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Journal articles on the topic 'Artist Book for Children'
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1
Boguszewska, Anna. "Twórcza działalność na rzecz książki dla dzieci Krystyny Lipki-Sztarbałły." Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica 6 (November 30, 2018): 154–67. http://dx.doi.org/10.24917/23534583.6.13.
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Krystyna Lipka-Sztarbałło’s creation for children bookShaping full personality includes an introduction to cultural messages understanding and requires preparation from the earliest years of life. The use of picture books and book illustrations as the key assumption in visual education of children. Picture books represent the first artistic medium as the primary carrier of aesthetic values and a potential chance to stimulate cognitive, social development of a child. History of Polish picture book dates back to the turn of XIX and XX centuries. However, the realizations gaining more widespread range occurred much later. Krystyna Lipko-Sztarbałło, a graphic artist and an animator of Polish book for children, has been of key importance for the development of Polish picture book for the last twenty-odd years. The significance of the illustrations book in child development is proven by the examples of graphic designs taken from Krystyna Lipka-Sztarbałło’s works.
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Pitenina, V. "Artistic and stylistic peculiarities of the graphic work of Petro Lapyn, illustrator of the children's books in the first third of the 20th century." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 193–99. http://dx.doi.org/10.33838/naoma.27.2018.193-199.
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The beginning of the 20th century is a period of creative and printing experiments in the Ukrainian art. New generation of Ukrainian books was born in this period. The illustration of the children's books was a significant part of this process. Famous Ukrainian graphic artists, such as H. Narbut, M. Zhuk, O. Sudomora, V. Kononchuk, took part in the creation of a new Ukrainian children's book. Some little-known artists also worked with them, and their creativity was an important part of the artistic process. Petro Lapyn was one of those artists. From 1917 to 1929, he worked with the famous publishing houses, such as Vernyhora, Derzhavne Vydavnytstvo, Proliski, Knyhospilka and Rukh. Children's books, illustrated by P. Lapyn, are kept in the funds of the Pedagogical Museum of Ukraine, the National Library of Ukraine for Children, Ivan Fedorov Book Chamber of Ukraine and private collections. We have found about 30 of his projects. But the information about the artist himself and his life is quite limited. One of the first books he illustrated was the poem of S. Rudanskyi «Vovk, Sobaka ta Kit» («The Wolf, the Dog, and the Cat»), published in black and white in 1918. This early Petro Lapyn's work revealed his artistic outstanding peculiarities: vibrant linear drawing, harmonious combination of text and illustrations, variety of graphic techniques and skills in the representation of characteristic features. The high point of the artist's career is the illustration of «Crows and Owls», I. Franko’s fairy tale, printed in 1926 (Kharkiv, Rukh). It demonstrates the animalistic works of the artist. There are typical structural elements in fairy tale books: vignettes, drop caps. P. Lapyn uses decorative handwritten fonts and silhouette drawings for them. His graphic creations are full of emotions. Specific features of his work are: humour, emotionality, anthropomorphism, careful attitude towards literary material, and consistently high level of drawing.
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Campagnaro, Marnie. "Materiality in Bruno Munari’s book objects." Libri et liberi 8, no. 2 (2019): 359–79. http://dx.doi.org/10.21066/carcl.libri.8.2.7.
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This paper reviews the primacy of materiality in Bruno Munari’s work based on the case study of two of his picturebooks. Bruno Munari was one of 20th-century Italy’s most eclectic figures. Over the course of his lengthy career as an artist and designer, Munari explored the field of materiality in children’s books with exceedingly favourable results. His picturebooks set a precedent in the field of children’s literature, and they are highly valued even today. Children are fascinated by the opportunity to organise the experience of reading more freely thanks to innovative graphic and typographic mechanisms that fully exploit the editorial potential of materials such as paper, construction paper, and cardboard, but also transparent or semi-transparent sheets of acetate film, wood, plastic, sponge, and so on. In this paper, I describe the exclusive relationship that Munari developed over the years with the book as an object in all its various components (text and paratext). To do so, I discuss two of Munari’s significant editorial projects, the picturebook entitled Nella notte buia [In the Dark of the Night] (1956) and I Prelibri [Prebooks] (1980). I analyse the ways in which the Milanese artist succeeded in exploiting all the communicative, aesthetic and educational potential of these books’ material dimension.
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Kolosnichenko, M. V., T. F. Krotova, K. L. Pashkevych, and N. M. Pshinka. "STYLISTIC AND CONSTRUCTIONAL SOLUTIONS IN BOOK SERIES DESIGN "FAIRY TALES FROM AROUND THE WORLD" OF THE NATIONAL CHILDREN`S LITERATURE PUBLISHING HOUSE "VESELKA"." Art and Design, no. 2 (August 11, 2021): 20–29. http://dx.doi.org/10.30857/2617-0272.2021.2.2.
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Aim: to analyze the stylistic and constructive features of the design of the books in the series “Fairy Tales from Around the World“ by the publishing house “Veselka“, to trace the sequence of the publishing project and the role of the designer and art-designer in it. Methodology. Historical and comparative methods, as well as art history methods of image and stylistic and formal analysis have been used in the research. Results. The artistic approaches to the creation of 25 books of the series “Fairy Tales from Around the World“ (1978–2016) have been analyzed, the stages of creating the book design of this series have been studied with the help interview of the main artist of the publishing house “Veselka“ (1975–2015), national artist of Ukraine M. Pshinka; the image and stylistic features of this series design have been revealed, which allowed synthesizing the verbal, figurative and architectonic levels of books, ensured the integrity of the book as an artistic object, contributed to the emotional and aesthetic expressiveness of illustrations. Scientific novelty. The image and stylistic features of the decoration of the series “Fairy Tales from Around the World“, founded in 1978 by the National Children's Literature Publishing House “Veselka“, have been analyzed for the first time. The analysis of the books` design in this series as a synthesis of text, illustrations, and layout design has been presented. The sequence of the artistic and production process and the designer`s role in achieving the synergy of visual and verbal images has been traced. The constructive elements of the layout have been analyzed and introduced to ensure the serial stylistic unity of the books, which illustrations were made by different artists, keeping their own bright individual style. Practical significance. The study allowed analyzing the design features of the layout, which due to the creative approach of designers and collaboration with leading Ukrainian illustrators ensured the continued popularity of the books “Fairy Tales from Around the World“ among several generations of young readers, success and awards at numerous international and national competitions over four decades. The construction and serial elements of the layout design, which provided the stylistic unity and recognizability of all books of the series, have been described. The results of the research can be used for further study of the traditions of the art school of illustration and design of Ukrainian books, and also serve as theoretical and visual material in the educational process specializing in “graphic design“.
