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Journal articles on the topic 'Frances Hodgson Burnett'

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Published: 4 June 2021
Last updated: 25 April 2022

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1

Wessels, Johan Andries. "CULTURAL POLARITIES IN FRANCES HODGSON BURNETT’S CHILDREN’S BOOKS." Mousaion: South African Journal of Information Studies 34, no. 2 (October 26, 2016): 67–82. http://dx.doi.org/10.25159/0027-2639/760.

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Frances Hodgson Burnett was the product of two cultures, British and American. An interest in the relations between these two cultures pervades her work and forms a significant thematic thread. This article investigates the articulation of such tensions in Burnett’s three most famous children’s books. The cultural polarities at issue in Little Lord Fauntleroy ([1886] 1899), the earliest of the three novels under consideration, are closest to the tensions in Burnett’s own life as a British American. In this novel, Burnett manages to reconcile the American egalitarianism of the protagonist’s early childhood values with an almost feudal concept of noblesse oblige, and it is suggested that this conceptualisation remains imperative also in her later works. In A little princess ([1905] 2008) and The secret garden ([1911] 1968), imperial India is set against England as the primary polarity. Burnett’s exposition is shown to conform to Edward Said’s notions of Orientalism, showing India to constitute an almost archetypal image of the Other, yet the novels are critical of imperialism as causing the distortion of the imperialist as would later be defined by Orwell in Shooting an elephant and other essays (1950). It is suggested that in spite of an ostensible classlessness, the novels express a profoundly conservative and hierarchical vision.
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2

Smith, Louisa. "Meeting the Twayne: Beatrix Potter and Frances Hodgson Burnett." Children's Literature 16, no. 1 (1988): 207–10. http://dx.doi.org/10.1353/chl.0.0159.

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3

Keyser, Elizabeth Lennox. "Nurture Versus Colonization: Two Views of Frances Hodgson Burnett." Children's Literature 26, no. 1 (1998): 229–37. http://dx.doi.org/10.1353/chl.0.0625.

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4

Bernstein, Robin. "Children's Books, Dolls, and the Performance of Race; or, The Possibility of Children's Literature." PMLA/Publications of the Modern Language Association of America 126, no. 1 (January 2011): 160–69. http://dx.doi.org/10.1632/pmla.2011.126.1.160.

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In about 1855, three decades before frances hodgson burnett wrote her first best-selling children's book, little lord fauntleroy, she was a child—Frances Eliza Hodgson—and she read Harriet Beecher Stowe's Uncle Tom's Cabin. She found Stowe's novel, like all the stories she encountered, to be “unsatisfactory, filling her with vague, restless craving for greater completeness of form” (Burnett 44). The form the girl craved—that is, the material she believed she needed to complete the narrative—was a black doll. When Burnett obtained the doll, she named it Topsy and used it to “act” out the parts of the novel she found most “thrilling” (53). Casting a white doll she already owned as Little Eva, she played out ever-repeating scenes of Eva laying hands on Topsy, awakening the hardened slave girl to Christian love. Burnett also kept the Eva doll “actively employed slowly fading away and dying,” and in these scenes she took on the role of Uncle Tom (57). At other times, Burnett performed the scene of Eva's death, casting the white doll as Eva and herself as “all the weeping slaves at once” (58). And at least once she designated the doll Uncle Tom and cast herself as Simon Legree. For this scenario, the girl bound the doll to a candelabra stand. “[F]urious with insensate rage,” she whipped her doll (fig. 1). Throughout the whipping, the doll maintained a “cheerfully hideous” grin, which suggested to the girl that Uncle Tom was “enjoying the situation” of being “brutally lashed” (56, 55).
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5

Godbee, Beth. "In the Garden: Essays in Honor of Frances Hodgson Burnett (review)." Lion and the Unicorn 32, no. 1 (2008): 115–18. http://dx.doi.org/10.1353/uni.2008.0005.

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6

Mills, Claudia. "In the Garden: Essays in Honor of Frances Hodgson Burnett (review)." Children's Literature Association Quarterly 32, no. 2 (2007): 181–83. http://dx.doi.org/10.1353/chq.2007.0030.

