Introduces key terms, global concepts, debates, and histories for Children's Literature in an updated edition Over the past decade, there has been a proliferation of exciting new work across many areas of children’s literature and culture. Mapping this vibrant scholarship, the Second Edition of Keywords for Children’s Literature presents original essays on essential terms and concepts in the field. Covering ideas from “Aesthetics” to “Voice,” an impressive multidisciplinary cast of scholars explores and expands on the vocabulary central to the study of children’s literature. The second edition of this Keywords volume goes beyond disciplinary and national boundaries. Across fifty-nine print essays and nineteen online essays, it includes contributors from twelve countries and an international advisory board from over a dozen more. The fully revised and updated selection of critical writing—more than half of the essays are new to this edition—reflects an intentionally multinational perspective, taking into account non-English traditions and what childhood looks like in an age of globalization. All authors trace their keyword’s uses and meanings: from translation to poetry, taboo to diversity, and trauma to nostalgia, the book’s scope, clarity, and interdisciplinary play between concepts make this new edition of Keywords for Children’s Literature essential reading for scholars and students alike.
An indispensable, easy-to-read resource from international bestselling children's author Karen Inglis. “A masterclass all wrapped up in a book.” Have you written a children’s story that you can’t find a home for? Do you need help with your early self-publishing journey, or with more advanced children's book publishing and marketing strategies? Are you traditionally published but curious about other options? If you answered 'yes' to any of these questions, you're in the right place. How to Self-publish and Market a Children's Book (Second Edition) provides practical, in-depth guidance and key strategies for self-publishing in print, eBooks and audiobooks, and for selling more children's books face to face and online. After reading this book, you will understand: - How you can self-publish your children’s story at little or no cost - Why print matters for children’s self-publishing, but why eBooks are also critical for marketing - Why it’s important to work with professional children’s editors, illustrators and cover designers, and where to find them - How to set up successful school visits and other events — and how to plan and run virtual events - Best practice and expectations for getting into bookshops - Which tools and platforms can help with your book marketing, including key strategies for Amazon ads and other advertising - How to get reviews - How to create and market children’s audiobooks - When and how to approach translation and foreign rights - Options for upfront printing and who this is suitable for - Where to find other self-publishers for ongoing support and advice Self-published international bestselling children’s author Karen Inglis has sold over half a million children's books in print, over 20,000 eBooks and over 8,000 audiobooks. Her popular middle grade time travel adventure The Secret Lake is now in translation in nine languages and its long-awaited sequel (2022) has received glowing reviews and very strong early sales. Karen's picture book The Christmas Tree Wish was shortlisted for the 2020 UK Selfies Award for best self-published children's book. Her most recent picture book The Tell-Me Tree has received praise from teachers and parents alike for helping children talk about their feelings, and is being used in UK classrooms. As well as writing for children, Karen has over 30 years' experience as a professional copywriter and writing training consultant. Her ability to organise and explain topics in plain English won her praise and over 100 5-star reviews for the first edition of this book. This expanded and updated edition for 2021, which now includes virtual events, audiobooks, foreign editions, and detailed advertising strategies – as well as more tools and platforms to help with your book marketing – will not disappoint. One reviewer described the first edition as ‘"A masterclass wrapped up in a book’". We think that pretty well sums up the second edition too! With everything together in one place, and a comprehensive table of contents to help you quickly find what you need, How to Self-publish and Market a Children’s Book (Second Edition) provides a powerful ready-reference that you can come back to again and again. 'How to Market a Children's Book' - standalone edition if you understand self-publishing If you are a seasoned children's book self-publisher and are looking only for marketing support, search for 'How to Market a Children's Book' by Karen P Inglis. This separate edition, also released in May 2021, incorporates the marketing content of the combined book. It assumes you fully understand the various self-publishing options and distribution processes for print, eBooks and audiobooks.
Reading Children’s Literature offers insights into the major discussions and debates currently animating the field of children’s literature. Informed by recent scholarship and interest in cultural studies and critical theory, it is a compact core text that introduces students to the historical contexts, genres, and issues of children’s literature. A beautifully designed and illustrated supplement to individual literary works assigned, it also provides apparatus that makes it a complete resource for working with children’s literature during and after the course. The second edition includes a new chapter on children’s literature and popular culture (including film, television, and merchandising) and has been updated throughout to reflect recent scholarship and new offerings in children’s media.