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Bronner, Shaw. "Here’s To Our Community." Medical Problems of Performing Artists 35, no. 4 (2020): 233–34. http://dx.doi.org/10.21091/mppa.2020.4034.
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Memorialized in former Secretary of State Hillary Clinton’s children’s book entitled It Takes a Village, “it takes a village to raise a child” is an African proverb that means an entire community of people must interact with children for those children to experience and grow in a safe and healthy environment. The need of the artist to create is undeniable and their villages continue to support them. During these dark days of the COVID-10 pandemic, performing and fine artists have been denied their traditional communication with their public as theaters and museums closed down throughout the world. For those of us who live in New York City where the worst of Covid-19 hit last spring, it was no Broadway shows, no spring, summer or fall dance seasons, no summer festivals, no dance classes. Yet almost immediately, artists’ resourcefulness shone as they continued to create, teach, and perform their art in new ways.
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Oittinen, Riitta. "Where the Wild Things Are." Meta 48, no. 1-2 (2003): 128–41. http://dx.doi.org/10.7202/006962ar.
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Abstract Translating picture books is a many-splendored thing: it includes not only the relationship between the verbal and the visual (images and other elements) but also issues like reading aloud and child images. In the following, while mainly concentrating on the visual, I will deal with the other questions as well, as they all interact and influence each other. My starting point is translating as rewriting for target-language audiences – we always need to ask the crucial question: “For whom?” Hence, while writing children’s books is writing for children, translating children’s literature is translating for children. (See Hunt 1990:1, 60-64 and Oittinen 2000.) The reasons why I take such a special interest in translating picture books are twofold: cultural and national as well as individual. In Finland, we translate a lot: 70-80% of all the books published for children annually are translations. From the perspective of picture books, the number may be even higher (and 90% of the translations come from the English language; see Rättyä 2002:18-23). Moreover, being an artist and translator of picture books makes me especially keen on the visual as a translation scholar as well. As a case study, I have chosen Maurice Sendak’s classical picture book Where the Wild Things Are and its translations into German, Swedish and Finnish. At the background of my article is my book Translating for Children (2000) as well as my forthcoming book Kuvakirja kääntäjän kädessä on translating picture books. Due to copyright reasons, I only have picture examples from illustrations of my own.
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Shalenova, M., and Zh Kosherbayev. "The world of children's book: the study illustration as a path of knowledge." Pedagogy and Psychology 46, no. 1 (2021): 113–20. http://dx.doi.org/10.51889/2021-1.2077-6861.15.
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The article is devoted to the study of the role of illustration in a children's book, where the latter is considered as a visual way for a child to learn the content of the text. The author, considering the development of illustration in historical retrospect, tries to highlight its features and specifics, which changed from era to era, covering more and more new styles, new directions, new artists. At the same time, the author, based on the analysis of scientific literature, comes to the conclusion that the illustration for children is as important as the text of the book itself, and for younger children it is even more important than the text. Illustration in a children's book, whether educational or artistic, is always a kind of visual path of knowledge, which is undoubtedly included in the system of cultural universals. And here, the task of the illustrator is to dynamically expand the knowledge of children and adolescents obtained through the book. It is clear that the introduction of modern children to reading, which in the digital era - the era of the craze for gadgets is becoming especially relevant, where an important role is played by illustration, its quality and skill of execution, the power of attraction. The author is sure that the illustration not only interprets the text, but also enriches it in its visual images, and here the artist shows his attitude to the text, develops or complements the thoughts of the writer or poet, enriching the text with visual images.
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Jenkins, Elwyn. "GERARD SEKOTO’S PREVIOUSLY UNPUBLISHED CHILDREN’S BOOK, SHORTY AND BILLY BOY: THE WORK OF A SOUTH AFRICAN IN PARIS." Mousaion: South African Journal of Information Studies 32, no. 2 (2016): 48–59. http://dx.doi.org/10.25159/0027-2639/1689.
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Shorty and Billy Boy (2013) is a children’s picture book that has been edited and published from the original created by the artist Gerard Sekoto in Paris in 1973. This article evaluates it as a picture book and places it in the context of South African English picture books, concluding that it is of a high standard. Secondly, the book is examined for its South African content, since the nature of Sekoto’s continued ties with his mother country is of central interest in the study of his art. Thirdly, the article evaluates the contribution of the book to Sekoto studies by examining the editorial apparatus that is appended to the book. Its scholarly standard is shown to be poor. The article concludes by placing the book in the context of Sekoto’s life and work.
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Viljoen, Stella. "Authorship and auteurism in Another Country." Tydskrif vir Letterkunde 41, no. 2 (2018): 47–54. http://dx.doi.org/10.4314/tvl.v41i2.29673.
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In 1873 Benjamin Disraeli could bemoan, "[a]n author who speaks about his own books is almost as bad as a mother who talks about her own children." Today, however, authorship is a consumable that demands endless promoting in order to be profitable. The ironic predicament of the author within contemporary (technocratic) culture is his frequent invisibility. Another Country is an apposite vehicle for raising the quandary of contemporary authorship since it is first, a music video and thus a promotional tool itself and second, an authorial collaboration between musical artists Mango Groove and "fine artist" William Kentridge.
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Erman, Deniz Onur. "Purest form of creation: Art Brut." New Trends and Issues Proceedings on Humanities and Social Sciences 5, no. 6 (2018): 134–42. http://dx.doi.org/10.18844/prosoc.v5i6.3850.
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In many cultures, it has been a long-established practice to apply various domains of art as therapy methods in asylums, prisons and rehabilitation centres in order to help people express themselves and their current circumstances and to aid cure themselves. Hans Prinzhorn’s book entitled ‘Artistry of the mentally ill’, which was published in 1924 in Berlin has been the initial resource for Art Brut, also known as ‘raw art’. A French artist, Jean Dubuffet has first used Art Brut as an artistic term in 1945, which has ignited major debates in the artistic milieu. The ultimate goal of these artists was to unveil the works of those with no art education, of mentally ill patients, rejected and marginalised individuals, children and major criminals, in order to question the authenticity of all established approaches to art through the revelation of instinctive expression andthe purest form of creation.Keywords: Art Brut, Jean Dubuffet, raw art, outsider art, primitive art.
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Engalycheva (Bulgakova), E. V. "Children's book: a terminological analysis." Bibliosphere, no. 4 (December 30, 2016): 94–98. http://dx.doi.org/10.20913/1815-3186-2016-4-94-98.