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7

Sumardi, Apen, and Mashadi Said. "ADJECTIVE CLAUSES AND ADVERBIAL CLAUSES IN “THE SECRET GARDEN” BY FRANCES HODGSON BURNETT." INFERENCE: Journal of English Language Teaching 3, no. 1 (April 19, 2021): 39. http://dx.doi.org/10.30998/inference.v3i1.6008.

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This research aims to analyze the adjective and adverbial clauses in “The Secret Garden” by Frances Hodgson Burnett. The method used in this research is a content analysis which is to describes the adjective clause and adverbial clause in the novel. Data are obtained, analyzed, and described based on the sentences in the novel. The relative pronoun's adjective shows the highest percentage of 130 or 86%, while relative adverbs show 22 or 14%. The adjective clause in relative pronouns shows the highest percentage caused by the complex sentences, mostly describing someone or things in most sentences in the novel. Meanwhile, adjective clause in time shows 154 or 63%, manner 46 or 19%, reason 35 or 14%, condition 6 or 2%, and concession 4 2%. Adverbial clause in time shows the highest percentage caused by most sentences tell about the time in almost every page.<p> </p>
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8

Stiles, Anne. "New Thought and the Inner Child in Frances Hodgson Burnett’s Little Lord Fauntleroy." Nineteenth-Century Literature 73, no. 3 (December 1, 2018): 326–52. http://dx.doi.org/10.1525/ncl.2018.73.3.326.

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Anne Stiles, “New Thought and the Inner Child in Frances Hodgson Burnett’s Little Lord Fauntleroy” (pp. 326–352) In twenty-first-century popular psychology and self-help literature, the “inner child” refers to an original or true self that serves as a repository of wisdom and creativity for its adult counterpart. This essay traces the modern inner child back to the nineteenth-century new religious movement known as New Thought, which emphasized positive thinking as a means to health and prosperity. Emma Curtis Hopkins, the leading New Thought teacher of the 1880s and 1890s, described an idealized “Man Child” within each adult woman who could lead her to spiritual serenity and worldly success. Frances Hodgson Burnett fictionalized this figure in her blockbuster novel Little Lord Fauntleroy (1886), whose eponymous child hero helps his mother achieve undreamed-of wealth and status. He also serves as her proxy outside of the domestic sphere, allowing her to reach personal goals without appearing selfish or inappropriately ambitious. The novel’s enormous popularity may have had something to do with this symbiotic relationship between mother and son. Then as now, the inner child helped women reconcile social pressures to be selfless and giving with career pursuits and self-indulgent behavior. The persistence of the inner child suggests that contemporary feminism still has work to do in enabling women to embrace opportunities without guilt.
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9

Shishkova, Irina Alekseevna. "FRANCES HODGSON BURNETT AND THE BRITISH COLONIALISM REFLECTIONS IN THE PAGES OF CHILDREN’S BOOKS." Philological Sciences. Issues of Theory and Practice, no. 5 (May 2019): 85–89. http://dx.doi.org/10.30853/filnauki.2019.5.19.

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10

Nicklas, Charlotte. "‘It is the Hat that Matters the Most’: Hats, Propriety and Fashion in British Fiction, 1890–1930." Costume 51, no. 1 (March 2017): 78–102. http://dx.doi.org/10.3366/cost.2017.0006.

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Essential to both propriety and fashion, hats were a crucial aspect of British female dress and appearance in the late nineteenth and early twentieth centuries. This article shows how British novelists of this period, ranging from mainstream to experimental, understood this importance. With appropriate contextualization, these literary depictions can illuminate how women wore and felt about their hats. Authors such as Frances Hodgson Burnett, Dorothy Whipple and Virginia Woolf used these accessories to explore social respectability and convention, the pleasures and challenges of following fashion, and consumption strategies among women. Despite the era's significant social changes, remarkable continuity exists in these literary representations of hats.
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11

Jenkins, Ruth Y. "The Novels of Frances Hodgson Burnett: In "the World of Actual Literature." by Thomas Recchio." Lion and the Unicorn 44, no. 2 (2020): 213–15. http://dx.doi.org/10.1353/uni.2020.0021.

