach Psychoanalytical Approach – Examines the work in relationship Examines the work in relationship

to its author. to its author. – Probes the unconscious of the Probes the unconscious of the

characters, to determine what characters, to determine what their actions really reveal about them. their actions really reveal about them.

– Carl Jung, a student of Freud, believed each person held, in his Carl Jung, a student of Freud, believed each person held, in his or her unconscious, archetypes--repeated patterns and images or her unconscious, archetypes--repeated patterns and images of human experience--which emerge in literature. The of human experience--which emerge in literature. The archetypes include the changing seasons, the cycle of birth, archetypes include the changing seasons, the cycle of birth, death, rebirth, the heroic quest, the beautiful temptress, etc.death, rebirth, the heroic quest, the beautiful temptress, etc.

– The danger in the psychoanalytical approach is in The danger in the psychoanalytical approach is in seeing a symbol in every object or act. seeing a symbol in every object or act.


Feminist ApproachFeminist Approach – How gender affects a literary work, its writer, and its How gender affects a literary work, its writer, and its

reader. reader. – The major concern is male bias in literature. The major concern is male bias in literature.

– The feminist approach is a cultural criticism of how The feminist approach is a cultural criticism of how societal norms and attitudes influence subgroup (e.g. societal norms and attitudes influence subgroup (e.g.

female, male) behavior.female, male) behavior.


Formalist ApproachFormalist Approach – A literary work should be A literary work should be

analyzed for meaning apart analyzed for meaning apart from the values or beliefs from the values or beliefs of the author or reader. of the author or reader.

– A literary work should be A literary work should be analyzed for its architecture analyzed for its architecture (for example, rising and (for example, rising and falling of the action; foreshadowing falling of the action; foreshadowing

of event to come; use of language and metaphor). of event to come; use of language and metaphor).

Purpose of Criticism-Purpose of Criticism--sense-making, -sense-making, understanding, and pleasure in readingunderstanding, and pleasure in reading

Elements of Literature Elements of Literature [point of view] [point of view]

Point of viewPoint of view - who is telling the story - who is telling the story First-Person -- "I"; the narrator is usually a First-Person -- "I"; the narrator is usually a character (major or minor) in the story character (major or minor) in the story

Omniscient -- the narrator knows the thoughts and Omniscient -- the narrator knows the thoughts and actions of anyone in the story at any time and any actions of anyone in the story at any time and any place place

Limited (or third-person) -- told Limited (or third-person) -- told from the point of view of a single from the point of view of a single character but that character is character but that character is not the narrator; "he," "she" not the narrator; "he," "she"

Elements of Literature Elements of Literature [setting][setting]

SettingSetting - time, geographical place, general - time, geographical place, general environment and circumstance of the environment and circumstance of the story. story. – Some texts rely heavily on the setting to establish the Some texts rely heavily on the setting to establish the

feeling or environment of places, especially places feeling or environment of places, especially places unfamiliar to the reader. unfamiliar to the reader.

– Some texts can exist with a Some texts can exist with a very minimal setting (folktales very minimal setting (folktales have minimal settings, allowing have minimal settings, allowing the story to be easily transported the story to be easily transported and adapted to other times and places). and adapted to other times and places).

Elements of Literature Elements of Literature [characters][characters]

Characters Characters – Principal characters in a story are: Principal characters in a story are:

the the protagonist protagonist – hero or heroine hero or heroine – main character with whom the reader is main character with whom the reader is

expected to sympathizes expected to sympathizes

the the antagonist antagonist – villain villain – character who works against the protagonist character who works against the protagonist


CharactersCharacters are expected to be properly are expected to be properly motivated (have believable reasons for motivated (have believable reasons for their actions) their actions) – Types of characters:Types of characters:

Flat and Round Characters Flat and Round Characters Static and Dynamic CharactersStatic and Dynamic Characters

– static characterstatic character - remains essentially the same - remains essentially the same throughout the story and has no noticeable development throughout the story and has no noticeable development [flat or round character] [flat or round character]

– dynamic characterdynamic character - undergoes some important - undergoes some important character transformation during the course of the story character transformation during the course of the story [always a round character][always a round character]


Foil CharactersFoil Characters - possess personality traits - possess personality traits opposite to those of another character, often the opposite to those of another character, often the main character. main character. – Foil characters can set off, make more visible, traits of Foil characters can set off, make more visible, traits of

other characters. other characters.