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The article deals with definitions of «children's book», «book for children», «children's literature», «literature for children», «children's reading circle». The mentioned terms are divided into two groups. The first group includes those authors, who consider material and the structural aspects of book, its reader's purpose, printing and design. This issue was studied by S. G. Antonova, N. Z. Ryabinina, I. A. Zharkov, I. F. Pavlova, S. A. Karaichentseva. The second group considers genre and thematic characteristics of book, its effect on children development. Among researchers should be called I. N. Arzamastseva, I. G. Mineralova, S. A. Nikolaev, E. E. Zubareva, T. D. Polozova. All submitted definitions are discussed in details in the context of those tasks that solve children's editions. The author has collected theoretical and practical views of philologists, bibliologists, historians, editors on definitions of children's book and its essential meaning for each field of science. Based on scientific historicism methods and terminological analysis of general components of children edition, its material and structural sides, genre and thematic characteristics have been revealed. Functions of the children's book are determined: communicative, administrative, cognitive, educational, aesthetic ones. The article objective is studying the phenomenon complex, based on which the author has given an independent interpretation of this definition. Additional information on children's literature specific features and its «special» design is presented at National Standard GOST 7.60-90 «Editions. Fundamental types. Terms and definitions», as well as branch standards: OST 29.130-97 «Editions, terms and definitions», OST 29.127-96 «Publishing books for children», OST 29.127-2002 «Quality requirements of book and journal editions for children and adolescents». The resulting terminological analysis will be useful both for professionals of publishing and editorial business, researchers studying the history and formation of children's books, historians, as well as for teachers in the educational course «Children's Literature», «Bibliology». The conclusion is that the children's book will have a stable cover, which content and variety depends on time, professional activity of authors, artists, editors, publishers, and other persons relating to the book publishing system of the country and regions.
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Verina, Ulyana. "The joy of recognition, a sense of difference: about the book of poems by poets of bulgaria for children translated by m. Yasnov." Children's Readings: Studies in Children's Literature 18, no. 2 (2020): 474–84. http://dx.doi.org/10.31860/2304-5817-2020-2-18-474-484.
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The book “A Box with Fairy Tales” includes poems by contemporary Bulgarian poets for children. It presents poets of different generations, each with their own special creative approach. Translations made by M. Yasnov embodied the idea of both unity and diversity at the same time. They bring the world of Bulgarian poetry closer to the Russian-speaking reader but maintain enough of a distance to allow the child to experience difference in message and style. The composition of the book is constructed in accordance with this idea: the poems are grouped into two parts and they follow the theme rather than a particular author. Information about the Bulgarian poets is given at the end in a form of small biographical vignettes. The themes in the book cover the timeline from early childhood to the threshold of adulthood. The book celebrates the creative legacy of the Bulgarian authors such as Z. Vasileva, V. Samuilov, M. Dalgacheva, P. Kokudeva, and I. Tsanev. Yasnov’s translations reveal a rich variety of poetic forms and language play in the original such as syntax and graphics, phonics, vocabulary that stand out on all levels of the poetic text. A particular tribute is payed to the author of the biographical articles on Bulgarian poets, Dr. G. Petkova, Sofia University of “St. Kliment Ohridsky” as well as to the artist O. Yavich for their contribution to this book.
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Immerwahr, Daniel. "Ten-Cent Ideology: Donald Duck Comic Books and the U.S. Challenge to Modernization." Modern American History 3, no. 1 (2020): 1–26. http://dx.doi.org/10.1017/mah.2020.4.
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The comic-book artist Carl Barks was one of the most-read writers during the years after the Second World War. Millions of children took in his tales of the Disney characters Donald Duck and Uncle Scrooge. Often set in the Global South, Barks's stories offered pointed reflections on foreign relations. Surprisingly, Barks presented a thoroughgoing critique of the main thrust of U.S. foreign policy making: the notion that the United States should intervene to improve “traditional” societies. In Barks's stories, the best that the inhabitants of rich societies can do is to leave poorer peoples alone. But Barks was not just popular; his work was also influential. High-profile baby boomers such as Steven Spielberg and George Lucas imbibed his comics as children. When they later produced their own creative works in the 1970s and 1980s, they drew from Barks's language as they too attacked the ideology of modernization.
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Crain, Patricia. "Learning to Read Childishly with “Master James”." PMLA/Publications of the Modern Language Association of America 130, no. 3 (2015): 718–23. http://dx.doi.org/10.1632/pmla.2015.130.3.718.
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This essay will read over the shoulder of Henry James as he reads a “boy's book” by Robert Louis stevenson, with the Design of using that seemingly unlikely encounter to think about children, books, and learning to read. An attentive reader of Stevenson's books for children and adults, James shared an affection and admiration for the man and the works with many of his contemporaries. The two became friendly after communicating in the pages of Longman's Magazine in 1884, beginning with James's essay “The Art of Fiction.” Often overlooked in discussions of this much cited essay is, first, the venue, a magazine that would become largely devoted to boys' adventure serials, and, second, the weight that James gives there to the recently published Treasure Island (1883), which he treats as exemplary in that it “succeeded wonderfully in what it attempts.” He contrasted it to Edmond de Goncourt's Chérie, which “deplorably” failed in its effort to depict “the development of the moral consciousness of a child” (61), as much as James thought that particular “country” worthy of the art of fiction (62). The reader will “say Yes or No, as it may be, to what the artist puts before” him, and, as to childhood, James asserts expert personal knowledge. After all, he writes, “I have been a child in fact, but I have been on a quest for a buried treasure only in supposition” (62).
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Macías, Anthony. "California’s Composer Laureate." Boom 3, no. 2 (2013): 34–51. http://dx.doi.org/10.1525/boom.2013.3.2.34.
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This essay uses the 1960s, Gerald Wilson’s most prolific period, as a window into his life and work as a big band jazz trumpeter, soloist, arranger, conductor, and composer. This selective snapshot of Wilson’s career inserts him more fully into jazz—and California—history, while analyzing the influence of Latin music and Mexican culture on his creations. Tracing the black-brown connections in his Alta California art demonstrates an often-overlooked aspect of Wilson’s musical legacy: the fact that he wrote, arranged, recorded, and performed Latin-tinged tunes, especially several brassy homages to Mexican bullfighters, as well as Latin jazz originals. Wilson’s singular soul jazz reveals the drive and dedication of a disciplined artist—both student and teacher—who continually honed his craft and expanded his talents as part of his educational and musical philosophy. Wilson’s California story is that of an African American migrant who moves out west, where he meets a Chicana Angelena and starts a family—in the tradition of Cali-mestizaje—then stays for the higher quality of life, for the freedom to raise his children and live as an artist, further developing and fully expressing his style. However, because he never moved to New York, Wilson remains under-researched and underappreciated by academic jazz experts. Using cultural history and cultural studies research methods, this essay makes the case that Gerald Wilson should be more widely recognized and honored for his genius, greatness, and outstanding achievements in the field of modern jazz, from San Francisco to Monterey, Hollywood, and Hermosa Beach.
