Illustrations in children's literature have important functions and complex role; that what make critic like Mable Segun argues “Illustrations are literature in their own right whether used by themselves or integrated with written texts” (Segun 3), for Segun illustrations have pictorial language that goes directly to child mind, she thinks pictorial codes better than verbal codes; pre-schools use books with images only for children, for her words make ''vague'' images in children mind (1-2). The best way to understand Segun argument is to ask what is illustration? And what is literature? In Oxford dictionary illustration is a picture or graphic form, and literature is written form or works, that conceded to be superior (Oxford Dictionary). Contrast to Segun, some critics like William Moebius and Edmund Evans believe in integration between images and texts in picturebook (Maybin and Watson 311-312). Also Seguin illustrations have a strong function, she argue that “they sharpen the perception of children” (Segun 3), Bette Goldstone argues that illustration and picturebook do not appear from a vacuum, but from complex belief system, cultural …show more content…
John Amos Comenius's Orbis Sensualium Pictus (1658) to Maria Nikolajeva was the earliest form of illustrated children's literature; because it was designed for young readers, logically, illustrated children's literature do not emerge in a vacuum, but from cultural and social need, also education and delight purposes (Nikolajeva 1). In my view sophisticated of illustrations in children literature comes from the development of both technology and
In Chapter 2 of Children’s Books in Children’s Hands: A Brief Introduction to their Literature, the authors talk about the 12 main elements of a literary work: genre, plot, setting, characterization, theme, point of view, intersexuality, tone, mood, style, voice, and the stance of the implied reader (Temple, Martinez, and Yokota 24). All of these literary elements capture the reader’s imagination and creates a successful piece of literature. However, the authors stress the importance of genre in Chapter 2, so I will briefly go over the different types of genres there are in literature and how it affects the readers greatly.
Do you ever just sit back and wonder how many images run through your brain everyday and thinking back on that how many of those were images from our society’s pop culture? With our ever growing technology and media of our society, children are constantly being exposed to visual stimuli. Paul Duncum, a professor of art education, studies how these stimuli not only affect our students and children but also how we can incorporate them into the art classroom in an effective way. In this paper I will illustrate to you the life and work of Paul Duncum. I will be talking about Duncum’s contributions to art education, his teaching philosophy, and how I can use his beliefs and teachings in my future as an art educator but first I would like to give you some background on Paul Duncum.
Sandner, David. "Romanticism and Transcendence in Nineteenth-Century Children's Fantasy Literature." The Fantastic Sublime. Westport, C.T.: Greenwood Press. 45-65, 142-147.
After a four week survey of a multitude of children’s book authors and illustrators, and learning to analyze their works and the methods used to make them effective literary pieces for children, it is certainly appropriate to apply these new skills to evaluate a single author’s works. Specifically, this paper focuses on the life and works of Ezra Jack Keats, a writer and illustrator of books for children who single handedly expanded the point of view of the genre to include the experiences of multicultural children with his Caldecott Award winning book “Snowy Day.” The creation of Peter as a character is ground breaking in and of itself, but after reading the text the reader is driven to wonder why “Peter” was created. Was he a vehicle for political commentary as some might suggest or was he simply another “childhood” that had; until that time, been ignored? If so, what inspired him to move in this direction?
Griffith, John, and Charles Frey. Classics of Children's Literature. 6th ed. New Jersey: Pearson Prentice Hall, 2005. 21-29, 322-374. Print.
Cherney ID, Seiwert CS, Dickey TM, Flichtbeil JD. Children’s drawings: A mirror to their minds. Educational Psychology 2006; 26(1): 127-142
In the painting Beside the River by Agnes Gardener King (Book 1, p. 22) the girl portrays the Romantic view of childhood which sees a child as an innocent and guiltless. That approach is mainly observed in Victorian fine art and book illustrations. Like the girl in the painting, romantic view looks for the goodness in the child. The white dress, the girl, the tress and lamb are symbols of the innocence. The painting looks peaceful, the colours are calm; the girl walks slowly and smiles gently. That type of image was the main massage of the Romantic discourse of childhood. The concept was greatly influenced by the eighteenth-century French philosopher Jean-Jacques Rousseau (1712-1778), who wrote a book ‘Emile’ which became one of the most important textbooks of French ...
Throughout time the way we visualize things has changed. When the Brothers Grimm’s created “Little Snow White” in 1812 they did not have any way to visually show their ideas to the public. They could not just make a movie or hire an illustrator to bring life to their words. So instead they relied on their readers to use their own imagination to create the characters and scenarios throughout the s...
of millions of people did not happen I know that it did, and I know
Picture books are books in which both words and illustrations are essential to the story’s meaning (Brown, Tomlinson,1996, Pg.50). There are so many different kinds of children’s books. There are books for every age and every reading level. There are many elements that go into picture books such as line and spacing, color and light, space and perspective, texture, composition and artistic media. Picture books are an essential learning element in today’s classroom.
... (eds), Children’s Literature Classic Text and Contemporary Trends, Basingstoke, Palgrave Macmillan in association with Open University
The classic comic book is a polar opposite of the complex nature of poetry. The comic book is designed for the younger reader and possesses a simplistic nature that allows the creator to use visual media combined with short written dialog to tell a story. The pictures in a comic book are an integral part of the makeup of a comic book. The pictures allow the creator to portray the protagonist and antagonist in a way that is common to all readers. This however inhibits the use of imagination by the reader. The pictures are all an artist's interpretations of the actions and settings that make up each scene. When a person reads descriptive text with no pictures, it allows the reader to build a mental picture of each scene that is unique to his/her own personality. The comic book does not allow for this expressiveness in its prefabricated structure.
Jones, Marnie. "The Threat to Imagination in Children's Literature." International Journal of the Book 3.2 (2005/2006): 71-76. Print.
Throughout our childhood, and children’s childhood we read books. I remember reading, and having so many favorite books. The books that I loved, I now read to my son, and I am sure he will read to his children as well. Books are used throughout different milestones in a child’s life, as the child grows; the books change to meet their developmental needs. Theorists such as Piaget, Vygotsky, and Kohlberg have many theories regarding each developmental stage, and the needs in each stage from infancy, to adulthood. I am going to discuss how books can relate to these theories.
As children’s literature matured, so did the books. Illustrations were first made with woodcuts or on wood blocks that were colored by hand. By the late 1800s, printing had evolved and illustrations became mor...