EL 108 REVIEWER.docx

**EL 108 LESSON 1** **Defining Children's Literature** As **Hintz and Tribunella (2019)** point out, the concept of children\'s literature has undergone significant transformation over time. Initially, there was no distinct category for works aimed at children. **The challenge of defining audienc...

**EL 108 LESSON 1** **Defining Children's Literature** As **Hintz and Tribunella (2019)** point out, the concept of children\'s literature has undergone significant transformation over time. Initially, there was no distinct category for works aimed at children. **The challenge of defining audience** A central issue in defining children\'s literature is **determining the target audience.** Many works initially intended for adults have found a readership among children **(e.g., Lewis Carroll\'s Alice\'s Adventures in Wonderland),** while others written for children have appealed to adults **(e.g., A.A. Milne\'s Winnie-the-Pooh)** **The role of purpose and context** The definition of children\'s literature is also influenced by the purpose of the analysis. A literary critic, a librarian, a parent, and a child might have different perspectives and criteria. **The impact of social and cultural factors** Societal attitudes towards childhood, education, and leisure have shaped the development of children\'s literature. Ex. Didacticism **Children\'s literature as a genre** While some scholars argue that children\'s literature is a distinct genre with shared characteristics, others contend that it **encompasses a wide range of literary forms and styles.** As Hintz and Tribunella (2019) suggest, the idea of children\'s literature as a genre is **useful for identifying common patterns and themes**, but it can also be overly restrictive. **Lynch-Brown, Tomlinson, and Short (2014)** offer a practical definition of children\'s literature as high-quality trade books that **resonate with children\'s interests and developmental stages**. This definition **emphasizes the importance of selecting books that are both engaging and appropriate for specific age groups.** Ultimately, the definition of children\'s literature depends on various perspectives, including those of authors, publishers, librarians, educators, and most importantly, children themselves. **Content** Children's books are about the **experiences of childhood,** both good and bad. The content of children's books includes **interest to children**, such as dinosaurs, Egyptian mummies, world records, and fighter planes. Childhood stories told in a forthright, humorous, or suspenseful manner are appropriate for young readers; stories about childhood told in nostalgic or overly sentimental terms are inappropriate. Likewise, when stories show children as victims of natural and human-made disasters, the stories should emphasize the hope rather than the hopelessness and utter despair of the moment. The subject matter of children's literature can be expressed **in prose or poetry.** If the literary work is prose, it must be presented as fiction or nonfiction or both. **Textbook** is for the purpose of **instruction**. Ex.basal reader **Trade book**, is primarily for the purposes of **entertainment and information**. Trade books are often referred to **as library books and storybooks.** **Quality** Not all literature is good literature. Quality in writing has to do with **originality and importance of ideas, imaginative use of language, and beauty of literary and artistic style.** The best children's books offer readers **enjoyment** as well as **memorable characters and has permanent value.** **The Personal Value of Literature for Children** Literature for children leads to **personal fulfillment and academic gains.** - **Enjoyment** - **Understanding and empathy** - **Moral reasoning** - **Knowledge and insights** - **Heritage and cultural identity** - **Imagination and inspiration** - **Literary and artistic preferences** **Reading** **"The single most important activity for building the knowledge required for eventual success in reading is reading aloud to children". Reading aloud greatly benefits children\'s acquisition of reading skills and their attitudes toward reading.** The Reading First program, established by the **National Reading Panel in 2002**, did not significantly improve student reading comprehension test - a **phonics-based approach** to reading instruction would produce better readers than other approaches. **Writing** **Reading and writing skills are closely linked**, as children learn from literature and develop better vocabulary and writing styles. **Content-Area Subjects** literature across the curriculum - **using works of literature as teaching materials** in the content areas of social studies and history, science, health, and mathematics. Using multiple sources of information **leads to fuller factual coverage and informed decisions.** **Art Appreciation** Children\'s picture books are valuable for their **cognitive and aesthetic value.** Teachers can instill appreciation in students by highlighting striking illustrations. They can also use picture book art as a model for applied art lessons, encouraging students to use media, techniques, and topics from the illustrations in their own artwork. **Children's Literature and the University** \- Attempts to ban queer and race-conscious literature in schools haven\'t extended to higher education, but higher education faces pressures and accusations of indoctrination. \- Conservative governing boards in some states influence university syllabi and classroom discussions, such as Florida\'s 2022 bill requiring tenured faculty to undergo five-year reviews. \- Arguments for \"diversity of thought\" in classrooms often equate all perspectives as equally valid, ignoring the harmful impacts of some views. \- Research shows that while humanities departments lean left, the trend is often driven by students, not professors; conservative students are less likely to pursue higher education. \- Higher education faces challenges of teaching without being perceived as politicized while still accurately representing disciplines and protecting students. \- Children's literature courses confront the need to address problematic aspects of classic texts (e.g., racism, imperialism, and contemporary social issues) without alienating or harming students. \- Reading in early education is often focused on skill acquisition rather than narrative reading, which is crucial for self-discovery and personal growth. \- Narrative reading has transformative potential, allowing students to see their own experiences reflected in literature, which supports personal and societal evolution. \- The backlash against perceived social justice content in children's literature has led to state-sponsored bans in places like Texas and Florida. **BANNED BOOKS** The family book -- religious and conservative views Peter Pan -- racism Harry Potter - transgender rights Don't touch my hair -- racism Paddington Bear -- immigration politics **Why Assign Children's and Young Adult Literature?