Journal articles on the topic 'Children's literature – Translations into Afrikaans'

The tension between domesticating and foreignising translation strategies is particularly strongly felt in the translation of children’s literature, and has been a key issue in many studies of such literature. However, despite the pervasiveness of the concepts, there is little existing empirical research investigating how child (and adult) readers of translated children’s books process and respond to for eignised elements in translation. This means that scholars’ arguments in favour of either domestication or foreignisation in the translation of children’s literature are often based on intuition and personal experience, with no substantial empirical basis. This article presents the findings of an experiment undertaken to investigate Afrikaans child and adult readers’ processing of and responses to potentially linguistically and culturally foreign textual elements in translated children’s picturebooks, against the background of postcolonial/neocolonial cultural and linguistic hybridity in South Africa. The paper reports the results relating to two of the research questions informing the study: Does the use of foreignised elements in translated children’s picturebooks have any significant effect on the cognitive effort involved in reading for child and adult readers? Is the comprehension of child and adult readers affected by the use of for eignised elements in translated children’s picturebooks? A reading study utilising eye-tracking was conducted, involving both child and adult participants reading manipulated domesticated and foreignised versions of pages from two picturebooks translated from English to Afrikaans. To answer research question (1), data obtained by means of eye-tracking were analysed for dwell time, fixation count, first fixation duration and glances count for areas of interest (AOIs) reflecting domesticating or foreignising translation strategies. In order to answer question (2), short structured questionnaires or interviews with participants were used, focusing on the degree of comprehension of the two texts. Overall, the findings of the experiment demonstrate that while there are perceptible effects on processing and comprehension associated with the use of foreignising strategies, these effects are not straightforward or uniform, with notable differences not only for different AOIs, but also for child and adult readers.

Abstract Owing to children's developing reading skills and world knowledge, readability (comprehensibility as well as speakability) can be regarded as an important requirement of children's literature. This article focusses on one determinant of readability, the frequency of nonflnite constructions in children's books both originally written in Finnish and translated from English into Finnish. A high frequency of complex nonfinite constructions is likely to have a negative effect on readability, and consequently they might be expected to occur relatively infrequently both in original and in translated children's literature. A quantitative study of a large number of children's books shows that Finnish originals have indeed tended to favour finiteness, whereas translations show a higher degree of non-finiteness. The translations thus fail to conform to one of the syntactic norms of the receiving literature. The article discusses potential reasons for this syntactic difference, considers the possibility of the existence of different sets of norms for translated and originally Finnish children's books, and speculates upon the innovatory influence of translations.

Uys Krigc’s prose has always received less attention from scholars of the Afrikaans literature than his poetry, translations and plays, Krige was never awarded any Afrikaans literary prize for his prose, which evoked comparatively little interest from Afrikaans scholars. This article discusses possible reasons for the above situation regarding Krige’s prose, followed by a critical discussion of several factors that were decisive in the canonization of Krige as a poet, translator and playwright rather than as a prose writer. These include factors such as the reception of Krige’s prose in comparison with the other genres that he practised, and the compilation of anthologies, a practice by which texts are published in a context that differs from the original. The short story “The dream” (from The dream and the desert, 1953) is then discussed briefly, indicating several key features of Krige’s prose as contained in this text. The article concludes with a view that a reassessment of Krige’s work will probably show him to have been a better prose writer than a poet, contrary to past and, to a large extent, present assumptions.

The translation of conditional constructions with the participle in Biblical Hebrew in a number of Bible translationsThis article discusses the translation of conditional constructions in Biblical Hebrew in the Septuagint, Vulgate and the Old and New Afrikaans translations. Conditional sentences with a participle in the Hebrew protasis are discussed as well as instances where a participial phrase is substituted for the protasis. Constructions in laws and in narrative contexts are dealt with separately and single, double and complex constructions are distinguished. Participial constructions in laws are mainly translated by relative constructions. The Septuagint frequently has participial translations and the Vulgate uses a number of different constructions. In narrative contexts the Hebrew participles are used in ordinary conditional sentences after conditional particles. The translations mainly use the present tense in the protases of the conditional sentences in narrative contexts.

This study deals with children's literature translated from Castilian Spanish into Galician, Basque and Catalan by a different publisher from that of the source text, between 1940 and 1980, and with the criteria used to choose books for translation during that period. It compares the different literatures within Spain and examines the intersystemic and intercultural relations that the translations reflect. Following the polysystems theory, literature is here conceived as a network of agents of different kinds: authors, publishers, readers, and literary models. Such a network, called a polysystem, is part of a larger social, economic, and cultural network. These extra-literary considerations play an important role in determining the selection of works to be translated. The article suggests that translations can be said to establish transcultural relations, and that they demonstrate different levels of power within a specific interliterary community. It concludes that, while translations may aim to change the pre-existent relationships, frequently they just reflect the status quo.

