Academic literature on the topic 'Illustration of books – Juvenile fiction'

This research aimed to find out how to use iconic images illustration to increase selling value of fiction works. The theoretical basis of this research was visual communication design, illustration, color, and semiotics. The method used in this research was qualitative research by doing interviews with experts who are experienced in publishing and illustration field. Another method used was observing children and fiction books which use iconic image illustration to attract consumer’s interest in order to increase books sales. The results of this study show that fiction books with iconic image illustration images have the positive response from consumers who show their interest and desire to buy them. Moreover, these results are expected to be useful for the creative industry, especially the sub-sector publishing industry when designing illustrations to be used in a book.

This article attempts to identify and examine some of the factors and sources that led to the creation of a largely forgotten prose work of English fiction titled Thaddeus of Warsaw (1803) which became an immediate and extraordinary success. Jane Porter’s novel deals with a fictitious Polish patriot Thaddeus Sobieski, who is modelled on the Polish national hero Tadeusz Kosciuszko. The novel presents an excellent illustration of the cultural links between Great Britain and Poland towards the end of the 18th century and constitutes a cautionary tale for Porter’s English readers, one that creates a basis for moral reform and political engagement.

Form and Function are Closely connected in books. The physical appearance of books indicates purpose and intended readership. A combination of size, type, and page layout offers visible signals informing the reader of the content before he begins to read a book. Books that look different are different. They have different subject matters, purposes, and readerships.Anyone browsing in a bookstore in the late twentieth century knows this. Today an illustration on the cover provides the most obvious clue concerning the subject matter and purpose of a book. When the cover shows a handsome man with a scowl on his face and a gun in his hand along with a beautiful young woman in distress—and possibly some degree of undress—we know that the book is a “thriller.” When the cover shows a spaceship, we know that the book is science fiction.

Picture books for older readers present challenges for libraries in terms of how best to provide access to them. These books often have an “E” on the spine to indicate that they are “easy” or for “everybody,” and share lower shelves with a far greater number of picture books geared for the preschool and primary grade audience. However, this classification by format might encourage older readers to pass over these materials. At the same time, questions remain about the effectiveness of housing these picture books with juvenile fiction, or of creating separate collections. This article looks at how the picture book as a format and picture book collections are defined, as well as the variety of ways in which a small sample of picture books for older readers are currently being managed in public libraries.

Purpose This paper aims to identify patterns, trends and potential implications related to post-checkout non-usage (material that is checked out by a user, but subsequently never opened and/or downloaded) of library digital content. Design/methodology/approach A large urban Canadian public library’s data (2013-2017) from Rakuten OverDrive was analyzed. Pending items (items that are checked out, but neither opened nor downloaded) were compared with total checkouts to determine post-checkout non-usage rates. Findings Checkouts and overall rates of post-checkout non-usage of e-books and e-audiobooks have risen significantly and consistently. Juvenile and non-fiction e-books demonstrate higher post-checkout non-usage rates than adult and fiction e-books, respectively. The library spends up to US$10,700 per year on metered access e-books that are never opened by users. This number has grown significantly over the years. Originality/value E-materials in libraries have been growing rapidly, but their current lending models are still largely a direct application of concepts in traditional library services that have developed based on physical materials, such as checkouts, due dates, renewals, holds and wait times. However, e-materials do not have the limitation of physical materials that prevents other users from accessing a checked-out item, which makes many of the traditional concepts no longer applicable. New concepts and lending models should be developed that allow users to access any library e-materials at any time, and are financially functional and sustainable for both libraries and e-content providers.