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12

Ribeiro Filho, Paulo César. "The AS NARRATIVAS FAMILIARES DE FRANCES HODGSON BURNETT NA LITERATURA, NO CINEMA E NA ESCOLA." Revista AlembrA 3, no. 6 (June 30, 2021): 68–77. http://dx.doi.org/10.47270/ra.2596-2671.2021.v3.n6.id1107.

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A tradução intersemiótica que caracteriza a adaptação de uma obra literária para ocinema envolve uma série de desafios que vão muito além dos julgamentos superficiais pautadospela maior ou menor fidelidade da obra fílmica em relação à obra escrita. O Jardim Secreto(1911) e A Princesinha (1905), clássicos da literatura inglesa de autoria de Frances HodgsonBurnett, são duas das obras mais populares no tocante à chamada “literatura familiar” emorigerante que marcou a literatura infantil e juvenil do início do século XX. Ambas foramadaptadas para o cinema e, sob esse novo suporte, alcançaram milhares de novos interlocutores.O presente artigo apresenta reflexões relativas aos referidos títulos e suas respectivas adaptaçõescinematográficas, além de contar com o relato de uma experiência realizada junto a alunos darede pública que tiveram contato com as obras em ambos os suportes.
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13

Utami, Desfika Beti, and Restu Arini. "An Analysis Of Moral Values In Burnett’s Little Lord Fauntleroy Novel." JELE (Journal of English Language and Education) 3, no. 1 (June 8, 2017): 29. http://dx.doi.org/10.26486/jele.v3i1.265.

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This study deals with a novel entitled Little Lord Fauntleroy written by Frances Hodgson Burnett. The objectives of the study are: (1)to describe Cedric’s personality in the novel and (2)to reveal the moral values from Cedric’s personality in the novel. The study employed library study and descriptive qualitative analysis method. The data of the study are from the novel and other supporting documents. Based on the analysis, the writer found two things: firstly, Cedric is characterized as a boy who has good personalities such as honest, kind-hearted, friendly, humble, wise, sympathetic and responsible. Secondly, the moral values that can be taken from the novel are honesty, kindness, hospitality, modesty, wisdom, empathy and responsible.
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14

INAYAH, NUR, and Bambang Purwanto. "Deconstructing the Portrayal of Adults’ Superiority towards Children in Frances Hodgson Burnett’s "A Little Princess"." Rainbow: Journal of Literature, Linguistics and Cultural Studies 8, no. 2 (November 30, 2019): 24–31. http://dx.doi.org/10.15294/rainbow.v8i2.34570.

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This study discusses how the portrayal of adults’ superiority towards children in the novel A Little Princess by Frances Hodgson Burnett is deconstructed by the work itself. The adults’ superiority is portrayed in the novel, in which the adults are depicted as more superior figure than children. However, the perfect descriptions of the children as portrayed by Sara in the novel show that the hierarchy in child-adult relationship is able to be reversed. This study uses descriptive qualitative method supported by Structuralism’s binary opposition and Derrida’s Deconstruction reading strategy. The aim of this study is to destabilize the novel, A Little Princess, by applying Deconstruction reading strategy. This study shows that the novel deconstructs its portrayal of adults’ superiority towards children. So, by destabilizing the binary opposition in the novel, that is an adult opposes a child, the child-adult hierarchy is reversed. Keywords: adults, children, deconstruction, superiority
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15

Mills, Claudia. "Frances Hodgson Burnett: The Unexpected Life of the Author of The Secret Garden (review)." Children's Literature Association Quarterly 29, no. 3 (2004): 270–72. http://dx.doi.org/10.1353/chq.0.1300.

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16

Byachkova, Varvara A. "Unhappy Birthdays in the Novels by F. H. Burnett (A Little Princess) and Charles Dickens (David Copperfield)." Libri et liberi 10, no. 1 (August 31, 2021): 63–71. http://dx.doi.org/10.21066/carcl.libri.10.1.4.