Romanian children's literature, particularly translations for children, has rather low visibility in international children's literature scholarship, and translations of Beatrix Potter have not been extensively researched, either. This article contributes to filling these gaps by exploring the challenges involved in the recent publication of the first licensed Romanian edition of Beatrix Potter and the strategies employed to solve them. It identifies extra-textual challenges, related to the possibility of publishing Potter, the licensing process, the selection of particular tales and book formats for publication, and marketing strategies; and textual challenges, arising from Potter's writing style, the interdependence between visual and verbal aspects in her tales, their cultural specificity and read-aloud qualities. It also discusses the roles of the British and Romanian publishers in the publishing process and relates the translation strategies visible in the texts to the translator's apparently divided responsibility towards Potter and the Romanian audience, her conceptions of children and children's literature, and the Romanian literary tradition.

This article is part of a larger research project investigating small, innovative Polish children's publishing companies. As shown in previous studies, these ‘Lilliputian publishers’ were important initiators of change in the cultural repertoire of children's books available in Poland at the turn of the millennium. The change they initiated is closely related to the fact that translations account for two-thirds of their output. Drawing on interviews and a case study of children's literature imported from France, the research reported in this article identifies and analyses the criteria and mechanisms of book selection for translation with a view to expanding understanding of the role of publishers in the literary translation event and their interactions with other actors in this process. The article explores also the impact of the studied publishers' literary imports on children's literature in Poland and, more generally, the role of the small, independent publishers as leaders of innovation in children's literature.

This article analyses ideological influence on the translations of children's literature in the Soviet Union where translation was seen as an ideological tool and was expected to promote ideological values. Changing and adapting the source texts according to the newly established ideological demands was a common practice. Soviet children's literature was also used as a means of propaganda and a strong pedagogical instrument of education of new Soviet citizens. To explore how the Soviet ideological message was promoted within children's literature, I will analyse Alexei Tolstoy's adaptation of Carlo Collodi's The Adventures of Pinocchio (1883), entitled Zolotoi kliuchek ili prikliucheniia Buratino [The golden key or the adventures of Buratino]; henceforth The Golden Key), published in the Soviet Union in 1935. In Tolstoy's version the original underwent direct ideological changes. As one of the most successful children's stories introduced into the Soviet environment, The Golden Key depicts the values of the system under which it was written, including abolition of private property, the importance of collective labour, and the idea of equality and socialisation.

This paper examines the role of the Brazilian writer Monteiro Lobato in the growth of the book industry in Brazil, concentrating on his translations of children's literature. Lobato revolutionized the book industry in Brazil by introducing more commercial techniques and by marketing his books to social classes that were not used to buying books. Lobato also uses his translations to introduce critiques of Brazil in the 1930s, particularly the political and economic closure of the Estado Novo of Getúlio Vargas. Indeed, the criticisms voiced in Peter Pan resulted in Lobato's spending three months in jail in 1941.

As a neglected literary field in Iran, children's literature suffers a low domestic production and consequently the market is dominated by imported western books. Iranian translators have taken this opportunity to try to introduce children to new concepts from other cultures in hope of raising the level of tolerance and respect for ‘the other’ among them in a world dominated by the rhetoric of war. But young readers’ knowledge is limited; therefore they cannot be expected to comprehend the representations of other cultures which are taken for granted in adults’ literature. There emerges a conflict of norms in choosing to privilege domestication or foreignisation and thence local or global identity. In this study, four British children's books by Roald Dahl were chosen and compared with their Persian translations to find the main concerns of the translators in dealing with identity-reflecting items as classified by Helen T. Frank's research into translating for children, and thence to establish the most frequent type of identity encouraged by Persian translators for young readers. The article concludes that international understanding has been the main concern of Persian translators and global identity was more recurrently promoted by them.

A review of the relevant literature indicates a lack of knowledge regarding suprasegmental speech characteristics in prelingual hearing impaired children with cochlear implants. This study is aimed at examining certain suprasegmental features in the speech of prelingual hearing impaired children with cochlear implants by perceptual ratings and acoustic analyses, comparing these results to that of prelingual hearing impaired children without implants, and normal hearing children of the same age. Twelve Afrikaans speaking children between the ages of six and ten years were included in three groups. An integrated view of the perceptual and acoustic results shows that the cochlear implanted children's suprasegmental speech characteristics bear closer resemblance to those of the normal hearing group than those of the hearing impaired group.

Tales are “generally created by the people, based on imagination, living in oral tradition, mostly people, animals and witches, gnomes, giants, fairy, etc. It is the starting point of this study with its characteristic of being a literary genre (TDK Dictionary) describing the extraordinary events that happened to beings and its cultural dimension reflecting the language, thought and world view of the land it was born. In this study, in North African countries, Algeria, which has been colonized for years, we will examine fairy tales and children's literature, and answer questions such as their ability to reflect their own self, national consciousness in their works and the effect of their situation on children's literature. The culture, values and perspectives of this geography were approached from a different perspective through the selected sample tales, and the translations of cultural elements belonging to this culture were analyzed within the framework of Translation Studies Goal-Oriented Approach. As a result of the translation criticism, it was learned that the translators had a target language-oriented translation understanding. In addition, it has been concluded that the social and political problems faced by North African countries have an important influence on children's literature.

