Academic literature on the topic 'JUVENILE FICTION / Poetry'

Objective – While storytime programs for preschool children are offered in nearly all public libraries in the United States, little is known about the books librarians use in these programs. This study employed text analysis to explore topics and genres of books recommended for public library storytime programs. Methods – In the study, the researchers randomly selected 429 children books recommended for preschool storytime programs. Two corpuses of text were extracted from the titles, abstracts, and subject terms from bibliographic data. Multiple text mining methods were employed to investigate the content of the selected books, including term frequency, bi-gram analysis, topic modeling, and sentiment analysis. Results – The findings revealed popular topics in storytime books, including animals/creatures, color, alphabet, nature, movements, families, friends, and others. The analysis of bibliographic data described various genres and formats of storytime books, such as juvenile fiction, rhymes, board books, pictorial work, poetry, folklore, and nonfiction. Sentiment analysis results reveal that storytime books included a variety of words representing various dimensions of sentiment. Conclusion – The findings suggested that books recommended for storytime programs are centered around topics of interest to children that also support school readiness. In addition to selecting fictionalized stories that will support children in developing the academic concepts and socio-emotional skills necessary for later success, librarians should also be mindful of integrating informational texts into storytime programs.

Como e por que trabalhar poesia na sala de aula é o que se pretende abordar neste trabalho. A sensibilização para a linguagem poética, suas características estruturais e um pequeno repertório teórico que sustenta a reflexão sobre o fazer poético vem sendo trabalhado ao longo da atividade acadêmica em forma de Oficinas de Leitura e Produção. Os grupos que vivenciaram a metodologia dessas oficinas são estudantes do Ensino Fundamental I e II, estagiários de Letras do Instituto de Aplicação da UERJ, profissionais de diferentes áreas da disciplina Oficina de Poesia do curso de Especialização em Literatura Infantil e Juvenil da UFF, além de professores que frequentaram minicursos em congressos da área. As oficinas de poesia têm se mostrado eficazes como possibilidade de aproximar do gênero lírico diferentes tipos e faixas etárias de leitores, permitindo-lhes manipular o estrato linguístico de forma criativa e, principalmente em relação aos professores da educação básica, vivenciar atividades que podem enriquecer a prática docente. Os resultados dessas oficinas podem ser mensurados pelo maior interesse dos estudantes em ler, compreender e produzir poemas e a participação entusiasmada dos professores que inseriram a metodologia da oficina em suas práticas docentes. O repertório ficcional é amplo e varia de acordo com o público participante e a experiência do leitor. Já o repertório teórico apoia-se principalmente em: CANDIDO (1986; 1989; 2004); CÍCERO (2007); SOARES (1989); CARA (1986); MORICONI (2002); MOISÉS (2012); SECCHIN (2018) dentre outros. Abstract This paper intends to address how and why to work with poetry in the classroom. Awareness of poetic language, its structural characteristic and a brief theoretical framework that give support to reflections on ways of doing poetry has been worked on throughout academic activity in the form of Reading and Production Workshops. Groups that have experienced the methodology of those workshops comprise students from primary and middle schools and undergraduate students of the Lyrics Course in the Institute of Application at UERJ as well as professionals from different areas of knowledge in the subject Poetry Workshop from the specialization course in Children and Youth Literature and teachers who attended mini courses in congress in the area. The poetry workshops have proved to be effective as a possibility to bring different types and age groups of readers closer to the lyric genre, allowing them to manipulate the linguistic stratum in a creative way, especially basic education teachers, who have the chance to experience activities that can improve teaching practice. The results of these workshops can be measured by students' greater interest in reading, understanding and producing poems and the enthusiastic participation of the teachers who adopted the workshop methodology in their teaching practices. The fictional repertoire is broad and varies according to the participating audience and reader's experience. The theoretical framework is based mainly on: CANDIDO (1986; 1989; 2004); CÍCERO (2007); SOARES (1989); CARA (1986); MORICONI (2002); MOISÉS (2012); SECCHIN (2018) among others.