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Vasilyeva, Anna V. "ILLUSTRATIONS TO THE RUSSIAN TRANSLATION OF “THE ADVENTURES OF A LITTLE PREHISTORIC BOY” (1929) BY ERNEST D'HERVILLY IN THE SCOPE OF LITERARY WORKS ABOUT PEOPLE OF THE STONE AGE FROM THE STATE DARWIN MUSEUM COLLECTION." Articult, no. 4 (2020): 104–12. http://dx.doi.org/10.28995/2227-6165-2020-4-104-112.
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The article dwells on the study of the image of a prehistoric man portrayed in children books illustrations and museum exhibitions’ design (paintings, sculptures) in 1920-1930s using the example of works from the State Darwin Museum funds. During this period, famous artists of children's books Vasily Vatagin and Mikhail Ezuchevsky worked at the State Darwin Museum. They were also well versed in anthropology and ethnography. Their drawings were the first Soviet illustrations for the book by Ernest d'Hervilly “The Adventures of a little prehistoric boy”, which became a popular science book for children in the USSR about prehistoric people. V.A. Vatagin, M.D. Ezuchevsky and A.N. Komarov created a number of paintings and sculptures about the life of prehistoric people for the exposition of the State Darwin Museum in the first half of the XX century. Illustrations and artworks introduced the element of entertainment and emotional appeal to the museum’s exhibitions, which otherwise were purely informative and rather cold-eyed.
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Paley, Nicholas. "Experiments in Picture Book Design: Modern Artists Who Made Books for Children 1900-1985." Children's Literature Association Quarterly 16, no. 4 (1991): 264–69. http://dx.doi.org/10.1353/chq.0.0748.
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Dymel-Trzebiatowska, Hanna. "“Talking” Containers. Visual Heterotopias in the Picture-Books Illustrated by Svein Nyhus." Folia Scandinavica Posnaniensia 25, no. 1 (2018): 76–88. http://dx.doi.org/10.2478/fsp-2018-0014.
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Abstract The article discusses picturebooks illustrated by a Norwegian artist, Svein Nyhus, to show his specific symbolic manner of depicting the child’s environment. It is argued that the illustrator employs characteristic recurrent elements of home representations and elaborates an interesting interplay of outer and inner spaces, consistently focusing the child’s perspective. This is demonstrated by an analysis of four picturebooks by the Norwegian artist: Pappa! (1998, Daddy!), Snill (2002, Nice), Sinna mann (2003, Angry Man) and Håret till mamma (2007, Mum’s Hair). The books have been regarded as ambitious literature for children, addressing difficult issues or even sometimes breaking a taboo. To show Nyhus’ visual method of thematising childhood’s traumas in relation to a home space is also one of the aims of the paper. The analysis of visual content is carried out with references to the textual narratives, drawing on ideas about heterotopia by Michel Foucault (1984), self-effacement by Karen Horney (1997) and the poetics of space by Gaston Bachelard (1969).
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Crossley-Holland, Kevin. "Bruder und Schwester wie Wort und Bild?1." Book 2.0 10, no. 2 (2020): 201–16. http://dx.doi.org/10.1386/btwo_00030_1.
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Throughout my writing life, I have collaborated with many visual artists − painters, etchers, wood-engravers, lino-cutters, watercolourists, photographers, even a stone carver; 37, I believe, not including occasional exchanges with illustrators of foreign editions of my books. For this article, I’ve chosen six artists to represent very different ways of working together. It hasn’t been easy to set aside such superb and eminent artists as Brian Wildsmith, who illustrated my first novel, Havelok the Dane (1964) and whose spirited, meticulous line drawings, with their replacement characters and glue and whiteout still hang on my walls at home. It was difficult, too, to omit Margaret Gordon: she and I made three picture books together, one of which, The Green Children, won the Arts Council Award for the Best Book for Young Children 1966–68. And John Hedgecoe – cussed, determined, imaginative, immensely talented, generous and a great photographer, with whom I worked on my Norfolk Poems (1970) – who persuaded me to wade fully clothed up and down muddy back-creeks, with strings of seaweed around my neck. But after some deliberation, the six visual artists I’ve chosen to write about are: Charles Keeping, John Lawrence, Andrew Rafferty, Norman Ackroyd, Jane Ray and Jeffrey Alan Love.
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Berger, Shulamith. "Moyshe Levin (Ber Sarin) of Yung-Vilne and His Solo Publishing Venture for Children." Judaica Librarianship 20, no. 1 (2017): 100–133. http://dx.doi.org/10.14263/2330-2976.1281.
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Moshe [Moyshe] Levin, talented author and artist, was better known by his pseudonym Ber Sarin, the pen name he used when he wrote short Yiddish books in rhyme for children who were just beginning to read. He wrote the lively texts, illustrated them in color and black and white, and self-published many of them in Vilnius (Vilna) Lithuania in the 1930s. The books were popular and successful with teachers and children. He was a graduate of the Vladimir Medem Teachers’ Seminary, a teacher in the TSYSHO school system, and a member of Yung-Vilne .2017 is the 75th anniversary of Levin’s murder at the hands of the Nazis. Levin left behind a wife and daughter who also perished during the Holocaust. Levin’s literary legacy, the books themselves, survived in limited numbers in only a handful of libraries; some are now available on the web. This article includes a brief biography of Moshe ]Moyshe] Levin (Ber Sarin), an overview and discussion of his work for children, information on the current whereabouts of his works, and a bibliography with brief annotations of the works the author was able to view.
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Szyłak, Jerzy. "Postmodernizm naprawdę dla dzieci. O metafikcji w książkach obrazkowych." Literatura i Kultura Popularna 25 (July 28, 2020): 277–391. http://dx.doi.org/10.19195/0867-7441.25.21.
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The text is an attempt to present what a postmodern picture book for children is. The main thesis indicates the tendency to break the traditional discourse, inscribed in children’s books. Ear-lier it was used mainly in parodies of this type of literature. Authors such as Edward Gorey, Ruth Krauss, and Maurice Sendak, may be considered precursors of post-modern picture books. Contem-porary artists using similar poetics are Raymond Briggs, Chris Van Allsburg, David Wiesner, and Jon Scieszka. Their characteristic features of narration are references to other works, the strategy of unmasking the fictionality of the message and the idea of revealing the materiality of the book. The issue of metafiction came to the fore in theoretical considerations about post-modern picture books from 2018. This kind of academic research can be considered as a manifestation of a broader tendency to constitute a new relationship between the recipient and the text of culture, excluding the naive reception of the reader.