<p>Polly Thanailaki, The protestant ideas, Mark Twain and the model of the child's character in the missionary books in Greece in the 19th century</p><p>This essay explores the historical evolution which was observed in the shaping of the child's model of character in the American literature books of the 19th century within the frame of the protestant ideas and values. It also studies the impact of this development in the missionary books for children in Greece in the same century. We particularly focus on Mark Twain's revolutionary presence in the American children's literature by, firstly, placing emphasis on the change that the great American author made to the strict puritan model with the shaping of a more liberal and «innocent» children's character and, secondly, by analyzing the response which Twain's books met from the Greek 19th century readers. In this paper we argue that Twain's writing, known for realism, biting social satire and memorable children's characters, influenced the Greek children's literature in the end of the 19th century. The translations of his works started taking the lead in the end of this century in Greece. Moreover, this essay studies the re-shaping of the child's character in the missionary books published in Greece in the mid 19th century. The missionaries also followed the new trend for the children's character. The missionary stories appeared less didactic and strict.</p>

Abstract This paper deals with the major role played by translated literature in the emergence of a new system of books for Jewish children in the German-speaking countries at the end of the 18th century and the beginning of the 19th. This role was due to the remarkable status of German culture in the eyes of the Haskala (Jewish Enlightenment movement), and to the absence of appropriate original texts which could serve the needs of the new system. As a result, translated texts were privileged in the system of Jewish children's literature, to the extent that, to the best of our knowledge, all books for children published by the Haskala in Germany were either official translations, pseudotranslations, or original texts based on existing German models.

Zohar Shavit is a full professor in the School for Cultural Studies in Tel Aviv University, Israel. In 1978 she concluded her Ph.D under the supervision of Itamar Even-Zohar, with a dissertation on modernism in Hebrew poetry of the 1920s. Departing from the fundaments of Polysystems theory, the author has been presenting, since the 1980s, innovative reflexions in the field of children’s literature (CL), many of which regarding translation and international traffic of CL. Besides her best-known work, Poetics of Children's Literature (1986), Shavit has written an important group of academic articles and book chapters in which she deals with ambivalence in CL, with the need to formulate a poetics for its study, with the role of translations in the formation of Hebrew CL, with the phenomenon of cultural interference, with the canon.

Abstract Beginning in the late nineteenth century, Hebrew underwent a process of revival. Despite the growing stratification of the language, literary translations into Hebrew were governed by a norm which dictated the use of an elevated style rooted in ancient Hebrew texts. This norm persisted at least until the 1960s. Motivated by the Hebrew tradition of employing the elevated style to produce the mock-epic, translators created mock-epic works independently of the source texts. This article describes the creation of the mock-epic in canonized and non canonized adult and children's literature, focusing on the Hebrew versions of Henry Fielding's Joseph Andrews, Damon Runyon's Guys and Dolls, Peter O'Donnell's Modesty Blaise and A.A. Milne's Winnie-the-Pooh and The House at Pooh Corner.

AbstractIn the early twentieth century, encyclopedias addressed to children and youths became special reference works concerning science and technology education. In search of greater comprehension of this historical process, I analyse The Children's Encyclopedia’s representation of science and technology, and how it was re-edited by the North American publishing company that bought its copyrights and promoted its circulation in several countries. Furthermore, I examine how its contents were appropriated in its translations into Portuguese and Spanish, which circulated in Latin America in the first half of the twentieth century. The comparison between the different versions reveals that the writings of science and technology are practically the same, with significant changes only in literature and in the approach of historical and geographical themes. I then argue that, even keeping the scientific contents virtually unchanged, these versions of the encyclopedia gave it a new meaning, because of the contexts in which they circulated. Finally, I show how the appropriations of the encyclopedia contributed to the promotion of scientific values and technological innovation as the core development and as a model of civilization for South American nations.