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This article deals with “unhappy birthdays” in the novels of Charles Dickens and Frances Hodgson Burnett. Both writers follow the folklore tradition of depicting young characters who have to take care of themselves after a parent’s death. In the novels David Copperfield and A Little Princess, the news of their parent’s death comes on the child’s birthday. This article studies why this particular day is chosen, under what circumstances the children survive their trauma and what makes them capable of moving on. The news of the parent’s death on the child’s birthday seems to mark the start of a new period in each character’s life, a test that has to be passed. Having passed the test and won a moral victory over the circumstances, the child gets an opportunity to move on and be happy again.
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17

Superle, Michelle. "Imagining the New Indian Girl: Representations of Indian Girlhood in Keeping Corner and Suchitra and the Ragpicker." Papers: Explorations into Children's Literature 20, no. 1 (January 1, 2010): 31–40. http://dx.doi.org/10.21153/pecl2010vol20no1art1152.

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The capacity of young girls to represent a healthy new beginning is nothing new to children's literature. One need look no further, for example, than two classics: Frances Hodgson Burnett harnessed this figure's power with Mary in 'The Secret Garden' (1911), as did C. S. Lewis with Lucy in 'The Lion, the Witch and the Wardrobe' (1950). Yet the way young girl characters are positioned in contemporary, English-language Indian children's novels by women writers does seem new; these 'new Indian girls' function to represent a modern, postcolonial India in which gender equality is beginning to find a happy home. Setting up a binary which positions societal values from pre-colonial and colonial India as backwards and problematic, these children's novels demonstrate the value of girls in postcolonial India - at least some girls, according to some writers.
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18

Semėnaitė, Viktorija, and Nijolė Maskaliūnienė. "DIALEKTO VERTIMAS GROŽINĖJE LITERATŪROJE. ATVEJO ANALIZĖ." Vertimo studijos 10, no. 10 (January 19, 2018): 192. http://dx.doi.org/10.15388/vertstud.2017.10.11308.

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Straipsnyje nagrinėjama dialekto vertimo problematika. Atvejo analizei pasirinktas pasaulio vaikų literatūros aukso fondui priskiriamos Frances Hodgson Burnett knygos „Paslaptingas sodas“ vertimas į lietuvių kalbą. Aiškinamasi, ar vertėjas perteikė originalo tekste vartojamą tarmišką šneką (dialektą) ir kokias jos vertimo strategijas rinkosi. Taip pat ieškoma atsakymo į klausimą, ar jam pavyko perteikti šiame kūrinyje dialekto atliekamas stilistines ir pragmatines funkcijas. Analizė grindžiama dialekto žymiklių (fonetinių, leksinių, morfologinių, sintaksinių) perteikimo strategijomis (pagal Leszek Berezowski, 1997). Nustatyta, kad vertėjas panaudojo mažiau dialekto žymiklių, negu jų yra knygos originale, nes dažniausiai vartojama dialekto vertimo strategija buvo jo neutralizacija. Verčiant vaikų literatūrą tokia strategija pasiteisina, nes vaikams aktualus pats pasakojimas, jo istorija, o ne kalbos ar kultūrinės realijos, kurių jie dažnai nesupranta. Vis dėlto tais atvejais, kai dialekto vartojimas aktualus pasakojimo raidai, atlieka tam tikras stilistines ar pragmatines funkcijas, vertėjas rinkosi leksikalizacijos ir vertimo šnekamąja kalba strategijas. Tokiu būdu jam pavyko perteikti kūrinio stilistiką, išlaikyti jo rišlumą ir išsaugoti tarmiškai kalbai priskirtas funkcijas tekste.
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19

Byachkova, Varvara A. "BIG AND SMALL WORLDS OF CHILDREN CHARACTERS IN ‘A LITTLE PRINCESS’ BY F. H. BURNETT." Вестник Пермского университета. Российская и зарубежная филология 12, no. 3 (2020): 70–78. http://dx.doi.org/10.17072/2073-6681-2020-3-70-78.