** **Reason One: The Content's "Simple" Surface Construction** Children's literature is often defined as texts specifically written for children or those selected by children to read. These texts are accessible due to simpler narratives aimed at readers with lower reading levels compared to adults. It is valuable for teaching. Children's literature often uses straightforward language, active storytelling, and less introspection, making it approachable for non-professionals. Simple surface structures often hide complex themes and meanings, making these texts worthy of academic study despite their apparent simplicity. Using children's texts allows instructors to teach complex concepts and theories without overwhelming students with difficult language or dense narratives. These texts can help students focus on learning objectives rather than struggling with basic comprehension, making them suitable for all students, including English learners and those with limited prior reading experiences. Starting with children's literature helps build a foundation in literary terminology and concepts, which can later be applied to more complex adult literature. This approach helps students build confidence and familiarity with key ideas, making subsequent adult readings more approachable. Not all children's literature is simple; the genre is diverse with a wide range of narrative complexities. Classic texts like \"Charlotte's Web\" are used to teach literary terms and deeper concepts like gender and mortality. Young Adult (YA) literature, such as \"The Hunger Games\" or \"Harry Potter,\" offers straightforward structures that can teach social, psychological, and political themes. YA texts often resonate with college students due to familiar themes like friendship, identity, and societal issues, making them effective teaching tools. Both children's and YA literature are valuable across English Studies, including literary analysis, rhetoric, composition, and creative writing. These texts provide accessible entry points into complex discussions, allowing students to explore societal constructions and individual-society dynamics. **Reason Two: The Likelihood of Familiarity** Children's and YA literature is often familiar to students because they likely encountered these texts while growing up or through popular adaptations like movies, TV shows, and other media. This familiarity can increase student interest and engagement in reading assignments, as they may feel more confident and less intimidated by the material. Familiar texts can help students overcome their reluctance or anxiety about required readings, making them more willing to engage with the material. Emotional engagement with familiar stories can enhance critical analysis and make the learning experience more enjoyable and memorable. YA texts center on adolescent experiences, which align closely with the life stage of traditional college students, allowing them to see themselves reflected in the material. Instructors can leverage this familiarity to encourage analytical thinking, such as interpreting supernatural conflicts as metaphors for real-world societal tensions. Not all students may find characters they can relate to, which might limit their connection to the text. However, this limitation can be addressed through creative approaches like fanfiction, allowing students to explore diverse perspectives and experiences not directly represented in the original texts. **Reason Three: The Intertextual New Media Adaptations** Many college students are familiar with children's and YA literature not necessarily from reading the books but from engaging with their media adaptations such as movies, TV shows, or video games. These adaptations create a strong motivation for instructors to assign these texts and for students to engage deeply with them, as they are already familiar with the stories through other media forms. The enduring popularity of fantasy adaptations in mainstream media, such as the *Harry Potter* series or *The Vampire Diaries*, demonstrates the wide appeal of these narratives and can be used to increase student interest in course materials. Engaging with new media adaptations in the classroom supports a multiliteracies approach, where students develop not only linguistic skills but also visual, multimodal, and critical media literacy skills. **Reason Four: The Power of Fanfiction** Assigning fanfiction writing projects allows students to create their own adaptations of the texts they study, fostering deeper engagement and understanding. Despite concerns that integrating fanfiction into the classroom could diminish its authenticity, literary and fandom scholars argue that it can enhance students\' critical and creative skills. By creating their own versions of familiar stories, students can explore and challenge the original texts, making the learning experience more interactive and personal. Fanfiction offers students a platform to address the lack of diverse representations in popular culture and literature. It allows them to reshape media to reflect their own interests and identities, such as increasing LGBTQIA+ representation or portraying characters from diverse racial backgrounds. For example, a student in a literature course adapted *The Vampire Diaries* by rewriting characters as Black Americans, directly challenging the limited racial representation in the original texts and adaptations. **Children's Literature and Theory** Children\'s literature is often seen as accessible, simple, and clear, while theory is perceived as complex, difficult, and obscure. This initial perception is misleading because children\'s literature has been a subject of theoretical discussion and debate from its earliest origins. Conversely, theory has also been influenced by the issues present in children\'s literature. A major reason for this interconnection is that children\'s literature is a genre typically created, marketed, and sold by adults for children, which inherently involves issues of power and \"otherness.\" Adults usually write children\'s literature by either drawing on their own childhood memories or by observing and learning from the experiences of children. However, these \"common sense\" approaches often lead to diverse interpretations of childhood and literature, which can result in varied ways of writing, marketing, selling, and even teaching and researching children\'s literature. **Criticism and Theory in Children\'s Literature** Not all children's books are considered children's literature. The distinction often involves judgment and evaluation of literary quality, much like the evaluations found in classical Greek and Roman literary criticism and in theological debates of religious texts. Decisions about what qualifies as children\'s literature and how these works are valued are influenced by various stakeholders, including parents, teachers, librarians, publishers, and academics. Criticism in children's literature involves making judgments about what books are better written and why, or differentiating between genres. This judgment is often made by adults on behalf of children. Theory, in this context, serves as a tool to explore the basis