En Portugal, la difusión de los textos de los hermanos Grimm se inicia en el siglo XIX con la edición de obras infantiles como, por ejemplo, Contos para os nossos filhos (1882), de Maria Amália Vaz de Carvalho e Gonçalves Crespo, y con algunas traducciones de Henrique Marques Júnior para la «Biblioteca das Crianças» (1898-1910). La divulgación de versiones de Caperucita Roja fue también relevante en publicaciones periódicas. En realidad, en el contexto literario portugués, las reescrituras de esta narración – fuese con intenciones miméticas/imitativas, fuese con intenciones subversivas o paródicas – mantuvieron casi siempre el modelo tranquilizador germánico, como se refleja en los textos “O Chapelinho Encarnado” (in Contos para a Infância) (1877), de Guerra Junqueiro, o A Nau Catrineta e a Outra História do Capuchinho Vermelho (1967), de Alice Gomes.Narraciones contemporáneas potencialmente destinadas a niños y/jóvenes, como O Gorro Vermelho (2002), de Ana Saldanha, o A Menina do Capuchinho Vermelho no Século XXI (2007), de Luísa Ducla Soares, manifiestan la pervivencia de los efectos intertextuales nacidos del cuento clásico en cuestión. História do Capuchinho Vermelho contada a crianças e nem por isso (2005), de la autoría de Manuel António Pina, a partir de pinturas al óleo de Paula Rego, tiene como hipotexto, en cierta medida, la versión francesa de Perrault.Este ensayo se centra en los comienzos de la edición portuguesa de los cuentos de los hermanos Grimm, así como en el análisis de diversas narraciones actuales inspiradas en Caperucita Roja. In Portugal, the diffusion of Grimm’s texts began in the nineteenth century with children’s books as Maria Amália Vaz de Carvalho and Gonçalves Crespo’s Contos para os nossos filhos (1882) and some translations by Henrique Marques Júnior in «Biblioteca das Crianças» (1898-1910). The divulgation of versions of the “Red Riding Hood” was also important in periodical publications. In fact, within the Portuguese literary context, the rewritings of this narrative – either imitatively, subversively or parodically – have mostly followed the reassuring German model, as in, for example, Guerra Junqueiro’s “O chapelinho encarnado” (1877), or Alice Gomes (A Nau Catrineta e a Outra História do Capuchinho Vermelho, 1967).Contemporary children’s books such as Saldanha’s O Gorro Vermelho (2002) or Ducla Soares’ A Menina do Capuchinho Vermelho no Século XXI testify the survival of intertextual effects derived from the classic tale. História do Capuchinho Vermelho contada a crianças e nem por isso (2005), written by Manuel António Pina with works in pastel by Paula Rego, uses, to a certain extent, Perrault’s French version as ur-text, in keeping with the work of the referred artist.This paper focuses on the beginnings of Grimm’s fairy tale Portuguese editions, as well as on several contemporary narratives inspired by “Little Red Riding Hood”.

Translation, according to the German functional approach to Translation Studies, is a purpose-driven interaction that involves many players. Translating children’s stories is no exception. Using her personal experience of translating Mr. Wolf’s Hotline, a book comprising 47 Chinese children’s stories by Wang Yizhen, a contemporary Chinese writer , in light of the Skopos and text-type theories of functional approach in particular, the author has outlined the strategies and methods adopted in her translations in terms of language, structure and culture. With child readers in mind during the translation process, the translator has used rhetorical devices, onomatopoeic words, modal particles, and also changed some of the sentence structures of the stories, such as from indirect sentences into direct quotations, and from declarative sentences into questions. In terms of culture, three aspects, namely, the culture-loaded images, the names of the characters and nursery rhymes are singled out for detailed analyses. Though marginalized, ‘children’s literature is more complex than it seems, even more complex’ (Hunt 2010: 1), and translation of children’s literature is definitely challenging. This paper outlines the strategies and methods the author has adopted in translating some children's stories from Chinese to English.

Langston Hughes (1902–67), the wondering wandering poet, has left behind a rich legacy of books that never grow dusty on the shelves. There seems to be no path that Hughes left untrodden; he wrote drama, novels, short stories, two autobiographies, poetry, journalistic prose, an opera libretto, history, children's stories, and even lyrics for songs, in addition to his translations. Hughes was the first African American author to earn his living from writing and his career spans a long time, from the 1920s until the 1960s – he never stopped writing during this period. The Harlem Renaissance introduced prominent black writers who engraved their names in the American canon, such as Countee Cullen, Claude McKay, Jean Toomer and Zora Neale Hurston, but Hughes markedly stands out for his artistic achievements and longer career. Hughes had been identified by many as the spokesperson for his race since his works dug deep into black life, and his innovative techniques embraced black dialect and the rhythms of black music. He captured the essence of black life with conspicuous sensitivity and polished his voice throughout four decades. His name also had long been tied to the politics of identity in America. Brooding over his position, Hughes chose to take pride in being black in a racist nation. In his case, the dialectics of identity are more complicated, as they encompass debates involving Africa, black nationalism and competing constructions surrounding a seeming authentic blackness, in addition to Du Bois's double consciousness. Critics still endeavour to decipher the many enigmas Hughes left unresolved, having been a private person and a controversial writer. His career continues to broach speculative questions concerning his closeted sexual orientation and his true political position. The beginning of the new millennium coincided with the centennial of his birth and heralded the advent of new well-researched scholarship on his life and works, including Emily Bernard's Remember Me to Harlem: The Letters of Langston Hughes and Carl Van Vechten, 1925–1964 (2001), Kate A. Baldwin's Beyond the Color Line and the Iron Curtain: Reading Encounters between Black and Red, 1922–1963 (2002), Anthony Dawahare's Nationalism, Marxism, and African American Literature between the Wars: A New Pandora's Box (2002), Bruce R. Schwartz's Langston Hughes: Working toward Salvation (2003), and John Edgar Tidwell and Cheryl R. Ragar's edited collection Montage of a Dream: The Art and Life of Langston Hughes (2007), among others.