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The article raises the topic of space organization in writings by Frances Hodgson Burnett. The object of analysis is the novel A Little Princess. The novel, addressed primarily to children and teenagers, has many similarities with David Copperfield and the works of Charles Dickens in general. The writer largely follows the literary tradition created by Dickens. The space of the main character is divided into three levels: the Big world (states and borders), the Small world (home, school, city) and the World of imagination. The first two worlds give the reader a realistic picture of Edwardian England, the colonial Empire, through the eyes of a child reveal the themes of unprotected childhood, which the writer develops following the literary tradition of the 19th century. The Big and Small worlds also perform an educational function, being a source of experience and impressions for the main character. In the novel, the aesthetic of realism is combined with folklore and fairy-tale elements: the heroine does not completely transform the surrounding space, but she manages to change it partially and also to preserve her own personality and dignity while experiencing the Dickensian drama of child disenfranchisement, despair and loneliness. The World of imagination allows the reader to understand in full the character of Sarah Crewe, demonstrates the dynamics of her growing up, while for herself it is a powerful protective mechanism that enables her to pass all the tests of life and again become a happy child who can continue to grow up and develop.
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20

Wardani, L. Dyah Purwita, Fina Rifqiyah, and Dina D. Kusumayanti. "TRANSFORMATIONS IN A LITTLE PRINCESS MOVIE: AN ADAPTATION ANALYSIS." JURNALISTRENDI : JURNAL LINGUISTIK, SASTRA, DAN PENDIDIKAN 6, no. 2 (November 28, 2021): 117–28. http://dx.doi.org/10.51673/jurnalistrendi.v6i2.767.

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A Little Princess is a novel written by Frances Hodgson Burnett (1905). This novel has been adapted several times into film, one of which is Alfonso Cuaron's (1995) work produced by Warner Bross Picture. This film was released in 1995 with the same title, "A Little Princess". This article focuses on the motives and ideologies of the adaptation process from novel to film. The changes that occur are a consequence of using media that change from text to screen scenes. This study will compare the intrinsic elements contained in novels and films. This research will also discuss how the transformation from novel adaptation to film and the motives. The adaptation theory by Linda Hutcheon (2006) was used to analyze the motives of adapting novels to films and will be supported by the theory of Mythology by Roland Barthes' (1957) to find ideology. Barthes' semiotic analysis helps the writer find the hidden ideology in the adaptation work, leading us to find the motive of the transformation process. As a result, the adaptation work of Alfonso Cuaron shows the existence of an ideology of feminism and American values. This ideology exists because of the cultural and political motives of the filmmaker to gain benefit from the process of adaptation. Keywords : adaptation, ideology, myth, motives.
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21

YunJeong Yang. "Mary’s Quest: Frances Hodgson Burnet’s The Secret Garden." English21 25, no. 2 (June 2012): 51–71. http://dx.doi.org/10.35771/engdoi.2012.25.2.003.

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22

Jenkins, Ruth Y. "Frances Hodgson Burnett's The Secret Garden: Engendering Abjection's Sublime." Children's Literature Association Quarterly 36, no. 4 (2011): 426–44. http://dx.doi.org/10.1353/chq.2011.0039.

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23

Stiles, Anne. "Christian Science versus the Rest Cure in Frances Hodgson Burnett’s The Secret Garden." MFS Modern Fiction Studies 61, no. 2 (2015): 295–319. http://dx.doi.org/10.1353/mfs.2015.0024.

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24

Jeikner, Alex. "What a True Princess Wears: Dress, Class, and Social Responsibility in Frances Hodgson Burnett's A Little Princess." International Research in Children's Literature 12, no. 2 (December 2019): 208–19. http://dx.doi.org/10.3366/ircl.2019.0311.