of these critical judgments and to uncover hidden problems or assumptions in how we approach children\'s literature. Literary theory provides a framework to question what might seem obvious, such as how and why stories work or how people read. The unique aspect of children\'s literature is the inherent difference between the adult creators and the child readers, which raises fundamental questions about authorship, text, and readership that are less pronounced in general literary studies. According to theorists like Perry Nodelman, children's literature often involves navigating the adult-child divide, where adults, as the producers, have the power to define and interpret the needs and preferences of their young readers. This dynamic highlights how adults often study children's literature from an external perspective, reinforcing their authority over the subject. Common literary theories, such as Marxism, feminism, psychoanalytic theory, queer theory, race theory, and others, can also be applied to children's literature. However, the adult-child dynamic remains a central consideration. Children's literature challenges broader literary theories by providing clear examples of concepts like phenomenology, structuralism, and deconstruction, thereby offering valuable insights into these theoretical frameworks. Theory in children's literature is not just an abstract academic pursuit; it has practical consequences for the creation, evaluation, and utilization of children\'s books. **The Origins of Writing for Children: What Is a Child?** **Historical Development of Writing for Children**: Writing for children is believed to have originated from two main sources: **Oral Traditions**: Folk and fairy tales, myths, and legends that were initially not specifically intended for children but for the broader population. **Didactic and Moralistic Writing**: Texts that were either universally read or designed primarily for instructive purposes rather than entertainment. Over time, these sources evolved into children\'s literature through the \"discovery\" or \"invention\" of childhood, leading to a significant debate on the nature of childhood. **Discovery vs. Invention of Childhood**: This debate questions whether children\'s literature emerged because adults finally understood what children are really like (discovery) or because childhood was culturally and historically constructed (invention). French historian Philippe Ariès, in his book *Centuries of Childhood* (1957), argued that childhood is not a biological category but a social and historical construct influenced by broader societal changes such as the agricultural and industrial revolutions. The debate extends to whether childhood is a universal experience or varies significantly across cultures and times, with some cultures viewing children as smaller adults. **Cultural Perspectives on Childhood**: Different cultures have distinct approaches to childhood. For example, Chinese children's literature theorist Zhu Ziqiang discusses the \"discovery of children\" in China, influenced by Western scholars like G. Stanley Hall and Sigmund Freud. There is a perception that childhood, as understood in Western contexts, was exported to other parts of the world, often through colonial or imperialist influences, affecting indigenous perceptions and practices regarding childhood and children\'s literature. **Influence of Western Thinkers**: Western philosophers such as John Locke, Jean-Jacques Rousseau, and Romantic poets like William Blake and William Wordsworth contributed to the evolving concept of childhood, advocating for the idea that childhood had distinct qualities separate from adulthood. In colonized regions, the influence of Western children\'s literature often overshadowed indigenous storytelling traditions, leading to a complex interplay between imported and local narratives. **Postcolonial Theory and Children's Literature**: Postcolonial theorists, like Homi K. Bhabha, emphasize the importance of recognizing the specific cultural contexts in which childhood is constructed. Bhabha argues that while there may be similarities in symbols and cultural practices across societies, their meanings and values are context-specific. This viewpoint challenges the notion of a universal childhood, underscoring the varied and localized ways in which children and their literature are conceptualized. **Practical Implications of Theoretical Debates**: The debate over the nature of childhood affects practical decisions regarding children's literature, including what books are considered suitable for children based on adult assumptions of what children are like. Viewing childhood as a constructed identity opens possibilities for rethinking how children are perceived and how literature and other cultural products are created for them. **Diverse Theoretical Approaches**: The spectrum of beliefs about childhood ranges from those who see it as having essential traits to those, like British theorist Jacqueline Rose, who argue that childhood has no inherent properties and is always defined by adult perspectives. Perry Nodelman identified a group of critics he called the "Reading School," who focus on interpreting children's literature not in terms of child readers but from adult perspectives on childhood. **Authorship: The J. K. Rowling Phenomenon** **The Rise of the Celebrity Children's Author**: The status of children's authors has evolved significantly, especially with the unprecedented global fame of J. K. Rowling, the author of the *Harry Potter* series. Rowling\'s success has elevated the children\'s author to the level of a world-famous celebrity, characterized by both fame and immense wealth. Historically, famous children's writers such as Lewis Carroll, Frances Hodgson Burnett, L. M. Montgomery, Enid Blyton, Roald Dahl, and Jacqueline Wilson were notable, but the magnitude of Rowling's celebrity and financial success is unique. **Theoretical Considerations of Authorship**: The common perception is that successful children's authors either possess an exceptional memory of their own childhood or have profound knowledge of children, which informs their writing. However, the relationship between authorship and children\'s literature is complex, as it involves assumptions about the author writing specifically for children, even when authors claim to write for themselves or adults. Critics often still attribute the success of their works to their appeal to children. The boundaries of intended readership are often blurred, as seen with books like *Robinson Crusoe* and *Gulliver's Travels*, which were originally written for adults but became popular among children, and vice versa for works like *Alice's Adventures in Wonderland* and the *Harry Potter* series. Nielsen data in 2015 showed that 55% of young adult books were bought by adults, with 78% of those purchases made for personal reading. **Destabilizing Authorial Intentions**: The notion that authors' intentions dictate the readership of their works is often disrupted by the diverse interpretations and receptions of texts. This challenges the supposed control