Character DevelopmentCharacter Development - the means the author - the means the author uses to tell us about a character: uses to tell us about a character: – the narrator the narrator – other characters in the story telling/talking about them other characters in the story telling/talking about them – what the character says in dialogue what the character says in dialogue

– the actions of the characterthe actions of the character

Character ConsistencyCharacter Consistency - fictional - fictional characters behave in ways characters behave in ways consistent with their nature consistent with their nature as presented in the story. as presented in the story.

Internationalism in Children’s Internationalism in Children’s LiteratureLiterature

Three important aspects of Three important aspects of internationalisminternationalism in children's literature: in children's literature:– Development of printed and visual materials in areas of the world Development of printed and visual materials in areas of the world

which have until recently had a primarily oral literature and the which have until recently had a primarily oral literature and the development of opportunities for children to experience these development of opportunities for children to experience these materials, such as in libraries and materials, such as in libraries and cultural centers; cultural centers;

– Exchange of children¹s books from Exchange of children¹s books from one country to another, either in one country to another, either in original form or in translation; and original form or in translation; and

– The way different cultures are The way different cultures are depicted and represented in the depicted and represented in the children's books of any given country.children's books of any given country.


Printed and visual materials Printed and visual materials infusing oral literature infusing oral literature – Considerations Considerations

Is there improvement Is there improvement in the extent of children's in the extent of children's literature published in literature published in countries with an countries with an oral-based literature? oral-based literature?

Has the quality and quantity Has the quality and quantity of children's literature of children's literature improved in countries improved in countries with modest amounts with modest amounts of printed and visual literature for children? of printed and visual literature for children?


Viewed globally, worldwide production of children’s Viewed globally, worldwide production of children’s books are concentrated in North American, European, books are concentrated in North American, European, and Japanese literatures for children.and Japanese literatures for children.– For young children to whom books must be read aloud, there is For young children to whom books must be read aloud, there is

little indigenous publishing in Africa, Latin America and the little indigenous publishing in Africa, Latin America and the Caribbean, and Asia--outside of Japan. Caribbean, and Asia--outside of Japan.

– Brazil, India, Turkey, and Venezuela recently began improving Brazil, India, Turkey, and Venezuela recently began improving the quantity, quality, and availability of books for young children. the quantity, quality, and availability of books for young children.

– China even more recently has begun an effort to upgrade the China even more recently has begun an effort to upgrade the quantity and quality of picture books. quantity and quality of picture books.


– Bangladesh, India, Indonesia, Kenya, Bangladesh, India, Indonesia, Kenya, Pakistan, and the Philippines have increased Pakistan, and the Philippines have increased primarily the quantity of books available in primarily the quantity of books available in the middle and upper primary grades and a the middle and upper primary grades and a little of the quality. little of the quality.

– Mass-market materials in all areas of Mass-market materials in all areas of children's literature are imported primarily children's literature are imported primarily from Italy, Japan, Spain, and the United from Italy, Japan, Spain, and the United States. Many areas of the world must learn States. Many areas of the world must learn to read in non-native languages in order to to read in non-native languages in order to borrow a written literature, especially for borrow a written literature, especially for children. These materials do not meet the children. These materials do not meet the total reading needs of the cultures which total reading needs of the cultures which borrow them.borrow them.

Exchange of materials between Exchange of materials between countries countries

Between 1968 and 1981, only 12 direct translations or Between 1968 and 1981, only 12 direct translations or adaptations of children's books came to the United adaptations of children's books came to the United States from developing areas: 5 from Iran, 3 from States from developing areas: 5 from Iran, 3 from Greece, 2 from Nigeria, and one each from Brazil and Greece, 2 from Nigeria, and one each from Brazil and Puerto Rico. Puerto Rico.

During this same time, seven authors from developing During this same time, seven authors from developing areas were not published in their home countries but had areas were not published in their home countries but had books appear directly in English: 3 from Vietnam, 2 from books appear directly in English: 3 from Vietnam, 2 from Jamaica, and one each from South Africa and Thailand. Jamaica, and one each from South Africa and Thailand.

Exchange of materials between Exchange of materials between countriescountries

European artists fled to the United States European artists fled to the United States between and after the two World Wars. This between and after the two World Wars. This group was a major force in the group was a major force in the "internationalizing" of U.S. children’s books up to "internationalizing" of U.S. children’s books up to 1960. 1960.

Immigration of European artists has been Immigration of European artists has been replaced with the immigration of replaced with the immigration of artists from Asia and artists from Asia and Latin America. Latin America.