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This article argues that while Frances Hodgson Burnett's A Little Princess appears to be a conventional ‘from riches to rags to riches’ story, idealising the British class system, a reading of sartorial images exposes a conflicted engagement with British class that is usually overlooked. References to attire not only illustrate social class in this story, they also hint at underlying moral decay within this system that arises out of an unreflective acceptance of social values and structures. Through reference to Anthony Giddens's theory of identity, this article discusses how the protagonist's changing attire mirrors her developing insights into the need to reflectively construct a morally responsible identity.
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Yang, Yunjeong. "A Study on Motherhood in Frances Hodgson Burnett’s A Little Princess and The Secret Garden." Korean Society for Teaching English Literature 22, no. 2 (September 30, 2018): 59–76. http://dx.doi.org/10.19068/jtel.2018.22.2.03.

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26

Thomas. "Eternal Gardens and the Queer Uncanny in Frances Hodgson Burnett's “In the Closed Room” (1902)." Pacific Coast Philology 50, no. 2 (2015): 173. http://dx.doi.org/10.5325/pacicoasphil.50.2.0173.

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김은혜 and 김지은. "The Little Memsahib and the Idealized Domestic Empire in Frances Hodgson Burnett’s A Little Princess." Feminist Studies in English Literature 23, no. 1 (April 2015): 103–31. http://dx.doi.org/10.15796/fsel.2015.23.1.004.

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Ma'shumah, Nadia Khumairo, Aulia Addinillah Arum, and Arif Nur Syamsi. "TRANSLATORS AS MEDIATOR: CULTURAL NEGOTIATION IN TRANSLATING ENGLISH LITERARY TEXT INTO INDONESIAN." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 5, no. 2 (December 28, 2021): 306–20. http://dx.doi.org/10.30743/ll.v5i2.4418.

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This study explores the translation of cultural-specific terms in the literary text as the translation process connects cultural differences between the source and target languages. Using Eco's notion of "translation as negotiation"; Bassnett's "translators as a mediator of cultures", and Newmark's cultural categorizations of terms as the framework and this qualitative study analyzed two Indonesian versions of the novel The Secret Garden by Francess Hodgson Burnett (1911). The first translated version was published in 2010 under the title "Taman Rahasia", whereas the second translated version was published in 2020 under the same title as the original version. This study has shown the complexity in closing the cultural gap between the source text and target text. As the impact, both translators used different forms of negotiation to accommodate readers' expectations and to functionally create optimal target texts in the target culture, which differentiate into five categories (i.e., ecological, material culture; social culture, social, politic, and administrative organizations; and gestures and habits).
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Henderson, Christina. "A Fairy Tale of American Progress: Frances Hodgson Burnett’s Two Little Pilgrims at the World’s Fair." Children's Literature 42, no. 1 (2014): 108–35. http://dx.doi.org/10.1353/chl.2014.0001.

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Jung, Jae Young. "Analysis of Holistic Approaches in Frances Hodgson Burnett's The Secret Garden: Body, Brain, and Mind Connectivity." Research in Dance and Physical Education 5, no. 1 (April 30, 2021): 13–19. http://dx.doi.org/10.26584/rdpe.2021.04.5.1.13.

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Suzuki, Wakako. "Constructing a New Girl in Meiji Japan: The Japanese Translation of Frances Hodgson Burnett’s Sara Crewe." Bookbird: A Journal of International Children's Literature 60, no. 1 (2022): 67–76. http://dx.doi.org/10.1353/bkb.2022.0006.

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32

Morris, Mandy S. "“Tha'lt Be like a Blush-Rose When Tha‘ Grows up, My Little Lass”: English Cultural and Gendered Identity in The Secret Garden." Environment and Planning D: Society and Space 14, no. 1 (February 1996): 59–78. http://dx.doi.org/10.1068/d140059.