of authors over their creations, even when there are seemingly clear moral or didactic messages within their works. This ties into broader literary theory debates, where the authority of the author has been historically questioned, particularly in relation to religious texts in monotheistic traditions, where interpretation varies widely and is often contested. **Historical Context and Evolution of the Concept of the Author**: Before the advent of the printing press and widespread literacy, texts were often circulated anonymously, and the role of the author was not as prominent or financially incentivized as it is today. French theorist Michel Foucault, in his 1969 article "What Is an Author?", argues that the concept of authorship and ownership of texts evolved with the commercialization of literature and the establishment of copyright laws in the 18th century. Foucault also highlighted that earlier manuscripts were not seen as sources of personal profit for their creators, unlike the modern era, where the ideal of the highly successful, wealthy author (such as Rowling) is a modern construct. **Economic Realities of Authorship**: Despite the aspirational ideal of the successful author, the economic realities for most writers are stark. Research by the British Society of Authors in 2018 found that the median annual income for professional authors was £10,500 (approximately US\$11,300), well below the minimum wage. Only 13.7% of authors earned their income solely from writing, a sharp decline from 40% in 2005. This disparity underscores the fact that the majority of writers, including those working on educational and non-fiction texts or series written under pseudonyms (e.g., *Nancy Drew* or *Goosebumps*), do not enjoy the status or financial rewards associated with high-profile authors like Rowling. **The Concept of Authorship and its Implications**: The status of \"author\" is not universally applied to all writers, and it carries specific cultural and economic implications. Being recognized as an \"author\" often involves the attribution of specific powers, such as control over the interpretation and reception of texts, and access to publishing, marketing, and financial success. This theoretical understanding helps to distinguish between writers and authors, recognizing that authorship is a value-laden status conferred upon certain writers who meet specific criteria or expectations. **Knowing Children: Observation, Memory, Psychology, and Neuroscience** Children's literature authors are often credited with having exceptional knowledge of childhood. Critics and theorists of children's literature often claim to understand "core" attributes of childhood, used to judge the literature. Asking children what they like to read or observing them has limitations, as responses are influenced by adult-created frameworks. The \"voice\" and \"agency\" of children are central concepts in modern childhood studies, but these ideas are rooted in specific political and ideological positions. Memories of childhood are subjective and vary widely, complicating their use in literature evaluation. Developmental psychology is commonly cited but is complicated by cultural, aesthetic, and theoretical factors. Different educational systems and psychological theories (e.g., Piaget, Kohlberg) offer varied approaches to understanding childhood and reading. Neuroscience has been used to claim insights into how children perceive space, but interpretations rely on existing psychological models. Critics are divided into "book people" (focusing on texts) and "child people" (focusing on child readers), but both groups rely on shared assumptions about representation and identification. Representation, identification, and empathy are widely assumed to be natural processes in reading but remain under-theorized and are not universally accepted. **Understanding reading and writing as multimodal literacies: Mapping literary and literacy pathways through text** 1. **Multimodal Literacies**: These are literacy practices that involve various modes of communication beyond traditional text---such as visual, spatial, aural, and linguistic elements. 2. **Active Engagement**: Readers and writers collaborate to create meaning from texts, drawing on their diverse perspectives and experiences. This active process involves mapping unique literary and literacy pathways. 3. **Pedagogical Approaches**: This includes using different types of texts (like picture books) and activities that engage students in exploring the relationships between various modes of communication. 4. **Literacy Evolution**: The shift from traditional print media to digital and multimodal texts has transformed literacy practices. 5. **Cultural and Contextual Awareness**: Multimodal literacy practices highlight the importance of understanding texts within their cultural, social, and historical contexts. This involves recognizing how different modes contribute to the meaning-making process and how these modes are shaped by cultural practices. 6. **Educational Strategies**: The chapter outlines several strategies for incorporating multimodal literacy into teaching: 7. **Future Directions**: The chapter encourages educators to reflect on their own use of multimodal resources and to consider how multimodal literacy practices can prepare students for navigating complex communication environments beyond the classroom. Meaning making involves the use of a range of modes, not just language (Kress, 2010). Modes are socially, culturally and historically situated (Kress, 2010). Multimodal design involves intentional use of the modes that are to hand in any given context (Kress, 2010). There is a motivated relation between signifier and signified (Kress, 1993). The affordances of modes are not fixed but are situated in specific contexts of use (Kress, 2010). Children from a very young age produce multimodal texts that draw on modes in intentional ways (Kress, 2010). Analysing children's multimodal communication can provide additional insights into their learning that a sole focus on language would mask **EL 108 LESSON 2** **History of children's literature** Before the invention of the 15th century of the printing press, which made books more widely available, children listened to stories told by their elders. The stories were about the adventures of older people, about animals, and imaginary characters. These stories were passed on by word of mouth from generation to generation before they were collected for printing **Classical period 500 BC to 400 AD.** All literary works began with the use of ancient oral storytelling. People began to tell stories to comfort each other, establish relationships, and entertain or teach their young ones. Introduces their religion, tradition, culture, and values. Literature is for entertainment and to carry tradition. Ex. Biag ni Lam Ang. Animism - is the belief that objects, places, and creatures all possess a distinct spiritual essence Most of the children literature was also told by adults. Children heard similar stories as adults did. Children grew up with the stories of the adventures of Hercules, Aesop's fables, Homer\'s \"Iliad and Odyssey,\" Ovid\'s metamorphosis, and the story of gods and goddesses or the creation of the world. The known literature during the classical period is of **Greek and Roman origins, such as myths and epics.