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Manchev, Angel. "THE ARTIST AND EDITOR IN THE PROCESS OF CREATING ILLUSTRATIONS IN EDUCATIONAL BOOKS FOR PRE-SCHOOL CHILDREN." Education and Technologies Journal 8, no. 1 (2017): 59–62. http://dx.doi.org/10.26883/2010.171.255.
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Hombrecher, Hartmut, and Judith Wassiltschenko. "The Well-Worn Book and the reading child: cultural and cognitive aspects of materiality in German children’s literature." Neohelicon 47, no. 2 (2020): 537–57. http://dx.doi.org/10.1007/s11059-020-00551-0.
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AbstractChildren’s books often feature complex material aspects. Despite that fact, little research has been done on questions of materiality in children’s and youth books. The article aims at outlining the field of the materiality of historical German-language children’s books. By analyzing historical author’s pedagogical statements as well as the design of historical children’s and youth fiction, the article summarizes different approaches concerning the materiality of children’s books. Based on the historical development and the generic study on how children modify the materiality of their books, the article further investigates the book-as-object and emphasizes the child’s point of view by scrutinizing the adult-culture book-toy distinction. It will become apparent that the specific forms of children’s book reception emerge since the materiality of the book and its exploration present a new embodied experience. The specific reception forms can be embedded into a semiotic model of the text-reader interaction in reference to Roland Barthes’ concept of écriture and scription.
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Barratt-Pugh, Caroline, and Yvonne Haig. "Creating Books in Communities: A Book Making Program with Families in a Remote Community in Western Australia." Early Childhood Education Journal 48, no. 1 (2019): 49–58. http://dx.doi.org/10.1007/s10643-019-00975-z.
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Abstract This article describes the needs analysis, implementation and outcomes of a pilot program aimed at creating books with families in ways that represent their language and culture. Creating Books in Communities is part of Better Beginnings, a state-wide program, developed by the State Library of Western Australia, for children and their families, that aims to develop literacy skills through fostering a love of books and language. Literature about the importance of recognising and valuing home languages and culture in supporting early literacy learning and the impact of family literacy programs is explored to provide a background to the program. The process of Creating Books in Communities is described in detail—it involves collaboration between librarians, early childhood partners, and community based artists working with families to produce a high-quality book. The impact of the program is explored through the voices of all the participants, revealing a number of positive family and community outcomes. We conclude the article by identifying six key factors related to the success of the program, which can be used as guidelines for implementation of the program both nationally and internationally.
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Ivanova, S. V., and L. A. Volodina. "The influence of Czech and Russian humanist educators on the development of children’s literature in France in the first half of the twentieth century." Literature at School, no. 4, 2020 (2020): 43–55. http://dx.doi.org/10.31862/0130-3414-2020-4-43-55.
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The article discusses the development of children’s literature in France, which influenced all European children’s literature, which went along the path of education, training and parenting, in contrast to American children’s literature, which took a course primarily on entertainment. The study presents the reasons for the pedagogical path of children’s French literature, shows the foundations of approaches that are rooted in the humanistic ideas of the Russian writer and educator L.N. Tolstoy, the Czech educator F. Bakule and his follower L. Havranek. Russian artists who emigrated from the Soviet Russia (for various reasons), but who were closely connected with the Russian education, also played a fundamental role in this influence. The influence of the concept of the development of children by means of art, developed by F. Bakule, on the publishing projects of the French educator P. Faucher is analyzed in particular. The scientist, educator, book publisher P. Faucher is shown as the central figure of this successful book-publishing project. His role in this project, as well as his importance as a person who influenced the development of children’s literature, are known. At the same time, little is known about the sources of his pedagogical creativity, his book publishing ideas, and there is no scientific coverage of the role of artists in the implementation of pedagogical ideas in book publishing. The issue is resolved by the example of the publication of a series of children’s books “Albums of Father Beaver”, which had been published for about thirty years (in the 1930s and 1960s), was translated into 20 languages. In 2018, the series was included in the UNESCO Memory of the World Register. The article is to some extent interdisciplinary in nature, the authors needed to turn, first of all, to the pedagogical science, but also to the art criticism and research in the field of book publishing.
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Maslennikova, Anzhela. "Opera and Choral Performance in Mykhailo Krechko’s Work." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (March 18, 2021): 131–42. http://dx.doi.org/10.31318/2522-4190.2021.130.231220.
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The article considers some aspects of opera and choral performance on the example of analysis of the theatrical period of creativity of one of the prominent figures of Ukrainian choral culture, founder of the choir of the State Children’s Musical Theater — People’s Artist of Ukraine, Professor Mykhailo Krechko (1925–1996). M. Krechko as the first chief choirmaster of the theater built his individual principles of work and theatrical traditions inherent in such a unique opera choir. SCMT is the second in the world and the only professional opera and ballet theater in Ukraine for children and youth).The established traditions and peculiarities of the choir’s work in SCMT are analyzed, based on the repertoire of the newly created Theater and the genre range of performances of choir artists (opera, ballet, musical, cantata and oratorio works, a cappella music performance).Formulation of the problem in general. The relevance of the chosen subject is due to the lack of basic scientific research into the life and work of the famous Ukrainian choral conductor M. Krechko. This is the first comprehensive appeal to the activities of an outstanding master of choral work, active propagandist and collector of folk songs, composer, publicist, teacher and music and public figure, who devoted his entire creative life to the development of national choral culture. A separate task is to study and analyze the basis of the traditions of opera and choral performance initiated by M. Krechko during his work at the State Children’s Musical Theater. Also, it is important to systematically study the methodology and means of educating opera choristers on the example of the work of M. Krechko.