Indonesia is a country that has a high potential for natural disasters. Picture story book is a form of disaster management learning that can help children from an early age to prepare for a natural disaster. The aims of this study to develop story books as a disaster management learning media, to improve knowledge and skills of children and teacher about the understanding, principles, and actions of rescue when facing the natural disasters, to increase the teacher’s learning quality in disaster management. Developmental research approach is used to execute the study. A total of 48 children aged 5-6 years have to carry out pre-test and post-test. Pre-test data shows that children's knowledge about disaster management with an average of 47.92% and its improved at post-test with 76,88%. Five theme of story books involves floods, landslides, earthquakes, tsunamis, lands and forest fires is the product. 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Abstract This paper presents cognitive poetics as an agent in overcoming difficulties in translating bible stories for young children in the multi-lingual and multi-cultural South African environment. The translated picture book texts typically involve the integration of words with pictures. For the purposes of this article, the Genesis 28 narrative of Jacob’s dream in the Hebrew source text is compared in various South African translations. Religious literature was chosen as subject matter because of the relative certainty of comparative translations in most of the eleven official languages of South Africa, but the present article is limited mainly to English and Afrikaans translations. The analysis is done within the fairly new framework of cognitive poetics, which combines psychological and cognitive linguistic approaches to the study of literature. The focus is on the contribution of cognitive linguistics to the translation of children’s literature, in the spirit of proactive translatology.

Empty spaces in literature and Bible translation Texts and sentences contain empty spaces which have to be filled by readers in the construction of meaning. The way in which these spaces are filled is not completely arbitrary. Readers fill them on the basis of the textual context and/or their own field of reference. There are thus limits and constraints of interpretation. The purpose of empty spaces is to involve the reader actively in the process of interpretation and the generation of meaning. Translators should therefore be careful to fill the empty spaces of the original text. Only in cases where it is absolutely unclear how they should be filled can the translator assist the reader in filling them. One such example is Galatians 2:4. By filling most of the empty spaces, the translators of the 1983 Afrikaans translation weakened the communication function of the text. Examples are Ephesians 1:3-14, Romans 5:12-17 and Galatians 2:6. On the other hand, the 1983 translation is much more intelligible and accessible to the everyday reader than its predecessors. The solution for a possible new Afrikaans translation lies somewhere between the 1933/1953 and the 1983 translations.

English is usually been selected as a target language in translating due to its global position as а mediating language for the promotion of international literature but in this paper we are considering the importance of translations of the English children's literature into the Serbian language transmitting its contents, cultural heritage, values, (hidden) ideologies and stereotypes. Until the First World War English literature was popularized in Serbia in magazines Srpski književni glasnik, Delo, Letopis Matice Srpske, Brankovo kolo, comprising translations, reviews, comments, and the opinions on the translation methods. Translations embodied universal values such as cooperation between cultures, similar and different mentality of people incarnated in heroes' actions, religion, accepting differences in all forms. While translating English novel for children and young people time and cultural spaces and stimulation of the development of spiritual wealth of readers were constantly in focus. The goal of this paper is also to indicate the specificities of this cultural and literary work in a more detailed way.

Literary Works byAkaki Tsereteli are considered as versatile and diverse. In his works he touches upon almost everything by his poetry, prose, journalism or public work. It is obvious that he established "a type of versatile writer who is equally engaged in prose, poetry, journalism, dramaturgy, translations, children's literature and fables”. He was an extremely optimistic person who deeply believed in the future. The following words from one of his works seem amazingly and expressive: “Even if you kill a swallow, Spring will definitely come”. Connection between the old and the new forms, that is clearly shown within this emotionally colored expression, has become the goal of the research. We tried to find an answer to the question- what is the role of using old Georgian forms in Akaki's work?! Given paper analyses the samples such as: 1. Using proper name by its stem form in nominative case; 2. Ending words by - მან [-man] in the ergative form; 3. Full stems of demonstrative pronouns - ‘ამ’ [am] , ‘ეგ’ [eg] (=this, that); 4. Using postposition – ‘ზე’ [ze] (=on), along with the forms - ზედ [-zed] and -ზედა [-zeda] (=on, over); 5. instrumental case forms formed by a suffix - ით [-it] (=with) (without postpositions); 6. Postposition and full agreement of attribute and antecedent 7. Characteristics of using inflection as a reflection of Old Georgian (გწყალობდესთ [gtskalobdet]...; გამოვჰკითხავ [gamovhkitkhav]...; ჰსვამ [hvsvam]...; ჰნიშნავს [hnishnavs]...; წარმოსთქვა [tsarmostkva]...; გასტეხე [gastekhe]...); 8. Using conjunction - ვით [vit] (=as/like) for comparison and so on. If we ask questions concerning the function of old Georgian forms in Akaki Tsereteli’s works, it becomes clear that they can be used for: 1. rhythm, emotiveness and expressiveness; 2. Preserving traditional forms, to maintain the connection between old and new Georgian. It should be mentioned that similar forms are equally reflected in Akaki’s prose and poetry which further reinforces the idea in favor of showing the connection between the old and the new and the desire to maintain this connection and always remember where we come from and who we are ... .This fact does not completely contradict the idea that Akaki is a representative of the generation that courageously rejected the old linguistic norms and contributed to the democratization (rapprochement process with the spoken language) of the literary language.