Fictional and factual representation [by U.S. Fictional and factual representation [by U.S.

publications] of other culturespublications] of other cultures

It has been pointed out that American authors, It has been pointed out that American authors, when writing about other countries, tend to focus when writing about other countries, tend to focus only on child characters from lower only on child characters from lower socioeconomic groups, whereas non-American socioeconomic groups, whereas non-American authors describe a much wider range of authors describe a much wider range of characters. characters.

Fictional and factual representation [by U.S. Fictional and factual representation [by U.S. publications] of other culturespublications] of other cultures

In trying to establish the validity of fictional and folkloric In trying to establish the validity of fictional and folkloric materials, the following questions might be helpful: materials, the following questions might be helpful:

– Was the material created by a participant of the culture or by an Was the material created by a participant of the culture or by an observer of it? Is this made clear in the introductory material? observer of it? Is this made clear in the introductory material?

– Has it been edited to remove all elements which are morally or Has it been edited to remove all elements which are morally or socially not accepted in our society or have some of the intrinsic socially not accepted in our society or have some of the intrinsic values of the society concerned been allowed to remain intact, values of the society concerned been allowed to remain intact, e.g., polygamy, matter-of-fact acceptance of body functions, e.g., polygamy, matter-of-fact acceptance of body functions, early marriage or love relationships? early marriage or love relationships?

– If it is historical, is this clearly If it is historical, is this clearly indicated? indicated?

– If it is folkloric, is the source If it is folkloric, is the source clearly identified?clearly identified?


In evaluating illustrations, photographs, or films, the following In evaluating illustrations, photographs, or films, the following questions might be helpful: questions might be helpful:

– Is there obvious stereotyping, such as always depicting Chinese Is there obvious stereotyping, such as always depicting Chinese children with pigtails, Mexican children barefoot and with burros, etc.? children with pigtails, Mexican children barefoot and with burros, etc.?

– Are the facial characteristics of any race almost always the same, Are the facial characteristics of any race almost always the same, without regard for the fact that there are infinite varieties within all without regard for the fact that there are infinite varieties within all races? races?

– Is the comparative wealth or poverty of a nation or people illustrated Is the comparative wealth or poverty of a nation or people illustrated with honesty or is it exaggerated? with honesty or is it exaggerated?

– Is there over emphasis on rural or village life with no proportionate Is there over emphasis on rural or village life with no proportionate attention to urban life? attention to urban life?

– Are the unusually different customs depicted more Are the unusually different customs depicted more for their shock value than as illuminations of parts for their shock value than as illuminations of parts of the total structure of the culture? of the total structure of the culture?


In evaluating factual materials, the following In evaluating factual materials, the following questions might be helpful: questions might be helpful:

– What is the copyright date? Does this limit the What is the copyright date? Does this limit the usability of the work? usability of the work?

– If the copyright date is recent, If the copyright date is recent, do geographical and political do geographical and political facts truly reflect the latest changes? facts truly reflect the latest changes?

– Whose point of view is Whose point of view is represented--the insider or the represented--the insider or the outsider or both? outsider or both?

– What kind of sources are given?What kind of sources are given?

Children’s Literature and DiversityChildren’s Literature and Diversity

Some authors use "multicultural" and "cultural diversity" Some authors use "multicultural" and "cultural diversity" as the broader topic covering racial/ethnic diversity and as the broader topic covering racial/ethnic diversity and social diversity. Other authors use "multicultural" and social diversity. Other authors use "multicultural" and "cultural diversity" for racial and ethnic diversity and "cultural diversity" for racial and ethnic diversity and "social diversity" for other diversities."social diversity" for other diversities.

Both the text and pictures of Both the text and pictures of American children's literature American children's literature over the years preserves a history over the years preserves a history of the biases, misunderstandings, of the biases, misunderstandings, fascinations, and melting-pot fascinations, and melting-pot ethos of our dominant culture. ethos of our dominant culture.

Children’s Literature and DiversityChildren’s Literature and Diversity

The study of history of children's literature The study of history of children's literature provides a way of increasing awareness of provides a way of increasing awareness of the ways biases, misunderstandings, and the ways biases, misunderstandings, and ethos creep into children¹s books to ethos creep into children¹s books to potentially reinforce problems which already potentially reinforce problems which already exist in society.exist in society.

Collections today should reflect the diversity Collections today should reflect the diversity of the communities they serve as well as of the communities they serve as well as the diversity of the cultures of the country the diversity of the cultures of the country and the world.and the world.

Books today should strive for accuracy and Books today should strive for accuracy and honesty in representing individuals and honesty in representing individuals and groupsgroups

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Deconstructing Children’s Literature Children and Literature