 Analysis of research and publications to solve the problem. General characteristics of the life and work of Mikhail Krechko are examined in the works of O. Bench-Shokalo, M. Kravchuk, A. Lashchenko, L. Mokanu. The issues of choir and opera choir are analyzed in the works of L. Butenko, O. Letychevska, B. Pokrovsky, K. Pigrov, P. Chesnokov, which explores the functioning of the choir and the nuances of managing this process, as well as the work of specialists in the opera house.The problem of the specifics of M. Krechko’s work with the opera choir was not raised in the scientific literature, which determined the relevance of this article. The research materials of the archive of the “Kyiv Municipal Academic Opera and Ballet Theater for Children and Youth” — programs of performances and concerts, reviews; family archival materials of the Krechko family; publications by M. Krechko and devoted to the work of M. Krechko (booklets, articles in newspapers and magazines, author’s books and reference books). Also, below are a number of personal conclusions of the author of the article while working as a choir artist under the direction of M. Krechko.The purpose of the article is to study the life and work of M. Krechko as an opera choirmaster, his methodology and practical implementation of the multitasking of choir artists in a wide range of synthesis of arts in the opera house.Conclusions and prospects for further exploration in this direction. The article explores for the first time the theme of opera and choral performance in the works of the outstanding Ukrainian choirmaster — People's Artist of Ukraine, Professor Mykhailo Krechko. The above facts from archival materials and analysis of the maestro's artistic activity allow to learn more about the master's contribution to the choral art of Ukraine and its important role in the formation of the vector of development of the State Children's Musical Theater. Emphasis is placed on the specifics and universalism of the theatrical choir. Summarizing all the above, we can say that the modern creative life of the choir Kyiv Municipal Academic Opera and Ballet Theater for Children and Youth is fundamentally based on the high artistic principles laid down by the founder of the choir — Mykhailo Krechko. The Maestro’s great love for the Theater Choir, which he called his “swan song”, high performing skills and a wide range of genres of repertoire, education of followers and like-minded people, and deep traditions established by the choirmaster are a strong foundation and guide to new artistic victories.
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Romashina, Ekaterina Yu. "Text and Image: Conversation in Different Languages (Oscar Pletsch’s Book Graphics in Germany, England, and Russia)." Tekst. Kniga. Knigoizdanie, no. 24 (2020): 113–33. http://dx.doi.org/10.17223/23062061/24/6.
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In the second half of the 19th century, children’s picture books became a mass phenomenon in European book publishing practice. The development of printing technology, the formation of psychology as scientific knowledge, the improvement of methods of educational interaction between adults and children led to the appearance of children’s books not only for reading them aloud, but also for looking at pictures in them. However, the connections between the textual and visual narratives of books were not yet strong. Often, for economic reasons, the same illustrations were used in combination with different texts, and translations and reprints added discrepancies. In the article, this is illustrated by materials from the analysis of German, Russian, and English editions with drawings by Oscar Pletsch: Die Kinderstube (Hamburg, 1860), Gute Freundschaft (Berlin, 1865), Kleines Volk (Berlin, 1865), Allerlei Schnik-Schnak (Leipzig, 1866); Malen’kie Lyudi (St. Petersburg, 1869), Tesnaya Druzhba (St. Petersburg, 1869), Pervye Shagi Zhizni (St. Petersburg, 187?), Yolka (St. Petersburg, 1874); Child- Land (London, 1873). The plots Pletsch created are compared with the texts in three languages. As a result of the analysis, significant differences between the texts and the visual range of the editions were revealed. The article identifies the options of transforming meanings and interpreting drawings, reveals the tendency of their use for didactic purposes. The album Gute Freundschaft (initially containing only short captions to the drawings) acquired detailed poetic texts—monologues or dialogues of depicted children—in the Russian translation. The English publisher “scattered” the visual series: in Child-Land, the same drawings were placed randomly and mixed with other illustrations without observing any logic. The London edition contained prosaic texts, many of which did not coincide in meaning with the storyline of the original. The author (translator) sometimes interpreted the images “taken out of context” in a neutral way and sometimes added other (including sharply negative) characteristics to children’s postures, gestures, and movements. In a number of cases, the texts emotionally “loaded” the images in a completely different way than the artist conceived: a gesture of greeting turned into a threat, expectation turned into boredom, and so on. It should be stressed that the Russian publisher Mauritius Wolf treated the German originals more carefully than his English colleagues from S.W. Partridge & C°. The analysis of publications and the comparison of their verbal and visual plots allowed identifying the nature of the interrelation of text and image as a “conversation in different languages”. The reason for the “discord” could be translation problems, general changes in the functional tasks of the publication (for example, towards a didactic purpose), the mismatch of cultural codes in the system of different European languages, and technical difficulties in printing. All this led to the emergence of new senses and meanings—sometimes unexpected, but always important, interesting and never accidental.
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Heywood, Sophie. "Fighting ‘On the Side of Little Girls’: Feminist Children's Book Publishing in France after 1968." Nottingham French Studies 59, no. 2 (2020): 206–20. http://dx.doi.org/10.3366/nfs.2020.0285.
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The publishing activities of the French second-wave feminist movement are well-documented. Less attention has been focused on its attempts to imagine childhood freed from sexism. In the mid-1970s, the Franco-Italian editorial partnership ‘Du côté des petites filles/Dalla Parte delle Bambine’ fought ‘on the side of the little girls’ by publishing a new kind of children's book: politically and aesthetically subversive, and engaged in the period's major feminist debates. Tracing relationships between the publishers involved, this article illustrates how feminist campaigns helped shape new ideas on children and their culture after 1968: child-rearing was both a major point névralgique of the movement as a whole, and an issue requiring action, to provide tools for the struggle. Examining publishing practices, creative artists and books, this study reveals both the intellectual impact of the MLF activists on ideas of childhood and children's literature, and the artistic visions and new poetics they helped nurture.
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Leichtman, Martin. "Projective Techniques for Adolescents and Children (Book)." Journal of Personality Assessment 53, no. 1 (1989): 198–99. http://dx.doi.org/10.1207/s15327752jpa5301_24.
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Hubbert, Jennifer. "Book Review: Advertising to Children in China." China Information 19, no. 3 (2005): 507–8. http://dx.doi.org/10.1177/0920203x0501900306.
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Cook, Daniel Thomas. "Book Review: Consuming Children: Education-Entertainment-Advertising." Journal of Consumer Culture 3, no. 1 (2003): 139–41. http://dx.doi.org/10.1177/146954050300300114.
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Sueyoshi, Mark, Arthur Olch, Natalie Johns, Jordan Afaga, and Kenneth Wong. "Comics: Educating and introducing children to radiation therapy." Journal of Clinical Oncology 36, no. 34_suppl (2018): 155. http://dx.doi.org/10.1200/jco.2018.36.34_suppl.155.