Abstract This paper examines the book form of the original woodblock edition (ca. 1660) of Xu jin ping mei 續金瓶梅 (The sequel to Jin ping mei), a sequel to the acclaimed yet controversial sixteenth-century vernacular novel Jin ping mei 金瓶梅 (Plum in a golden vase). Critics tend to hold Xu jin ping mei in low regard because the sequel’s extensive citations from religious texts and morality books disrupt the flow of the narrative. As this paper shows, such ‘weakness’ is part of the sequel writer’s conscious exploration of the productive gap between the text and the book as an object—cover page, the front matter, illustration and fiction commentary all contribute to the totality of the bound text as an object of connoisseurship. Another indicator of the author-editor’s effort at creating the sequel’s own social reception is a list of cited books that captures the full spectrum of textual production in the seventeenth century, thereby inscribing Xu jin ping mei in a cultural matrix that accommodates multiple modes of reading with a sense of hierarchy. To situate Xu jin ping mei in the context of the burgeoning print industry will help us go beyond the textual level to assess the sequel as an important cultural phenomenon. It is exactly the desire to cash in on the popularity of the original masterworks that pushes author, editor, and publisher to craft the book as a referential field in which the implied author engages anticipated readers of different dispositions to comment on, extend, and improve the original work.

Postmodern picturebooks have gained increasing importance in the field of theory of children’s literature, because they «Provide the most accessible examples of postmodern eclecticism: the breaking of boundaries, the abandonment of linear chronology, the emphasis on the construction of texts, and the intermingling of parodying genres» (Pantaleo and Sipe 2008). Τhese picturebooks invite a more active reader. Mc Callum (1996) notes that metafictive narratives pose «questions about the relationships between the ways we interpret and represent both fiction and reality». Trites ( 1994) also identifies that the changes in picturebooks reflect «the sort of cultural fragmentation that seems to be the hallmark of the postindustrial age» As today's children live in a world characterized by fragmentation, decanonization and interactivity literacy educators focus on the ways in which literacy education will need to change in order to develop student’s «self-knowledge about reading» (Ryan& Anstey, 2003) and enrich reader’s capacity to decode the rapidly change, rich in symbols, visual culture. (Callow, 2008, Goldstone, 2001, Walsh, 2003, Serafini, 2004 O'Neil, 2011 ) Saramago’s picture books are a good example of work that disrupts expectations of the reader through the self-reflexive narrative structure of the visual text. While the verbal text tells rather a simple fairly story, the visual language in pictures evoke multiple levels of meaning, depending on how the reader (children or adult) chooses to interpret it. One common aspect of the illustrations in both books is the self referential qualities of the illustrations that reveal the process of memories restoration and perception. The illustrators of the books employ a range of metafictive devices that self consciously draws attention to the status of the memories as artifacts and systematically poses questions about the way we recall the past. In this paper we examine fifth graders’ responses to several metafictive devices in Saramago’s picturebooks. The books were read and discussed in depth over a two week time period, where the children participated in small groups and whole-class interactive read-aloud sessions. The fifth graders noticed many of the visual elements and took them into account for the (re)construction of the story, such as intertextuality, indeterminacy in illustrative text, disruptions of traditional time and space relationships, pastiche of illustrative styles, illustrative framing devices including a book embedded within another book, description of the creating process. The data concerning children’s reading of both books lead to the conclusion that ten-years-old children paid great attention to the illustration and did not confine their readings only to words. They have incorporated the visual text in the construction of the story, and proved that they can decipher many of the challenging visual puzzles of both books. The study concludes that using visual literacy in the classroom can help children to develop a “critical eye” and to negotiate our visually rich contemporary culture. Key-words: picturebooks, metafiction, childrens’ perception, memories