** The literary works during the classical period are characterized **as subtle in thought.** They use **direct expressions**, adhere to form portray archetypal characters, carry a moral message. Focused on showing **truth and beauty**. Share common elements includes memorable characters and distinct protagonists with notable characteristics. Most themes explore human experiences and depict human conditions and the forces around them. The writing styles include figurative languages such as metaphors, symbolism, hyperbole, simile, personification, irony, and juxtaposition. General audience Archetype -- hero -- good, stepmom - masama **Mediaeval period** **or Middle Ages 478 AD** Characterized as religious and highly biblical or romantic, with embedded realism and fantasy. People used stories for teaching morals to children. The time when the Roman Empire fell and European civilization weakened. It stretched to the beginning of the 14th century. **Catechism** -- teachings of catholic Religion was a huge influence in terms of education during the middle-ages due to the domination and influence of the Roman Catholic Church. Biblical stories, such as the stories of saints, were popular to teach children. Among the known stories based on oral traditions are the story of \"Noah\" and the great flood, \"Cain and Abel,\" \"Adam and Eve,\" and the "Tower of Babel\". Many stories of heroic adventures were also familiar in the search for places to spread Catholic teaching. To avoid theft, the books were chained to the libraries during the medieval period Since books were expensive, oral tradition or oral storytelling was used as the mode for entertainment. Storytellers and wandering entertainers recited stories and different poems to amuse people. The tale of \"King Arthur and the Knights of the Round Table\" fascinated children and adults alike. The heroic stories of \"Roland\" from France and \"Cid\" from Spain were widespread. \"Beowulf\" ( Anglo Saxon) and his opponent Grendel, the beast, were two of the prominent characters during the medieval period. Written literary works started with the monks \'s lesson books for the young people during the old English period. The Bishop of Sherborne, Aldhelm (640-700 A.D), had also written books for children, in which he wrote verses and ridui. Alfred the Great (349-399 A.D.) translated literature in Latin to Anglo Saxon. The Archbishop of Canterbury, Ansel (1033-1109 A.D.) published the Bible. William Caxton (1476) created the first printer and published the fables of Aesop, the Legend of King Arthur and his knights, the Song of Roland an old French epic, the heroism of El Cid, the valor Beowulf from the Norse. These stories are still prominent even today. **Renaissance period** Marked the new era in Europe around 1400 to 1700 or during the 14 to 16th century. It was the time when new ideas were formed. Roman and Greek literature were reintroduced. There was emphasis on intellectual and spiritual development. Changes were brought about by the crusades that opened the trading in Asian countries, which brought new ideas to European countries. Stable kingdoms were established as stronger rulers were installed. Johannes Guttenberg discovered the printing press, an idea which came from China. This allowed the multiple productions of books and spread information easily during the renaissance period. Educational books were also first printed, and most of the books were made for younger readers. Sir Thomas Elyot produced \"The Book Named the Governor\" in 1531. Roger Ascham printed \"The Scholemaster\" in 1570, a book on courtesy. This book emphasized the proper manners and behavior for young boys. The growing numbers of Protestant members created religious conflict with the Roman Catholics. This conflict and violent deaths were depicted in John Foxe\' s \"Book of Martyrs.\" This book became famous to school children. **School master** -- about courtesy **The book of Martyrs** -- about people that died Colonialism **18th century** Books were produced to teach children or emphasize morals. Instructions were devoted to religious pursuits. The Augatinian philosophy had a great influence on teaching children. Instructions were based on different philosophies; intellectual development was given a premium, Children\' s minds were believed to be blank slates, as John Locke explained in his essay, In this idea, children were believed to have an equal opportunity to learn. Adults could imprint in the children \'s minds, and if best educated, children could grow into intelligent, highly independent individuals. Children are believed to be inherently good. Jean-Jacques Rousseau advocated the importance of living life with simplicity, He also propelled didactic writing for children. Moralistic tales were produced. John Newberry wrote books that reflected the children\' characteristics during the 18 century. He is considered the Father of Children's Literature. His books include A Little Pretty Pocket-Book, which is produced to teach and entertain children. Folktales were revived during the 18 century. The \"Tales of Mother Goose\" was introduced which was written by Charles Perrault of France in 1697 and translated into English. Fairytales became popular such as the stories of \"Sleeping Beauty,\" \"Cinderella, \" \"Little Red Riding Hood,\" and many other fairy tales that are still popular today. Mme. De Beaumont retold the popular fairy tale \"Beauty and the Beast.\" The Tales from the \"Arabian Nights\" that include \"Aladdin and His Lamp\" and \"Sinbad the Sailor\" were published by Elizabeth Newberry in 1791. Hans Christian Anderson wrote fairy tales that include the \"The Princess and the Pea,\" \"The Little Mermaid\", \"The Nightingale, \" \"The Steadfast Soldiers.\" \"Emperor\' s New Clothes, \" \"The Red Shoes,\" \"The Snow Queen,\" \"Thumbelina\" and \"The Ugly Duckling.\" Social classes became distorted during this period as the middle class started to encroach on nobility, while the upper-class members retaliated. The 18 century also marked the slow change of the female gender perception, and this was depicted in their literature. Women writers who surfaced were M. Cooper and M. Boreman wrote \"The Christmas-Box\" , Jane Austin, and many other female literary writers. **Hans Christian Anderson** wrote most of the modern stories. **The Victorian Age** characterized as the rise of modern fantasy. The years 1837 to 1901 were considered the Golden Age of children \' s literature. A rapid change and advancement in medicine, scientific discoveries, technical knowledge occurred during this period. The bulk of literature for children was attributed to the better status of women and the emergence of more talented writers. Carroll\' s \"Alice in Wonderland\" broke the didactic ideas in literature for children in 1865. Alice through the looking glass part 2 In the middle and towards the second half of the 19th century, boys\' stories dominate children\'s literature. Louis Stevenson wrote \"Treasure Island.