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155 Background: Comics can address topics in medicine and other facets of life in a format that is widely accessible. Literature suggests that Human-Centered Design strategies can reduce child/caregiver anxiety prior to radiation therapy. Thus, appropriately designed comics can bridge the gap between the practical realities of radiotherapy, like understanding the importance of remaining still in immobilization molds and the pediatric patient's desire for imagination and play. Similar patient-care interventions have been implemented in the form of toys, games, and books. The aim of this project was to draw out best practices in the development of a comic to prepare patients for radiotherapy. Methods: Comic production underwent an iterative process whereby a multidisciplinary team of a radiation oncology department defined a set of principles and goals. An artist then developed several drafts with the input of staff, patients, and family. Readability for the intended audience was assessed by established readability tests. Results: A 25-panel comic draft was produced by the multidisciplinary team that explained in simple terms how radiotherapy is used in a relatable and entertaining way. The dialogue was developed to accommodate the education level of both pediatric patients and caregiver(s) with the intention to be read as a shared experience. The Automated Reliability Index, Flesch Kincaid Grade Level, and Gunning-Fox Index measured readability as fourth, less than sixth, and sixth grade, respectively. The messages included an explanation of radiation, its necessity and likely side effects, the important alliance with the radiation oncology staff, and the central role of the patient. Conclusions: The development of a clear, succinct, and entertaining comic that is relatable to children undergoing radiotherapy is a challenging process, especially in a world awash with competing media. However, a graphic medium can provide an opportunity to convey information and reassurance for both the patient and family. Comics have the potential for greater patient satisfaction over traditional methods of information dissemination. Next steps will involve clinic-wide validation using standardized anxiety and family impact assessment tools.
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Bradley, K. R. "Book Review: Children and Childhood in Classical Athens." Journal of Family History 42, no. 2 (2017): 202–6. http://dx.doi.org/10.1177/0363199017692769.
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Mason, Rebecca. "Book Review: Children and Youth in Premodern Scotland." Journal of Family History 43, no. 1 (2017): 99–101. http://dx.doi.org/10.1177/0363199017732279.
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Zinchuk, N., and O. Pogrebnyak. "THE OEUVRE OF ANDREI HADANOVICH IN THE CONTEXT OF MODERN BELARUSIAN-UKRAINIAN LITERARY INTERACTION." Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, no. 35 (2019): 230–38. http://dx.doi.org/10.17721/2075-437x.2019.35.22.
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The article covers the main features of Andrei Hadanovich’s works as s a representative of the modern literary process in Belarus and his liaison with Ukrainian writers and translators. Considerable attention is paid to the first literary attempts of the Belarusian writer, the process of professional development and the features of postmodernism in his writings. In this context the poetry of Andrei Khadanovich combines the achievements of Eastern European «book» poetry with elements of modern culture (pop, rock, rap, urban slang). Using his poetry-song «Hotel Belarus» as example, the research depicts «classical» postmodernism features in Andrei Hadanovich’s works – intermediality, intertextuality, irony, play, numerous allusions, parodies, experiments with form and genre. The paper also describes the main directions of the Belarusian writer’s literary work in Ukraine, his role and place in the development and popularization of modern Ukrainian literature and culture among Belarusian readers. The creative cooperation between Andrei Hadanovich, Serhiy Zhadan, Oleksandr Irvanets and Yurii Andrukhovych is characterized on the basis of their poetry books and collaborations. In particular, review of Khadanovich’s works includes several books of poems – his very first edition of «Letters from the Blankets» in Ukrainian, «From Belarus with Love», also published in Ukraine but in Belarusian, twin books «Belarusian Man» and «Ukrainian Airlines», created in the close collaboration with Serhiy Zhadan and other young artists and translators. In addition to creating some «adult» poetry, the writer from Belarus is shown as children’s author. His book of funny lyrics for children “Daddy’s Notes” was also first published in Ukraine in Ukrainian translation.
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Prissel, Paul G. "Book Review: Sexualized Violence against Women and Children." International Journal of Offender Therapy and Comparative Criminology 50, no. 5 (2006): 595. http://dx.doi.org/10.1177/0306624x06290319.
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Stevenson, Julie. "Book Review: Women and Children of the Cut." Journal of Transport History 17, no. 2 (1996): 170–71. http://dx.doi.org/10.1177/002252669601700212.
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Van der Heyden, Ingrid, and Helma Van Lierop. "A Threefold Hybridity. Picturebook art fantasies as life writing." European Journal of Life Writing 3 (October 3, 2014): 63–81. http://dx.doi.org/10.5463/ejlw.3.119.
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Picturebook art fantasies about the life and work of famous artists are usually studied from an art education perspective, but they are also interesting from the point of view of life writing, because of their hybridity on three levels: the combination of fact and fiction, the synergy between text and images and their attractiveness for both child and adult readers. In this article two picturebooks are examined on this threefold hybridity, one about Wassily Kandinsky and one about Piet Mondrian. Both books are part of a series of picturebooks, initiated by the Municipal Museum in The Hague and Dutch children’s book publisher Leopold. It is argued that the postmodern experimentation with the form which is characteristic of life narratives for adults, can also be observed in children’s literature. The biographies of Kandinsky and Mondrian make use of novelistic techniques and the interplay between words and images to tell about the life and work of these two visual artists. The many allusions in text and images to the art and the poetics of the two painters show that these picturebooks are a challenging form of life writing for both adults and children.
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McLeod, Heather Skye. "Review of “Good Question: Arts-based approaches to collaborative research with children and youth” edited by Michael J. Emme and Anna Kirova (2017)." Art/Research International: A Transdisciplinary Journal 3, no. 2 (2018): 373–80. http://dx.doi.org/10.18432/ari29389.
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In this edited volume published as an e-book, Good Question: Arts-based Approaches to Collaborative Research With Children and Youth, Michael Emme and Anna Kirova wonder whether communities of adult researchers, artists, educators, and youth working in collaborative and playful ways can co-construct inquiry practices which support young people to lead their own research investigations. The collection is composed of three parts. The first part, “Comics,” focuses on research methods designed for children and youth. The second and third parts, entitled “Collaborations” and “Theory” respectively, include chapters written by new and experienced researchers/scholars who elaborate examples of collaborative arts-based research with children and youth. The design of Emme and Kirova’s contribution to the literature is highly imaginative. In a time of burgeoning interest in arts-based research approaches, the volume has earned a key place. It will no doubt become an essential work for those interested in such innovative research with children and youth.
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Parnes, Henri. "Book Reviews: Working With Disadvantaged Parents and Their Children." Journal of the American Psychoanalytic Association 34, no. 3 (1986): 743–47. http://dx.doi.org/10.1177/000306518603400318.
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Lachenmeyer, Juliana Rasic. "Advances in Behavioral Assessment of Children and Families (Book)." Journal of Personality Assessment 59, no. 3 (1992): 649–51. http://dx.doi.org/10.1207/s15327752jpa5903_17.
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Bernal, Sarah Bruce. "Book Review: Divided by Borders: Mexican Migrants and Their Children." Gender & Society 26, no. 2 (2012): 341–42. http://dx.doi.org/10.1177/0891243211410562.