Lai, Thanhha. Listen, Slowly. New York: HarperCollins Children’s Books, 2015. Print.Twelve year-old Mai wants nothing more for her summer vacation than to spend her days on the beach hanging out with her best friend, getting to know her first romantic crush. Instead, her parents expect Mai to chaperone her grandmother (Bà) on a return trip to Vietnam to uncover the secrets of her grandfather’s disappearance and death in “THE WAR” over 40 years ago. Despite being raised in a home that carried on some Vietnamese traditions, Mai’s parents could not have prepared her for the heat, mosquitoes or infrequent Internet access in her grandfather’s rural northern village. In a display of her preteen angst, Mai immediately starts counting down the days until she can return to the known comforts of life back home in California.With time, however, her language skills improve and she begins to form relationships in the community, particularly with Ut, a girl her age with a serious interest in frogs, and Minh, the local teenage translator with a Texan drawl he acquired through his international studies in the United States. In Mai’s ensuing journey she travels across Vietnam, from the rural rhythms of her ancestral village to the colonial splendour of Hanoi and the humid chaos of Ho Chi Minh City. The nation’s contrasts provide her with an unforgettable summer that far surpasses anything she could have imagined with her initial Laguna Beach plans.After receiving a 2011 National Book Award and 2012 Newbery Medal Honor for Inside Out and Back Again, Thanhha Lai’s second novel continues to explore Vietnamese-American experiences. In contrast to her first book’s focus on a refugee family’s journey, Listen, Slowly examines the frustrations of a second-generation American attempting to reconcile her Vietnamese cultural deficits. Mai’s path to settle within her bicultural identity is an experience familiar to thousands of children her age, who are raised in part with traditions from their parents’ country yet never fully feel immersed in that culture. In her protagonist, Lai has created a relatable character who eventually, and maybe reluctantly, shows capacity for adaptation and resilience in the face of adversity.Lai depicts a vibrant Vietnam with verdant landscapes and mouth-watering descriptions of the nation’s notoriously fresh cuisine. The novel’s humour generally hits the mark, including a hilarious passage of cultural colonialism in which Mai convinces young Vietnamese girls to transform their comfortable underwear to thongs. While the disruption of the story’s pace during philosophical Vietnamese translations might test the patience of young readers, this challenge will be welcomed by many. Overall, this story of adventure, family history and bicultural identity is one that should have a home in all school and public libraries.Recommended: 3 out of 4 StarsReviewer: Kyle MarshallKyle Marshall is the School-Aged Services Intern Librarian for Edmonton Public Library. He graduated with his MLIS from the University of Alberta in June 2015, and is passionate about diversity in children's and youth literature.