\", Clemens \"The Adventures of Tom Sawyer\" in 1876, and 1884 the \"Adventures of Huckleberry Finn.\" Women writers Susan Warner wrote \"The Wide. Wide World\" in 1850, and Louisa May Alcott produced the popular \"Little Women\" in 1868. which depicted strong characterization and moral value. Frank Baum produced \"The Wonderful Wizard of Oz.\" depicted the classic U.S. modern fantasy for young readers, in 1900. **The Edwardian era** The Edwardian era occurred between 1901 to 1915, where the ideas of childhood experienced a cultural change, which considered the idea that \"a child is central to childhood.\" This became the defining mood of the period that dictated children\'s literature. Children\'s literature became more subjective.\" The Tale of Peter Rabbit\" written in 1901, \"The Phoenix and the Carpet\" in 1904, \"The Railway Children\" in 1906 were a few of Beatrix Potter \'s literary pieces. The story of \"Peter Pan, \" which was written by J.M. Barrie was a popular piece during this period specified in 1904, and Kenneth Grahame \' s \"A Wind in the Willows\" in 1908 made a mark. Other literary pieces produced during this period were Frances Hodgson Burnett\'s \"A Little Princess in 1905 and the \"Secret Garden" in 1910, the satirical verse of Hilaire Belloe was collected in the \"Cautionary Tales for Children\" in 1907 **20th century** the era of fantasy writing in children\' s literature due to the emergence of many fantasy figures. This period was known for the production of picture storybooks, the personification of toy animals. Toys coming into life Hugh Lofting produced \"The Story of Doctor Dolittle\" in 1920, A.A. Milne wrote \"Winnie-the-Pooh\" in 1926, which personified toy animal stories. Laura Ingalls also wrote \"Whose Little House in Big Woods in 1932. Further, P. L. Traver wrote \"Mary Poppins\" in 1943. The popularity of series books rose during the 20th century such as \"The Lion, the Witch and the Wardrobe\" in 1950 by C.S. Lewis. \"The Hobbit\" by J.R.R. Tolkien, which became a prequel to his work of art \"The Lord of the Rings\" which became a very successful movie. Classic adventure \"The Charlotte Web\" by E.B. White, that featured a definitive animal fantasy was produced. The rise of new realism occurred after World War II. These resulted in the diversity of world cultures depicted in children\'s literature. It opened a more liberal approach to children\'s literature. Roald Dahl, a British author, produced \"James and the Giant Peach\" in 1961. It was followed by \"Charlie and the Chocolate Factory,\" \"The Witches,\" \"Fantastic Mr. Fox,\" and \"Matilda. In 1970, Judy Blume produced her novels \"Are You There God?\", \"Margaret\", \"It\'s Me\". \"Deannie,\" and \"Blubber.\" During the late 20 century, heroes portrayed literature came in different colors and much of the literature written for children were adapted to films. Using the ideas, styles, and forms of the previously written literary pieces for children, and integrating technology and science, the late 20 century writers were more experimental in creating something new and fresh. The surge of children\'s literature with grew in modern days. J.K Rowling\'s \"Harry Potter\" became famous like Lois Lowry\'s \"The Giver,\" Sachar\'s \"Holes, \" Philip Pullman\'s \"His Dark Materials. **Key Themes, Patterns, and Changes in Children's Literature** Children want three basic elements in a story; suspense, characters who are believable and characters who act to solve problems. Themes that deal with issues that are important to this youthful audience. They cover the anxieties, fears, and desires that children experience. A theme can be found by answering one, or both, of these questions: 1.What does the protagonist learn about him or herself in the story? 2.What does the protagonist learn to cope with in the story? ·Courage ·Friendship ·Belonging/Identity ·Family ·Loss/Grief ·Growing Up ·Anger ·Suffering ·Jealousy ·Love Examples from popular fiction: 1\. In Charlotte's Web, Wilbur survives because of the love and friendship of Fern and Charlotte. 2\. The Harry Potter series includes all these themes, but the most prominent theme is finding the courage to face evil so that good can prevail. 3\. The main themes in The Hunger Games series are: suffering in an unequal and unjust society; loss of loved ones; and courage. Katniss has to find the courage to survive physically, to fight an unjust system, and to deal with loss and grief. 4\. In Diary of a Wimpy Kid: The Ugly Truth, Greg has to deal with the reality of growing up. 5\. In Where the Wild Things Are, Max is sent to his room without dinner for disrespecting his mother. The author deals with Max's anger by taking him on a trip to the magical land of the wild things. Remember that the complexity and depth of the theme changes depending on the age level for which you are writing. **Patterns in children's literature** Patterning is one of those important early skills. Children use language and picture patterns to "read" predictable books. Here are the different patterns of a children's literature book. Chronological pattern- stories following a time sequence; e.g., days of week; seasons. (e.g. After the Snowfall by Rich Lo) Main character pattern- stories focusing on a central character and the life or activities of that character (e.g. Miss Nelson is Back by Harry Allard and James Marshall) Problem-solving pattern- stories with problems that are solved before the end. (e.g. Walking to School by Eve Bunting) Repetitive pattern- stories with repeating episodes or phrases. (e.g. There, There by Sam McBratney) Rhyme-rhythm pattern- stories built around a rhyming pattern or that follow a rhythm (A Stone Sat Still by Brendan Wenzel) Informational pattern- Stories that convey facts about the world (e.g. Skyscrapers by Lynn Curlie) **Changes in children's literature** The impact of cultural and technological influences on children's literature has evolved over the decades, with current trends focused on digital and technological advances. These advances have affected printing and publishing, with authors and illustrators adapting their work to capture the attention of children accustomed to fast-paced digital experiences. Print texts now often mimic digital formats in style and design. The twentieth century saw significant developments in children\'s literature, including the rise of the picture book, which combines images and words to tell a story. Notable illustrators like Randolph Caldecott and Walter Crane contributed to its popularity. Changes in literature for older children also include the emergence of multicultural themes and topics that were once considered taboo, such as death, child abuse, alternative lifestyles, and more. Children's literature serves four main purposes: helping children understand themselves, others, their world, and the values of written language. By engaging with characters in stories, children learn about behavior, the consequences of