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Burchardt, Jeremy. "Ladybird landscapes: or, what to look for in the What to Look For books." Rural History 31, no. 1 (2020): 79–95. http://dx.doi.org/10.1017/s095679331900030x.
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AbstractThe interlocking relationships between agriculture, nature, science and modernity underwent fundamental, far-reaching change in mid-twentieth-century Britain. This article examines Ladybird’s iconic, bestselling but under-researched ‘What to Look For’ seasonal natural history series, focusing particularly on the illustrations by the distinguished wildlife artist Charles Tunnicliffe and their relationship to the text by the biologist Elliot Lovegood Grant Watson. Beneath their apparent simplicity, the ‘What to Look For’ books attempt an ambitious, forwards-looking synthesis between mechanisation and tradition, nature and livelihood that calls into question historiographical critiques (by Newby, Miller and Bunce, for example) of contemporary representations of the rural as nostalgic and evasive. The ‘What to Look For’ books quietly subvert some of the more distorting tropes of English landscape representation. People are shown going about their everyday work (in contrast to the ‘landscape without figures’ tradition) and modern farm machinery such as tractors and seed drills are also acknowledged and even celebrated. Tunnicliffe and Grant Watson sought to harmonise these potentially discordant elements; their vision of the rural was an inclusive one that accommodated working women, children and even to some extent ethnic diversity. Yet in the second half of the twentieth century attempts to imagine a positive relationship between rurality and modernity such as Ladybird’s were increasingly undermined by escalating ecological crises.
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APPLEMAN, DEBORAH. "Book Review: School-Based Prevention Programs for Children and Adolescents." Applied Cognitive Psychology 10, no. 4 (1996): 365–66. http://dx.doi.org/10.1002/(sici)1099-0720(199608)10:4<365::aid-acp396>3.0.co;2-j.
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Keller, L. Eileen. "Book Review: Psychodynamic Perspectives on Working with Children, Families, and Schools." Journal of the American Psychoanalytic Association 61, no. 6 (2013): 1265–70. http://dx.doi.org/10.1177/0003065113510040.
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Parks, Charles E. "Book Review: Mentalization-Based Treatment for Children: A Time-Limited Approach." Journal of the American Psychoanalytic Association 68, no. 3 (2020): 529–35. http://dx.doi.org/10.1177/0003065120933820.
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Rozin, Vadim Markovich. "The experience of non-traditional study of the poetics of literary works (on the example of the book “Fontanelle” by Meir Shalev)." Культура и искусство, no. 5 (May 2021): 58–75. http://dx.doi.org/10.7256/2454-0625.2021.5.35746.
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This article offers a nontraditional approach towards studying the poetics of literary work, which considers personality of the reader and analysis of the reality that he reconstructs and experiences. The empirical material is comprised on the authorial analysis of the poetics of Meir Shalev's novel &ldquo;Fontanelle&rdquo;. This literary work features the four major themes: love of the protagonist Michael, creation of the new world from its inception, the characteristic of life values of a person, and discussion of the peculiarities of reality that Meir Shalev builds as an artist. In the first theme, the author reveals several images of love, reflecting on the mystical love of the protagonist for the young woman Ana, love in the family and marriage, love for children. At the same time, the author discusses not only the way that Meir Shalev understands and describes love in &ldquo;Fontanelle&rdquo;, but also talks about the own interpretation of love. In the plotline of the second theme, the author also distinguishes two lines: the story the protagonist&rsquo;s grandfather Apupa, who carries his beloved Amuma on his shoulders across the country, seeking a place where they could create a home and family; and the story of gradual development of a small settlement into a city, created by Apupa and Amuma on the mountain, and several Jewish families at the lower valley. Discussing in the third topic the anchors of human life, the author emphasizes such values as effort, love, family and family line, creativity, indicating that Michael is not alone, he is loved, he gets involved in family history, as well as the history of Israel and Jewish culture, drawing strength in the heroes of this story. The last part of the article gives characteristic to the reality of &ldquo;Fontanelle&rdquo; and explains why the author liked it.
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Brookfield, Tarah. "Book Review: Abuse or Punishment? Violence toward Children in Quebec Families." Journal of Family History 42, no. 4 (2017): 452–53. http://dx.doi.org/10.1177/0363199017725030.
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Fomin, Dmitry V. "The Theme of the Revolution in the Children’s Books of the 1920-ies." Bibliotekovedenie [Russian Journal of Library Science] 67, no. 1 (2018): 61–68. http://dx.doi.org/10.25281/0869-608x-2018-67-1-61-68.
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Reflection of the events of the October Revolution of 1917 in the domestic publications for children in the 1920-ies — early 1930-ies is a very significant and interesting, but insufficiently studied topic. This theme had been mainly explored from the standpoint of literary analysis, without considering peculiarities of the crucial component of the books graphics. In the article there is made an attempt to analyse mainly from the bibliological and art critical point of view a number of editions, directly or indirectly related to the theme of Revolution, to consider stylistic features of their external design, to identify the most typical art techniques used by illustrators of those years. The considered period is interesting because there were no ready-made models to emulate for the writers and artists, there were no rigid canons of the “Revolutionary children book”; the most important topic from the point of view of Soviet ideology had been mastered by trial-and-error method. In the mid-1920-ies, writers and graphic artists preferred the allegorical, fairy-tale interpretations of the Revolution theme: in the illustrative cycles of such different masters, as M.V. Dobuzhinsky, B.V. Joganson, D.A. Bulanov, V.S. Tvardovsky, the victorious revolts were committed in a fantastic country, in the kingdom of toys or in the world of animals. Rather unsuccessful should be recognized the experience of graphical interpretation of revolutionary themes with the use of heavy-weight allegories; much more convincing, though not undisputed, was the method of describing the class battles from the point of view of a child. In publications of the early 1930-ies, all sorts of allegory give way to the direct access to the historical events of 1917; however, the graphical language of the books remains conditional. In the works of A.I. Poret, P.M. Kondratyev, B.I. Inozemtsev, N.V. Svinenko, the epic scale of the Revolution is emphasized with the use of unexpected lines of sight, bold spatial solutions; and primitive style is often synthesized with the techniques of avant-garde art. Using different strategies of mythologization and poetization of the Revolution, illustrators were successfully resolving the problem of not only political, but also aesthetic education of the younger generation.
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Gavish, Roni, and Nigel P. Field. "Book Reviews: A Practical Guide for Helping Children Cope with Loss." Death Studies 32, no. 5 (2008): 485–91. http://dx.doi.org/10.1080/07481180801974786.
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