This handbook reviews efforts to increase the use of empirical methods in studies of the aesthetic and social effects of literary reading. The reviewed research is expansive, including extension of familiar theoretical models to novel domains (e.g., educational settings); enlarging empirical efforts within under-represented research areas (e.g., child development); and broadening the range of applicable quantitative and qualitative methods (e.g., computational stylistics; phenomenological methods). Especially challenging is articulation of the subtle aesthetic and social effects of literary artefacts (e.g., poetry, film). Increasingly, the complexity of these effects is addressed in multi-variate studies, including confirmatory factor analysis and structural equation modeling. While each chapter touches upon the historical background of a specific research topic, two chapters address the area’s historical background and guiding philosophical assumptions. Taken together, the material in this volume provides a systematic introduction to the area for early career professionals, while challenging active researchers to develop theoretical frameworks and empirical procedures that match the complexity of their research objectives.
Photography in Children’s Literature is the first study that examines the wide array of artistic techniques, topics, and genres used within photographic books for children. Covering a time period from the 1870s to the 1980s, the collection offers multifaceted insights into changing perceptions of children and childhood during an era when the world changed in unprecedented ways. More than sixty full-color illustrations demonstrate an impressive variety of genres, from ABC books, concept books, and country portraits to photo reportage and poetry. By discussing photographic books from ten countries and three continents, the collection offers an international scope, providing a glimpse into the production and reception of photography in children’s literature in a range of contexts and cultures. Photographic books for children thus open up new vistas for scholars interested in an interdisciplinary and transnational investigation of children’s literature, text and images, across the centuries.
Children’s Cultures after Childhood introduces theoretical concepts from new materialist and posthumanist childhood studies into research on children’s literature, film, and media texts with attention to the entanglements of which they are part. Thirteen chapters by international contributors from diverse disciplinary fields (literary studies, cultural studies, media studies, education, and childhood studies) offer a cross-section of empirical and theoretical approaches sharing an inspiration in the notion of “after childhoods”, proposed by Peter Kraftl, a children’s geographer, to conceptualize theoretical and methodological orientations in research on children’s lives and on past, present, and future childhoods. This interdisciplinary collection will be of interest to scholars working in children’s literature and culture studies, education, and childhood studies.
This is the first study to take a comprehensive look at transnational children’s literature in the period before 1900. The chapters examine what we mean by ‘children’s literature’ in this period, as well as what we mean by ‘transnational’ in the context of children’s culture. They investigate who transmitted children’s books across borders (authors, illustrators, translators, publishers, teachers, relatives, readers), through what networks the books were spread (commercial, religious, colonial, public, familial), and how the new local identities of imported texts were negotiated. They ask which kinds of books were the most mobile, and they consider what happens to texts when they migrate, as well as what effects transnational dissemination had on individual readers, and on societies and cultures more broadly. Geographically, the case studies gathered here range right across Europe, from Dublin to St Petersburg, then onto North America, India and China. They extend widely across the many genres and formats of children’s reading, from cheap print such as almanacs and ABCs to fairy tales and fables, children’s novels, textbooks, and beautifully illustrated gift-books.
In the early decades of the twenty-first century, we are grappling with the legacies of past centuries and their cascading effects upon children and all people. We realize anew how imperialism, globalization, industrialization, and revolution continue to reshape our world and that of new generations. At a volatile moment, this collection asks how twenty-first century literature and related media represent and shape the contemporary child, childhood, and youth. Because literary representations construct ideal childhoods as well as model the rights, privileges, and respect afforded to actual young people, this collection surveys examples from popular culture and from scholarly practice. Chapters investigate the human rights of children in literature and international policy; the potential subjective agency and power of the child; the role models proposed for young people; the diverse identities children embody and encounter; and the environmental well-being of future human and nonhuman generations. As a snapshot of our developing historical moment, this collection identifies emergent trends, considers theories and critiques of childhood and literature, and observes how new technologies and paradigms are destabilizing past conventions of storytelling and lived experience.
In March 2015, the eleventh edition of The Child and the Book Conference was organized at the University of Aveiro in Portugal. The conference was related to the theme of fracture and disruption in children’s and young adult literature. This publication provides not only a synthesis of the main reflections, but also a starting point for understanding the issues of fracture and disruption within children’s and young adult literature. The volume gathers texts from consolidated figures within the field of research in Children’s Literature, as well as contributions from junior researchers, creating bridges and dialogue between both generations and critical and theoretical approaches. It includes chapters on violence, war, sexuality and politics, discussion around formal-stylistic perspectives, analysis of fringe works and hybrid literary forms as well as the issue of audience and the crossover universe. Special reference should be given to the inclusion of contributions from lesser-known countries and literatures such as Brazil, Italy, Norway, Poland, and Portugal. The volume will be of interest to children’s literature specialists, graduate and post-graduate students, librarians, and mediators of reading.