Introduction: The prevalence of dental anxiety appears to be relatively consistent throughout the world, but some studies reports higher levels than others. This may be related to different instruments used. Objective: to identify and describe the main instruments used in the assessment of dental anxiety in adolescents. Material and Methods: Literature review. Original studies involving adolescents, in which the methodology comprised the application of some instrument to identify and / or quantify the phenomenon, were included. The search was limited to English, Portuguese and Spanish publications in the period between 2012 and 2016. Reviews, Meta-analyzes and case reports were excluded. The selected databases were MEDLINE (via PubMed) and LILACS (via BVS); and the search was developed with the following descriptors: 'dental anxiety', 'adolescents', 'Surveys and Questionnaires' (MeSH), combined by the Boolean operator AND. Results: Ten psychometric instruments are available to assess dental anxiety. The most frequently used instrument is the Dental Anxiety Scale (DAS), presented in nine studies. Less frequently used is the Facial Image Scale (FIS), presented in only one investigation. Most of the instruments affords translations into other languages, including Portuguese. Conclusion: The most used instrument is the DAS, followed by its modified version, the MDAS. Usually, more than one instrument has been used to correlate the findings and to provide the measured construct a greater consistency.Descriptors: Dental Anxiety; Adolescent; Surveys and Questionnaires.ReferencesStenebrand A, Wide Boman U, Hakeberg M. Dental anxiety and symptoms of general anxiety and depression in 15‐year‐olds. Int J Dent Hyg. 2013; 11(2):99-104.American Psychiatric Association. DSM-5: Manual diagnóstico e estatístico de transtornos mentais. São Paulo:Artmed; 2014.Folayan MO, Idehen EE, Ojo OO. 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This issue of M/C Journal is devoted to all things cute – Internet animals and stuffed toys, cartoon characters and branded bears. In what follows our nine contributors scrutinise a diverse range of media objects, discussing everything from the economics of Grumpy Cat and the aesthetics of Furbys to Reddit’s intellectual property dramas and the ethics of kitten memes. The articles range across diverse sites, from China to Canada, and equally diverse disciplines, including cultural studies, evolutionary economics, media anthropology, film studies and socio-legal studies. But they share a common aim of tracing out the connections between degraded media forms and wider questions of culture, identity, economy and power. Our contributors tell riveting stories about these connections, inviting us to see the most familiar visual culture in a new way. We are not the first to take cute media seriously as a site of cultural politics, and as an industry in its own right. Cultural theory has a long, antagonistic relationship with the kitsch and the disposable. From the Frankfurt School’s withering critique of cultural commodification to revisionist feminist accounts that emphasise the importance of the everyday, critics have been conducting sporadic incursions into this space for the better part of a century. The rise of cultural studies, a discipline committed to analysing “the scrap of ordinary or banal existence” (Morris and Frow xviii), has naturally provided a convincing intellectual rationale for such research, and has inspired an impressive array of studies on such things as Victorian-era postcards (Milne), Disney films (Forgacs), Hallmark cards (West, Jaffe) and stock photography (Frosh). A parallel strand of literary theory considers the diverse registers of aesthetic experience that characterize cute content (Brown, Harris). Sianne Ngai has written elegantly on this topic, noting that “while the avant-garde is conventionally imagined as sharp and pointy, as hard- or cutting-edge, cute objects have no edge to speak of, usually being soft, round, and deeply associated with the infantile and the feminine” (814). Other scholars trace the historical evolution of cute aesthetics and commodities. Cultural historians have documented the emergence of consumer markets for children and how these have shaped what we think of as cute (Cross). Others have considered the history of domestic animal imagery and its symptomatic relationship with social anxieties around Darwinism, animal rights, and pet keeping (Morse and Danahay, Ritvo). And of course, Japanese popular culture – with its distinctive mobilization of cute aesthetics – has attracted its own rich literature in anthropology and area studies (Allison, Kinsella). The current issue of M/C Journal extends these lines of research while also pushing the conversation in some new directions. Specifically, we are interested in the collision between cute aesthetics, understood as a persistent strand of mass culture, and contemporary digital media. What might the existing tradition of “cute theory” mean in an Internet economy where user-generated content sites and social media have massively expanded the semiotic space of “cute” – and the commercial possibilities this entails? As the heir to a specific mode of degraded populism, the Internet cat video may be to the present what the sitcom, the paperback novel, or the Madonna video was to an earlier moment of cultural analysis. Millions of people worldwide start their days with kittens on Roombas. Global animal brands, such as Maru and Grumpy Cat, are appearing, along with new talent agencies for celebrity pets. Online portal I Can Haz Cheezburger has received millions of dollars in venture capital funding, becoming a diversified media business (and then a dotcom bubble). YouTube channels, Twitter hashtags and blog rolls form an infrastructure across which a vast amount of cute-themed user-generated content, as well as an increasing amount of commercially produced and branded material, now circulates. All this reminds us of the oft-quoted truism that the Internet is “made of kittens”, and that it’s “kittens all the way down”. Digitization of cute culture leads to some unusual tweaks in the taste hierarchies explored in the aforementioned scholarship. Cute content now functions variously as an affective transaction, a form of fandom, and as a subcultural discourse. In some corners of the Internet it is also being re-imagined as something contemporary, self-reflexive and flecked with irony. The example of 4Chan and LOLcats, a jocular, masculinist remix of the feminized genre of pet photography, is particularly striking here. How might the topic of cute look if we moving away from the old dialectics of mass culture critique vs. defense and instead foreground some of these more counter-intuitive aspects, taking seriously the enormous scale and vibrancy of the various “cute” content production systems – from children’s television to greeting cards to CuteOverload.com – and