interactions, and the similarities and differences among people. This exploration allows them to better understand their society and their own values. **Children's Literature in the 21st Century** Children\'s literature has increasingly engaged with sociocultural issues, including queerness, racial profiling, bullying, and police violence against Black children. K-12 students in America encounter various societal threats related to race, gender, class, citizenship, diversity, inclusion, and exclusion, often outside the classroom environment. The Columbine school shooting in 1999 marked the beginning of a surge in school shootings, with an average of 87 incidents per year in the U.S. between 2013 and 2021. The environment for children includes active shooter drills, exposure to bullying, racism, sexism, homophobia, and mental health challenges. Themes of school shootings and social justice have been incorporated into children's books, including those aimed at very young readers. Titles like \"I'm Not Scared\... I'm Prepared\" and \"The Ant Hill Disaster\" use kid-friendly illustrations to address school shootings, turning these tragic events into relatable stories for children. Books like \"Say Her Name,\" \"Blended,\" and \"Ghost Boys\" tackle topics such as police violence, racial discrimination, and the complexities of biracial identity. Some books, like \"Ghost Boys,\" have faced bans due to accusations of being anti-police, highlighting the contentious nature of discussing racism in educational settings. Books such as \"Bodies are Cool\" and \"Frederico and All His Families\" promote body positivity and celebrate diverse family structures, including LGBTQ+ families. When Aiden Became a Brother\" explores gender identity and the importance of support from family and educators, reflecting the evolving understanding and acceptance of diverse gender expressions in children\'s literature. Authors advocate for the inclusion of complex societal issues in children\'s literature, arguing that it provides children with the vocabulary and context needed to discuss their experiences and prepares them for future civic engagement. **THE "BIRTH" OF CHILDREN'S LITERATURE?** **John Newbery** Before 1600, there were no books specifically for children in England, and children's literature as a distinct category of English literature emerged around 1700. John Newbery, a London bookseller and publisher (1713-1767), is often credited with the \"invention\" of children\'s literature. The year 1744 is marked as the birth of children\'s literature due to the publication of Newbery's \"A Little Pretty Pocketbook.\" It was designed for both instruction and enjoyment, unlike earlier children's books that focused solely on education. The book included engaging elements like a letter from Jack the Giant-Killer and taught the alphabet through descriptions of games. Newbery viewed children and their parents as a distinct consumer group and tailored his marketing strategies accordingly. He used attractive packaging, such as elaborate covers and bindings, to appeal to children. The book was also a commercial, mixed-media text, accompanied by a pincushion for girls or a ball for boys, enhancing its appeal. Newbery\'s approach of considering children as a separate market, focusing on pleasure, and employing creative marketing strategies, significantly influenced the future of the children\'s book industry and earned him recognition as the creator of the genre. **Newbery's Contemporaries: Thomas Boreman and Mary Cooper** Although John Newbery is credited with the invention of children\'s literature, other publishers like Thomas Boreman and Mary Cooper made significant contributions before and during Newbery\'s time. **Thomas Boreman**: A London printer and bookseller who began publishing exclusively for children as early as 1730. Known for his series \"The Gigantick Histories of the Curiosities of London,\" published in ten small volumes between 1740 and 1743. His books were sized to fit a child\'s hand, focusing on the child's enjoyment. Boreman disappeared from the historical record after Newbery\'s emergence in 1743, likely due to his death. **Mary Cooper**: A prominent publisher who ran a successful business in London. Published \"The Child's New Plaything,\" which was already in its second edition by 1743, a year before Newbery\'s first children\'s book. This book included an alphabet, traditional medieval tales, and spelling lessons. Cooper\'s second book, \"Tommy Thumb's Pretty Song Book\" (1744), is recognized as the first collection of nursery rhymes in English. **Sarah Fielding and the First Children's Novel?** Sarah Fielding, the sister of novelist Henry Fielding, published \"The Governess; or, The Little Female Academy\" in 1749, which is considered the first novel for children. Fielding was connected to significant figures in the development of the English novel, including Samuel Richardson, who was her friend and publisher for \"The Governess.\" The book features a group of young schoolgirls who take turns telling their life stories, which are mixed with fairy tales and moral advice from their governess, Mrs. Teachum. The Governess\" marks a milestone in the birth of children\'s literature, aligning its development with the broader history of English literature. **General-audience and Crossover Texts** - These included works intended for both adults and children or mixed-age audiences that are now closely associated with children. **Educational Books** - This category included textbooks, primers, conduct manuals, religious texts like catechisms, children's Bibles, and didactic poetry and stories meant to teach specific lessons. **Aesop Fables** Aesop's Fables, originating from the sixth century BCE, were general-audience texts not specifically intended for children. They are part of the broader history of literature and were enjoyed by readers of all ages. William Caxton introduced the first English translation of Aesop's Fables in 1484, eight years after he brought the printing press to England in 1476. This collection included well-known fables like \"The Tortoise and the Hare\" and \"The Boy Who Cried Wolf.\" Although not initially aimed at children, Aesop's Fables were later used in schools to teach Greek and Latin, as well as to impart moral lessons. This educational use was encouraged by John Locke in his 1693 work, \"Some Thoughts Concerning Education.