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Although gardens as cultural landscapes have been examined within geography in relation to class, the ways in which gardens are constitutive of and constituted by gender relations have been largely ignored. Feminist geographers are now engaging with the gender implications of landscape representation and this paper, in which the multiple significances of the garden in Frances Hodgson Burnett's (1911) children's story The Secret Garden are explored, is a contribution to this field. Using an approach informed by feminisms and poststructuralisms I draw attention to intersections of late-19th and early-20th century discourses on Englishness, gender, class, and nature, gravitating around three children and set within an old abandoned garden. The garden is the site for a critical reading of the bodily regeneration of gendered and classed English identities whilst it is also a space of other possibilities.
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Stover, Deanna. "Alternative Family and Textual Citizenship in Frances Hodgson Burnett’s Little Lord Fauntleroy: A Drama in Three Acts." Children's Literature Association Quarterly 40, no. 4 (2015): 339–54. http://dx.doi.org/10.1353/chq.2015.0049.

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Laing, Roisín. "Candid Lying and Precocious Storytelling in Victorian Literature and Psychology." Journal of Victorian Culture 21, no. 4 (December 1, 2016): 500–513. http://dx.doi.org/10.1080/13555502.2016.1233904.

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Abstract By comparing Frances Hodgson Burnett’s A Little Princess (1905) with contemporaneous psychology and canonical literature, this article suggests that children’s literature complicates our understanding of nineteenth-century discourse about precocity. In much canonical literature of the Victorian period, the precocious child is an agent in a narrative of adult redemption. In Victorian child psychology, childhood storytelling was associated with lying and with moral insanity; adult stories are, implicitly, true by contrast. Both discourses thus reduce the precocious child to the role of agent in the tacit truth of adult stories; many such nineteenth-century scientific and literary studies of precocity are therefore, more essentially, studies of the adult reflected in the precocious child. A Little Princess, in contrast, is concerned with the experiences and perspective of its precocious child protagonist, Sara Crewe. Through this focus on the child herself, A Little Princess suggests that the position of the precocious child in contemporary discourse is a result of the threat she represents to the adult, and to the supposed truth of adult stories. Sara Crewe obviates the moral difference between adults’ stories and children’s stories, and between truth and deceit, upheld in contemporary psychology. She therefore undermines the difference between adult and child which informed debate about precocity in canonical fiction and psychology of the Victorian period. In A Little Princess, this transgression of boundaries is a productive, enabling, and even moral act.
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Swamidoss, Hannah. "'You're So Yeller'." AnaChronisT 17 (January 1, 2013). http://dx.doi.org/10.53720/dunj1881.

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Frances Hodgson Burnett’s The Secret Garden (1911) has given rise to a wide array of critical responses – from seeing Mary’s gardening linked to her sexuality to postcolonial readings of the text. One element that such readings have missed is the peculiar displacement in identity within which Burnett situates her protagonist, Mary. At the beginning of the narrative, Mary belongs to no culture, neither the Anglo-Indian culture that she should belong to as an English child residing in India nor the local Indian culture with which she frequently interacts. While postcolonial readings of the text account for some of this displacement, the concept of “third culture” in social theory provides a better understanding of this cultural and political displacement that Burnett uses, and more importantly, Burnett’s value of fixed cultural identity and her emphasis throughout the narrative of changing Mary’s displaced status by having her acculturate to English culture. This reading of Mary as a third-culture subject addresses an important aspect of The Secret Garden that has not been examined before and shows a formation of identity and power different from postcolonial models. This reading also highlights the problematic nature of the concept of “home” in the text and the type of subjects who can gain a home in England.
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Hoepers, Idorlene da Silva, Alexandre Vanzuita, and Jéssica Albino. "Tudo acontece no jardim secreto." Revista Educação em Questão 58, no. 57 (September 3, 2020). http://dx.doi.org/10.21680/1981-1802.2020v58n57id20398.

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Resumo: Neste texto discutimos, a partir da Sociologia da Infância, como a infância e a inclusão dialogam no contexto do filme “O jardim secreto”, produzido em 1993, a partir de uma adaptação do clássico conto de fadas “The Secret Garden” do Frances Hodgson Burnett (1911). A discussão teórica ancora-se nos estudos de Plaisance (2004; 2005; 2006; 2010; 2015), Corsaro (2011), Sarmento (2004; 2005), Ferreira (2004) e Fernandes (2004). Ao olharmos para as infâncias e a inclusão na perspectiva da Sociologia da Infância visualizamos diálogos interdisciplinares no que diz respeito às tendências teóricas e conceituais que se complementam e causam possibilidades de mestiçagem na construção de novos conhecimentos, principalmente quando a inclusão, a infância e a imaginação, numa relação de interdependência, provocam a quimera e a superação do modelo tradicional dos processos de socialização a partir da cultura de pares. Palavras-chave: Inclusão. Infância. Processos de socialização. Cultura de pares.
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Tóth, György. "The Children of the Empire." AnaChronisT 9 (January 1, 2003). http://dx.doi.org/10.53720/pbez5870.