News and AnnouncementsAs we move into the so-called “summer reading” mode (although reading is obviously not a seasonal thing for many people), here is a “summery” (pardon the pun) of some recent Canadian book awards and shortlists.To see the plethora of Forest of Reading ® tree awards from the Ontario Library Association, go to https://www.accessola.org/WEB/OLAWEB/Forest_of_Reading/About_the_Forest.aspx. IBBY Canada (the Canadian national section of the International Board on Books for Young People) announced that the Claude Aubry Award for distinguished service in the field of children’s literature will be presented to Judith Saltman and Jacques Payette. Both winners will receive their awards in conjunction with a special event for children's literature in the coming year. http://www.ibby-canada.org/ibby-canadas-aubry-award-presented-2015/IBBY Canada also awarded the 2015 Elizabeth Mrazik-Cleaver Picture Book Award to Pierre Pratt, illustrator of Stop, Thief!. http://www.ibby-canada.org/awards/elizabeth-mrazik-cleaver-award/The annual reading programme known as First Nation Communities Read (FNCR) and the Periodical Marketers of Canada (PMC) jointly announced Peace Pipe Dreams: The Truth about Lies about Indians by Darrell Dennis (Douglas & McIntyre) as the FNCR 2015-2016 title as well as winner of PMC’s $5000 Aboriginal Literature Award. A jury of librarians from First Nations public libraries in Ontario, with coordination support from Southern Ontario Library Service, selected Peace Pipe Dreams from more than 19 titles submitted by Canadian publishers. “In arriving at its selection decision, the jury agreed that the book is an important one that dispels myths and untruths about Aboriginal people in Canada today and sets the record straight. The author tackles such complicated issues such as religion, treaties, and residential schools with knowledge, tact and humour, leaving readers with a greater understanding of our complex Canadian history.” http://www.sols.org/index.php/links/fn-communities-readCharis Cotter, author of The Swallow: A Ghost Story, has been awarded The National Chapter of Canada IODE Violet Downey Book Award for 2015. Published by Tundra Books, the novel is suggested for children ages nine to 12. http://www.iode.ca/2015-iode-violet-downey-book-award.htmlThe 2015 winners of the Ruth and Sylvia Schwartz Children’s Book Awards were selected by two juries of young readers from Toronto’s Alexander Muir / Gladstone Avenue Junior and Senior Public School. A jury of grade 3 and 4 students selected the recipient of the Children’s Picture Book Award, and a jury of grade 7 and 8 students selected the recipient of the Young Adult / Middle Reader Award. Each student read the books individually and then worked together with their group to reach consensus and decide on a winner. This process makes it a unique literary award in Canada.The Magician of Auschwitz by Kathy Kacer and illustrated by Gillian Newland (Second Story Press) won the Children’s Picture Book Category.The winner for the Young Adult/Middle Reader Category was The Boundless by Kenneth Oppel (HarperCollins Publishers).http://www.ontarioartsfoundation.on.ca/pages/ruth-sylvia-schwartz-awardsFrom the Canadian Library Association:The Night Gardener by Jonathan Auxier (Penguin Canada) was awarded CLA’s 2015 Book of the Year for Children Award.Any Questions?, written and illustrated by Marie-Louise Gay (Groundwood Books) won the 2015 Amelia Frances Howard-Gibbon Award.This One Summer by Mariko & Jillian Tamaki (Groundwood) was awarded the 2015 Young Adult Book Award.http://www.cla.ca/AM/Template.cfm?Section=Book_Awards&Template=/CM/HTMLDisplay.cfm&ContentID=16132The 2015 Winner of the Crime Writers of Canada’s Arthur Ellis Awards for Best Juvenile/YA Book was Sigmund Brouwer’s Dead Man's Switch (Harvest House). http://crimewriterscanada.com/Regional awards:Alberta’s Ross Annett Award for Children’s Literature 2015:Little You by Richard Van Camp (Orca Book Publishers) http://www.bookcentre.ca/awards/r_ross_annett_award_childrens_literatureRocky Mountain Book Award 2015:Last Train: A Holocaust Story by Rona Arato. (Owl Kids, 2013) http://www.rmba.info/last-train-holocaust-storyAtlantic Book Awards 2015 from the Atlantic Book Awards SocietyAnn Connor Brimer Award for Children’s Literature: The End of the Line by Sharon E. McKay (Annick Press).Lillian Shepherd Award for Excellence in Illustration: Music is for Everyone illustrated by Sydney Smith and written by Jill Barber (Nimbus Publishing) http://atlanticbookawards.ca/awards/Hackmatack Children’s Choice Book Award 2015:English fiction: Scare Scape by Sam Fisher.English non-fiction: WeirdZone: Sports by Maria Birmingham.French fiction: Toxique by Amy Lachapelle.French non-fiction: Au labo, les Débrouillards! by Yannick Bergeron. http://hackmatack.ca/en/index.htmlFrom the 2015 BC Book Prizes for authors and/or illustrators living in British Columbia or the Yukon:The Christie Harris Illustrated Children's Literature Prize was awarded to Dolphin SOS by Roy Miki and Slavia Miki with illustrations by Julie Flett (Tradewind).The Sheila A. Egoff Children's Literature Prize for “novels, including chapter books, and non-fiction books, including biography, aimed at juveniles and young adults, which have not been highly illustrated” went to Maggie de Vries for Rabbit Ears (HarperCollins). http://www.bcbookprizes.ca/winners/2015The 2015 Manitoba Young Readers’ Choice Award (MYRCA) was awarded to Ultra by David Carroll. http://www.myrca.ca/Camp Outlook by Brenda Baker (Second Story Press) was the 2015 winner of the SaskEnergy Young Adult Literature Award. http://www.bookawards.sk.ca/awards/awards-nominees/2015-awards-and-nominees/category/saskenergy-young-adult-literature-awardFor more information on Canadian children’s book awards check out http://www.canadianauthors.net/awards/. Please note that not all regional awards are included in this list; if you are so inclined, perhaps send their webmaster a note regarding an award that you think should be included.Happy reading and exploring.Yours in stories (in all seasons and shapes and sizes)Gail de VosGail de Vos is an adjunct professor who teaches courses on Canadian children's literature, young adult literature, and commic books and graphic novels at the School of Library and Information Studies (SLIS) at the University of Alberta and is the author of nine books on storytelling and folklore. She is a professional storyteller and has taught the storytelling course at SLIS for over two decades.