\" In the 19th century, new translations and illustrations of Aesop's Fables specifically for children helped solidify their association with children's literature. Through these adaptations and their educational use, Aesop's Fables became firmly established as part of the canon of children\'s literature **Chapbooks** In the 16th and 17th centuries, chapbooks became popular. They were small, cheap booklets made by folding a single large sheet of paper and typically ranged from eight to twenty-four pages. Chapbooks included ballads, folk tales, and illustrated tales of adventure, romance, mystery, and crime. These texts were originally produced for a general audience with no specific distinction between child and adult readers. Tom Thumb: A popular chapbook featuring Tom Thumb, a tiny yet heroic figure from King Arthur\'s court. The Interesting Story of the Children in the Wood: A chapbook telling a tragic tale of two orphaned children abandoned in the woods, reflecting the darker narratives common in early literature. **Folk and Fairy Tales** Passed down orally through generations, these stories often featured ordinary protagonists and could have unhappy endings. Some originated from folk tales, while others were original compositions by authors like Giovanni Francesco Straparola and Giambattista Basile. These tales often included magical elements and more favorable outcomes compared to folk tales. Fairy tales became popular in French salons, particularly among aristocratic women. This trend was possibly started by the Countess d'Aulnoy, who is credited with coining the term \"fairy tales.\" Charles Perrault: Published \"Histoires ou contes du temps passé\" (Stories or Tales of Past Times) the same year, which included enduring tales like \"Cinderella\" and \"Little Red Riding Hood.\" Perrault's tales were often more gruesome than their modern counterparts; for example, his version of \"Little Red Riding Hood\" ends with her being eaten by the wolf. Over time, these stories were adapted for children. In the 19th century, collections like the Grimm Brothers\' German fairy tales (first published in 1812) and Andrew Lang's \"The Blue Fairy Book\" (1889) helped repurpose these narratives for younger audiences, often removing the darker, more mature elements to make them suitable for the nursery. **Crossover Texts**: Works like Daniel Defoe's \"Robinson Crusoe\" (1719) and Jonathan Swift's \"Gulliver's Travels\" (1726), although originally intended for mixed-age readers, became popular with children and are now associated with them. \"Robinson Crusoe\" inspired the genre known as the \"Robinsonade,\" which includes works like Johann Wyss's \"The Swiss Family Robinson\" (1812) and R.M. Ballantyne's \"The Coral Island\" (1857). The popularity of crossover texts raises questions about whether children's literature is defined by what is written specifically for children or by what children choose to read. Historically, there was resistance to such works, particularly from Puritan perspectives that discouraged secular or light reading. Sarah Trimmer, a prominent critic of children's literature, warned against novels that were not explicitly religious or realistic. She argued that fiction and fantasy could mislead children or distort their sense of reality. Maria Edgeworth and her father criticized sentimental stories and books of mere entertainment for cultivating premature emotions, especially in girls, and encouraging a distaste for ordinary life. They also opposed adventure tales for boys, arguing these were incompatible with the perseverance needed for success. There is a historical tradition of skepticism toward fiction and fantasy for children, reflected in contemporary criticisms of works like J.K. Rowling's \"Harry Potter\" series, which some view as potentially harmful in shaping children's imaginations or beliefs. **Religious Works Before the Eighteenth Century**: A significant portion of early children\'s literature was religious, such as James Janeway's \"A Token for Children.\" The Puritans emphasized teaching children to read primarily to study the Bible, creating a demand for spiritual works aimed at young readers, including catechisms and moral instruction texts like Benjamin Keach's \"War with the Devil\" (1673) and Nathaniel Crouch's \"Youth's Divine Pastime\" (1691). **Influence of John Foxe's \"Book of Martyrs**: Although not specifically written for children, this work was widely read by Protestant children and contained graphic accounts of Christian persecution, reflecting the intense religious instruction of the time. **John Bunyan's \"The Pilgrim's Progress:** Published in 1678, this Christian allegory, though not originally for children, became a staple in religious education, portraying the journey of a character named Christian burdened by sin. **Sunday School and Evangelical Movements**: The rise of the Sunday School movement in the mid-eighteenth century and the founding of organizations like the Religious Tract Society and the American Tract Society bolstered religious children's literature. This period saw a shift from strictly religious instruction to social education, as seen in works like Anna Laetitia Barbauld's \"Hymns in Prose for Children\" (1781), which aimed to instill devotion in young minds. **Prominent Religious Writers**: Notable writers included Sarah Trimmer, who used animal characters to teach moral lessons, and Mary Martha Sherwood, whose \"The History of the Fairchild Family\" (1818) emphasized religious education. Their works reflected both religious and Romantic literary influences. **Rational Moralists**: Influenced by philosophers like Locke and Rousseau, rational moralists like Sarah Fielding, Maria Edgeworth, and Thomas Day focused on moral rather than religious instruction. They used carefully designed narratives to teach rational thought and ethical behavior, as seen in stories like Edgeworth's \"The Parent's Assistant\" (1796). **Didactic Poetry and Fiction**: These works, intended to instruct while also engaging young readers, included both religious and secular moral teachings. An example is Bunyan's \"A Book for Boys and Girls; or, Country Rhymes for Children\" (1686), which combined moral lessons with imaginative storytelling. **Golden Age:** **Emergence of a Distinct Market**: In the mid-eighteenth century, children's literature developed as a distinct market, balancing the adult desire for educational content with the creative and commercial drive to entertain and engage young readers. **Societal Changes**: Nineteenth-century societal changes, such as industrialism, mass production, increased literacy, the rise of the middle class, and a growing view of children as valuable and deserving of pleasure, contributed to an expanded children's culture and literature. **Shift from Didacticism to Creativity**: While traces of didacticism persisted, the emphasis in children's literature shifted toward pleasure, creativity, and artistic expression. Freed from the strict need to teach moral lessons, writers began exploring new genres, forms, and complex characters. **Lewis Carroll's Influence**: The publication of Lewis Carroll's \"Alice's Adventures in Wonderland\" in 1865 marked a significant departure from the didactic traditions of children's literature. Carroll's imaginative and humorous approach, which parodied didacticism, is often considered a starting point of the Golden Age, highlighting the artistic and creative possibilities of writing for children. **Ongoing Tension**: Although didacticism remained a feature in children's literature, its role became one of many, occurring in tension with the goals of pleasure and artistic innovation. The Golden Age represents a period where literature for children embraced a broader range of themes and styles, moving beyond mere instruction.