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"It is the child no one ever saw!" exclaims a British officer when he finds in a cholera-ridden Indian compound Mary Lennox, the heroine of Frances Hodgson Burnett's 1911 novel The Secret Garden. These words refer to the actual character of Mary as much as the socio-political hierarchy of British imperialism. The little girl leads a life devoid of love, caring and sharing, while the Empire she lives in is ailed by the same malady: the cholera killing her parents stems from a blind authoritarian colonialism Mary must leave in order to have a chance for recovery. "She only knew that people were ill," and readers know little more when this one-sentence thesis is given to them at the outset of a novel which aims to investigate the cure of Mary's illness and in the course of doing so possibly uncovers the root causes. This paper shows that while Frances Hodgson Burnett's work may be considered a piece of children's literature because it places in the centre the healing process of children from parental neglect, its strong linkage of this theme with images of the colonial socio-political hierarchy and master-servant relationships also makes it more than a harmless bedside reading. The Secret Garden's question of whether Mary Lennox and Colin Craven can be cured of their illness can by implication be extended to a literary understanding of contemporary British society, and the novel can thus be interpreted not only as a creed of Rousseauistic pedagogy but also as a critique of the psychology, society and politics of British imperialism.
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West, Rinda. "An Opus con naturam:." Journal of Jungian Scholarly Studies 6 (June 1, 2010). http://dx.doi.org/10.29173/jjs62s.

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This essay proposes that a garden can be a site and an occasion for a labor with nature, an opus con naturam, to play with the alchemical phrase, a collaboration that can potentially transform both nature within and nature without. A garden, that is, nurtures individuation. A garden embeds culture in the land and informs culture with the processes and needs of the land. Like ego and Self, body and soul, reason and instinct, in practice land and culture are not separate or opposed, but interwoven. The garden is a symbol, then, of that connection, a place of healing, retreat, and labor. Frances Hodgson Burnet’s novel, The Secret Garden, illustrates the healing power of the garden, and an analysis of the labor of gardening suggests how that power works.
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Baghiu, Ștefan. "Romancierele: traducerile de romane scrise de femei în cultura română (1841-1918)." Transilvania, June 1, 2021, 11–21. http://dx.doi.org/10.51391/trva.2021.06.02.

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This article uses the data from the Chronological Dictionary of Novels Translated in Romania from its Origins to 1989 in order to chart the presence of foreign women novelists and their works in Romanian translation between 1841 (the year of the first translation of a novel originally written by a woman author, Sophie Cottin) and 1918 (the year marking the end of the long nineteenth century and the unification of Romanian provinces). The study separates two main periods, starting from the domination of the French novel: 1841-1890 and 1890-1918. The former period comprises more French novel translations, from authors such as Sophie Cottin, Stephanie-Felicité Genlis, George Sand, Countess Dash, M-me Charles Reybaud, and Mie D’Aghonne. The latter comprises Italian and American authors, such as Carolina Invernizio, Matilde Serao, Anna Katherine Green, Frances Elisa Hodgen Burnett, and even northern authors such as Clara Tschudi.
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"17. Gymnich, Marion, and Imke Lichterfeld, eds. 2012. A Hundred Years of The Secret Garden. Frances Hodgson Burnett’s Classic Revisited. Göttingen: Bonn University Press / V & R unipress, 189 pp., EUR 39.99." English and American Studies in German 2013, no. 1 (November 1, 2013): 29–31. http://dx.doi.org/10.1515/east-2013-0019.

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