![]() Perry Nodelman in "Reading Across the Border" (2004) claims that the writer and reader/critic must take into account the inexperience of "inexperienced readers" and consequently supports Wall's claim that children must have their own literature. Cross-over fiction that is an increasing popular genre would therefore not be suitable for children according to this view. Barbara Wall, however, claims that writing to children is writing for children, and that children have a right to a literature of their own. In the 20th century dual address has been introduced by writers of children's literature who believe that children can understand complex texts and therefore speaks to the adult and the child alike in the conviction that children can cope. There can be little doubt that Dahl's willingness to acknowledge the existence of his child readers and to do so by playing the game of joining them has played a part in his popularity with children" (pp. His stance shows him assuming that children will join him and squirm delightedly in fact because they do so with the approval of the adult who has joined them. He is frequently seen as a subversive writer.he ranges himself with children against adults. Roald Dahl for example, uses single address and he "puts himself in league with an implied reader against the inevitable disgust of grown-ups. This text was intended to please and be understood by the child reader disregarding adult response to it. Through single address used in Alice in Wonderland a new way of addressing the child reader was introduced. There were comments meant for the adult reader and perhaps also at the expense of the child reader. Double address was used in the early days of children's literature and during the Victorian age where the author wrote to please the adult reader looking over the child's shoulder. In The Narrator's Voice: The Dilemma of Children's Fiction (1991) Barbara Wall points to three different ways the author of children's literature can address the reader. However, this view is challenged by books like William Golding, Lord of the Flies (1954) which brings across a very sinister view of children and human beings. "The idea of the innocent child as one with nature, going back to Romanticism, is one of the most powerful instruments of oppression, since the child is defined as opposed to the civilized and mature adult" (Nikolajeva, 2007 p. The Romantics shared this view of the child which has been criticized for being suppressive. ![]() ![]() According to this view, civilization is responsible for any corruption of the child. A culture's understanding of childhood is embedded in children's stories, and by uncovering the ideology presented implicitly or explicitly the understanding of underlying norms and values is deepened.Ī strong tradition dating from Jean Jacques Rousseau(1712-78) perceives the child as innocent and naturally good ( Mjør et al., 2006, p. Especially, since the Second World War alongside improved material conditions and focus on children's needs, children's literature has grown in importance and publishing numbers. Through history, the purpose of children's literature has been to teach children the right behavior or attitudes. ![]() One of the first commercial books for children, A Little Pretty Pocket Book, was published in 1744 in London. Fairy tales and religious stories or educational stories were used by adults as well. Author: Anna Birketveit, senior lecturer, Høgskolen i Bergen IntroductionĬhildren's literature is a fairy recent concept as there was no specific children's literature before 1700.
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