Hartt-Sussman, Heather. Noni speaks up. Tundra Books, 2016.Nominated for the Ontario Library Association’s Blue Spruce Award, Noni speaks up is the third book in the Noni series by Toronto-based children’s picture book author, Heather Hartt-Sussman, and acclaimed illustrator Geneviève Côté.When Noni sees Hector being bullied by other kids at school, and is encouraged by her friends to join in, she is unable to speak up; Noni is paralyzed by fear of making enemies if she stands up for her schoolmate. Noni feels bad for not defending Hector, but is uncertain about what to do.During a restless night, she worries about what might happen if she doesn’t take her friends’ side. She considers the things Hector is being bullied about. As Noni reflects on her relationships with her friends, she notices that they sometimes say and do things to her that are hurtful.When Noni goes to school the next day, she sees Hector being bullied again and experiences the same fear and inability to speak. But when her friend laughs at Hector’s misfortune, Noni has had enough and screws up the courage to defend Hector. Speaking out stops her friend laughing, and Noni and a grateful Hector actively ignore the bully’s taunting, demonstrating another strategy for dealing with bullying.Noni speaks up presents a realistic scenario and provides accurate, helpful information for dealing with bullying, in an empathic and reassuring manner. Young readers will relate to the events in the story, and the Noni models positive behaviour that children experiencing a similar issue could put into practice. This book meets the Juvenile Health Fiction Checklist criteria (described in the October 2014 issue of the Deakin Review).Readers who enjoy Noni speaks up can re-connect with Noni in Hartt-Sussman’s other books, Noni is nervous and Noni says no.Recommended: 3 out of 4 starsReviewer: Maria TanMaria is a sessional instructor at the University of Alberta and a former editorial team member of the Deakin Review. She is the co-author, with Sandy Campbell, of the Children’s Health Fiction Checklist, described in the October 2014 Special Issue of the Deakin Review (Vol. 4, No. 2) https://ejournals.library.ualberta.ca/index.php/deakinreview/article/view/23321.

I study painting and composition for its own sake, and in this program I am pursuing it from a narrative or pictorial stance, much as did earlier artists, and doing so in contemporary terms. Distinguished examples of illustrators could include such artists as Raphael, Michelangelo, Rembrandt and Rubens, and modern practitioners such as Wyeth and Baskin. The illustrator needs not only control of his means, but also other qualities in addition to those of a studio painter. He needs an imagination that will allow portrayal of scenes and viewpoints that can't be arranged in a studio. The artist's memory and invention are primary requisites for illustrations involving distant times and places.