James Uden's impressive new study of Juvenal's Satires opens up our understanding not only of the poetry itself but also of the world in which it was written, the confusing cosmopolitan world of the Roman Empire under Trajan and Hadrian, with its flourishing of Greek intellectualism, and its dissolution of old certainties about identity and values. Juvenal is revealed as very much a poet of his day, and while Uden is alert to the ‘affected timelessness’ and ‘ambiguous referentiality’ (203) of the Satires, he also shows how Juvenal's poetry resonates with the historical and cultural context of the second century ad, inhabiting different areas of contemporary anxiety at different stages of his career. The first book, for instance, engages with the issues surrounding free speech and punishment in the Trajanic period, as Rome recovers from the recent trauma of Domitian's reign and the devastation wrought by the informers, while satires written under Hadrian move beyond the urban melting pot of Rome into a decentralized empire, and respond to a world in which what it means to be Roman is less and less clear, boundaries and distinctions dissolve, and certainties about Roman superiority, virtue, hierarchies, and centrality are shaken from their anchorage. These later Satires are about the failure of boundaries (social, cultural, ethnic), as the final discussion of Satires 15 demonstrates. For Uden, Juvenal's satirical project lies not so much in asserting distinctions and critiquing those who are different, as in demonstrating over and again how impossible it is to draw such distinctions effectively in the context of second-century Rome, where ‘Romanness’ and ‘Greekness’ are revealed as rhetorical constructions, generated by performance rather than tied to origin: ‘the ties that once bound Romans and Rome have now irreparably dissolved’ (105). Looking beyond the literary space of this allegedly most Roman of genres, and alongside his acute discussions of Juvenal's own poetry, Uden reads Juvenal against his contemporaries – especially prose writers, Greek as well as Roman. Tacitus’ Dialogus is brought in to elucidate the first satire, and the complex bind in which Romans found themselves in a post-Domitianic world: yearning to denounce crime, fearing to be seen as informers, needing neither to allow wrongdoing to go unpunished nor to attract critical attention to themselves. The Letters of Pliny the Younger articulate the tensions within Roman society aroused by the competition between the new excitement of Greek sophistic performance and the waning tradition of Roman recitation. The self-fashioned ‘Greeks’ arriving in Rome from every corner of the empire are admired for their cultural prestige, but are also met by a Roman need to put them in their place, to assert political, administrative, and moral dominance. This picture help us to understand the subtleties of Juvenal's depiction of the literary scene at Rome; when the poet's satiric persona moans about the ubiquitous tedium of recitationes, this constitutes a nostalgic and defensive construction of the dying practice of recitatio as a Roman space from which to critique Greek ‘outsiders’, as much as an attack on the recitatio itself. Close analysis of Dio Chrysostom's orations helps Uden to explore themes of disguise, performance, and the construction of invisibility. Greek intellectual arguments about the universality of virtue are shown to challenge traditional Roman ideas about the moral prestige of the Roman nobility, a challenge to which Juvenal responds in Satires 8. Throughout his study, Uden's nuanced approach shows how the Satires work on several levels simultaneously. Thus Satires 8, in this compelling analysis, is not merely an attack on elite hypocrisy but itself enacts the problem facing the Roman elite: how to keep the values of the past alive without indulging in empty imitation. The Roman nobility boast about their lineage and cram their halls with ancestral busts, but this is very different from reproducing what is really valuable about their ancestors and cultivating real nobility – namely virtue. In addition, Uden shows how Juvenal teases readers with the possibility that this poem itself mirrors this elite hollowness, as it parades its own indebtedness to moralists of old such as Sallust, Cicero, and Seneca, without ever exposing its own moral centre. In this satire, Uden suggests, Juvenal explores ‘the notion that the link between a Roman present and a Roman past may be merely “irony” or “fiction”’ (120). Satires 3's xenophobic attack on Greeks can also be read as a more subtle critique of the erudite philhellenism of the Roman elite; furthermore, Umbricius’ Romanness is revealed in the poem to be as constructed and elusive as the Greekness against which he pits himself. Satires 10 is a Cynic attack upon Roman vice, but hard-line Cynicism itself is a target, as the satire reveals the harsh implications of its philosophical approach, so incompatible with Roman values and conventions, so that the poem can also be read as mocking the popularity of the softer form of Cynicism peddled in Hadrianic Rome by the likes of Epictetus and Dio Chrysostom (169). Both Juvenal's invisibility and the multiplicity of competing voices found in every poem are thematized as their own interpretative provocation that invites readers to question their own positions and self-identification. Ultimately Juvenal the satirist remains elusive, but Uden's sensitive, contextualized reading of the poems not only generates specific new insights but makes sense of Juvenal's whole satirical project, and of this very slipperiness.