their structural integration into current media, marketing and lifestyle industries? Several articles in this issue adopt this approach, investigating the undergirding economic and regulatory structures of cute culture. Jason Potts provides a novel economic explanation for why there are so many animals on the Internet, using a little-known economic theory (the Alchian-Allen theorem) to explain the abundance of cat videos on YouTube. James Meese explores the complex copyright politics of pet images on Reddit, showing how this online community – which is the original source of much of the Internet’s animal gifs, jpegs and videos – has developed its own procedures for regulating animal image “piracy”. These articles imaginatively connect the soft stuff of cute content with the hard stuff of intellectual property and supply-and-demand dynamics. Another line of questioning investigates the political and bio-political work involved in everyday investments in cute culture. Seen from this perspective, cute is an affect that connects ground-level consumer subjectivity with various economic and political projects. Carolyn Stevens’ essay offers an absorbing analysis of the Japanese cute character Rilakkuma (“Relaxed Bear”), a wildly popular cartoon bear that is typically depicted lying on the couch and eating sweets. She explores what this representation means in the context of a stagnant Japanese economy, when the idea of idleness is taking on a new shade of meaning due to rising under-employment and precarity. Sharalyn Sanders considers a fascinating recent case of cute-powered activism in Canada, when animal rights activists used a multimedia stunt – a cat, Tuxedo Stan, running for mayor of Halifax, Canada – to highlight the unfortunate situation of stray and feral felines in the municipality. Sanders offers a rich analysis of this unusual political campaign and the moral questions it provokes. Elaine Laforteza considers another fascinating collision of the cute and the political: the case of Lil’ Bub, an American cat with a rare genetic condition that results in a perpetually kitten-like facial expression. During 2011 Lil’ Bub became an online phenomenon of the first order. Laforteza uses this event, and the controversies that brewed around it, as an entry point for a fascinating discussion of the “cute-ification” of disability. These case studies remind us once more of the political stakes of representation and viral communication, topics taken up by other contributors in their articles. Radha O’Meara’s “Do Cats Know They Rule YouTube? How Cat Videos Disguise Surveillance as Unselfconscious Play” provides a wide-ranging textual analysis of pet videos, focusing on the subtle narrative structures and viewer positioning that are so central to the pleasures of this genre. O’Meara explains how the “cute” experience is linked to the frisson of surveillance, and escape from surveillance. She also explains the aesthetic differences that distinguish online dog videos from cat videos, showing how particular ideas about animals are hardwired into the apparently spontaneous form of amateur content production. Gabriele de Seta investigates the linguistics of cute in his nuanced examination of how a new word – meng – entered popular discourse amongst Mandarin Chinese Internet users. de Seta draws our attention to the specificities of cute as a concept, and how the very notion of cuteness undergoes a series of translations and reconfigurations as it travels across cultures and contexts. As the term meng supplants existing Mandarin terms for cute such as ke’ai, debates around how the new word should be used are common. De Seta shows us how deploying these specific linguistic terms for cuteness involve a range of linguistic and aesthetic judgments. In short, what exactly is cute and in what context? Other contributors offer much-needed cultural analyses of the relationship between cute aesthetics, celebrity and user-generated culture. Catherine Caudwell looks at the once-popular Furby toy brand its treatment in online fan fiction. She notes that these forms of online creative practice offer a range of “imaginative and speculative” critiques of cuteness. Caudwell – like de Seta – reminds us that “cuteness is an unstable aesthetic that is culturally contingent and very much tied to behaviour”, an affect that can encompass friendliness, helplessness, monstrosity and strangeness. Jonathon Hutchinson’s article explores “petworking”, the phenomenon of social media-enabled celebrity pets (and pet owners). Using the famous example of Boo, a “highly networked” celebrity Pomeranian, Hutchinson offers a careful account of how cute is constructed, with intermediaries (owners and, in some cases, agents) negotiating a series of careful interactions between pet fans and the pet itself. Hutchinson argues if we wish to understand the popularity of cute content, the “strategic efforts” of these intermediaries must be taken into account. Each of our contributors has a unique story to tell about the aesthetics of commodity culture. The objects they analyse may be cute and furry, but the critical arguments offered here have very sharp teeth. We hope you enjoy the issue.Acknowledgments Thanks to Axel Bruns at M/C Journal for his support, to our hard-working peer reviewers for their insightful and valuable comments, and to the Swinburne Institute for Social Research for the small grant that made this issue possible. ReferencesAllison, Anne. “Cuteness as Japan’s Millenial Product.” Pikachu’s Global Adventure: The Rise and Fall of Pokemon. Ed. Joseph Tobin. Durham: Duke University Press, 2004. 34-48. Brown, Laura. Homeless Dogs and Melancholy Apes: Humans and Other Animals in the Modern Literary Imagination. Ithaca: Cornell University Press, 2010. Cross, Gary. The Cute and the Cool: Wondrous Innocence and Modern American Children's Culture. Oxford: Oxford University Press, 2004. Forgacs, David. "Disney Animation and the Business of Childhood." Screen 33.4 (1992): 361-374. Frosh, Paul. "Inside the Image Factory: Stock Photography and Cultural Production." Media, Culture & Society 23.5 (2001): 625-646. Harris, Daniel. Cute, Quaint, Hungry and Romantic: The Aesthetics of Consumerism. New York: Basic Books, 2000. Jaffe, Alexandra. "Packaged Sentiments: The Social Meanings of Greeting Cards." Journal of Material Culture 4.2 (1999): 115-141. Kinsella, Sharon. “Cuties in Japan” Women, Media and Consumption in Japan. Ed. Lise Skov and Brian Moeran. Honolulu: University of Hawaii Press, 1995. 220 - 54. Frow, John, and Meaghan Morris, eds. Australian Cultural Studies: A Reader. Chicago: University of Illinois Press, 1993. Milne, Esther. Letters, Postcards, Email: Technologies of Presence. New York: Routledge, 2012. Morse, Deborah and Martin Danahay, eds. Victorian Animal Dreams: Representations of Animals in Victorian Literature and Culture. Aldershot: Ashgate Publishing. 2007. 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