This study describes a content analysis of six contemporary young adult fiction novels. Adolescence is a time of great change, particularly for girls. It is during this time that female adolescents develop their voice and identity. As literature reflects the reader’s world, it also affects in part how female adolescents perceive their identity. Latent content analysis was used to code eight variables to determine if select contemporary young adult fiction novels appropriately describe the development of identity among adolescent females. All of the novels included in the study provided sufficient evidence of accurate portrayal of female adolescent identity development, by having examples of at least four out of eight variables, with most having examples of seven out of eight variables.

Orientador: Paulo Mugayar Kuhl
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-16T18:08:46Z (GMT). No. of bitstreams: 1 Ferraro-Nita_MaraRosangela_D.pdf: 26606817 bytes, checksum: 149415fdabef1f4f56dda00e0ae45ab2 (MD5) Previous issue date: 2010
Resumo: Esta tese tem por objetivo maior realizar um estudo sobre as obras ilustradas de Graciliano Ramos, Jorge Amado e José Lins do Rego publicadas prioritariamente pelas editoras José Olympio (Rio de Janeiro) e Martins (São Paulo). Analisa ainda o perfil artístico de três ilustradores: Santa Rosa, Luís Jardim e Aldemir Martins e seus respectivos projetos ilustrativos para Cacau, de Jorge Amado (1933); Menino de engenho, de José Lins do Rego (1932); e Vidas secas, de Graciliano Ramos (1938). Reflexões estas que ajudam no levantamento de possíveis confluências do pensamento artístico e literário do modernismo brasileiro pós-1930
Abstract: The main purpose of this thesis is to carry out a study about the illustrated literary works of Graciliano Ramos, Jorge Amado and José Lins do Rego, published mainly by José Olympio (Rio de Janeiro) and Martins (São Paulo) publishers. It also analyzes the artistic features of three illustrators: Santa Rosa, Luís Jardim and Aldemir Martins and their respective illustration projects for Cacau, by Jorge Amado (1933); Menino do engenho, by José Lins do Rego (1932) and Vidas secas, by Graciliano Ramos, (1938). These reflections help us to find out possible confluences of artistic and literary thought of post 1930'Brazilian Modernism
Doutorado
Doutor em Artes

Children experience life crisis and normal developmental problems. This study is aimed at highlighting the role fiction can play in assisting children in coping with certain normal life crisis and developmental problems. A discussion on the nature of the bibliotherapeutic process indicated that fiction plays a major role in the success thereof. A model was designed for the selection process of fiction for the bibliotherapeutic process. Selection criteria were established for both the reader and the reading matter. Tables were designed consisting of selection criteria for both the reader and the reading matter. Stories about life crisis relating to death and divorce, as well as normal developmental problems about fear of peer group rejection and fear of the acquirement of skills, were evaluated against these criteria. This indicates that it is possible to select the right book for the bibliotherapeutic process with children.
Information Science
M.Inf.

After World War II, science-fiction authors found lucrative side gigs in writing fiction for young people. Before “young adult” books were a fixed category, authors like Robert Heinlein wrote stories about space for middle-grade readers, most of whom were male. This chapter looks at Heinlein’s juvenile fiction published by Scribner’s, and shows how his work reinforced a vision of scientific masculinity.

At the fin de siècle, the Victorian illustrated book experienced what some critics consider a decline and others call a third period of development. “Caricature and Realism” examines the validity of both viewpoints. Publishing trends and intertwining economic and aesthetic factors led to the decline of newly released, large-circulation fiction during the final decades of the nineteenth century in England. These include the waning of serial fiction, cost factors, a rise in literacy, the changing nature of the novel, new developments in illustration, and competition from other media. However, the Victorian illustrated book thrived in several areas—certain serial formats, artists’ books, children’s literature, and the U.S. market—and in some of these forms of material culture, we witness a reengagement with the caricature tradition as well as a continuation of the representational school. This chapter surveys late Victorian illustrated fiction marketed to different audiences according to social class, age, gender, and nation. This chapter also foregrounds two fin-de-siècle author-illustrators—Beatrix Potter, best known for The Tale of Peter Rabbit, and George Du Maurier, who gained fame with Trilby—to demonstrate continuity in the arc of the illustrated book and a media frenzy of Pickwickian magnitude.