I use the words you taught me. If they don't mean anything anymore, teach me others, or let me be silent.Beckett, Endgameterra malos homines nunc educat atque pusillos.Today the earth breeds a race of degenerate weaklings.Juvenal 15.70nee galeam quassas, nee terram cuspide pulsas.You do not shake your helmet, nor beat the ground with your spear.Juvenal 2.130My intention here is to describe what seems to me an aspect of this superb and notorious poem that has been insufficiently examined, a major disruption in the sign-systems it makes use of and is used by. In order to do that I will be, as best I can, setting aside questions about the poem as a product (its meaning, how its form and content fuse to effect that meaning) and about the intentions its producer (the poet or his persona) had when he went about producing that product; whether the meaning and the intention are recoverable or not, whether they are decidable or not, is a moot question, and to try to answer it here would obscure my project (and doubtless waste our time). ‘To interpret a text,’ says Barthes, ‘is not to give it a (more or less justified, more or less free) meaning, but on the contrary to appreciate what plural constitutes it.’ To have some access to the portion of that plural that concerns me, I have to be arbitrary (and fictive) with the question of the poet's meaning/intention and to set aside as well questions of his poem's aesthetic charms.

In an article published thirteen years ago, I tried to break new ground by showing that the texts transmitted under the titleCataleptonas the work of Virgil can be seen to form an elaborately arranged and highly allusive book of verse written by a single author. This latter, I argued, was identical with the anonymous poet who, in an epilogue, represents the preceding poems as the juvenilia of the author later known for hisBucolics,GeorgicsandAeneidand, consequently, is himself speaking in the alleged early works asVirgil impersonator. This anonymous poet, however, cannot rightly be labelled a literary forger, since he repeatedly and quite unmistakably recalls each of Virgil's threeoperaas well as other texts written after the year 19b.c. Evidently, then, he is inviting his readers to take part in a literarylusus, one in which they are expected to be familiar not only with the texts ofBucolics,GeorgicsandAeneidbut also with the life of the man who wrote them. The fiction of a young Virgil is created, one who wrote his first poems—the verses referred to in the epilogue aselementaandrudis Calliope(Catal.18[15])—primarily under the influence of Catullus, the said poems being, with the exception ofCatal.12(9) and 16(13), epigrams. My interpretation has borne fruit, with Irene Peirano and Markus Stachon each devoting, in 2012 and 2014 respectively, a monograph to this approach and offering what are often very thorough analytical readings of the poems as the creations of aVirgil impersonator. However, neither of these two Latinists has considered one particular interpretative aspect, which I myself had only been able to introduce very briefly into my paper: the recognition that, as many more recent studies have now further corroborated, Roman poetry books were designed for linear, sequential reading, that they have, as it were, a story to tell. Peirano, moreover, disregards in her study the threePriapeapositioned in editions before the other fifteen epigrams and shown there with their own separate numbering. In the manuscripts, however, the titleCataleptonrefers without exception to a unit comprising the threePriapeaand the fifteen epigrams. The titlePriapea, found in the catalogue of the Murbach manuscripts and in some codices (for example the Graz fragment), is always attached solely to the poemQuid hoc noui est?In theVita Suetoniana-Donatiana(VSD), the termsCatalepton,PriapeaandEpigrammatawere evidently used as three different titles; the author (or his source) may not have seen thatCataleptonis the title of all the poems. Furthermore, I should like to point out that, counted together, ‘Virgil's’Priapeaand epigrams come to a total of seventeen poems and so match precisely both the total of seventeen books in the real Virgil's three works and the total number of Horace's epodes, of the poems, that is, which the not-so-real Virgil quite conspicuously evokes in his own penultimate poem (Catal.16[13]). More significantly, however, a sequential reading of thePriapea et Epigrammatacan in fact build a watertight case for taking the texts to be, as it were, a composite whole, and that is what I intend to argue in the rest of the article.

The article provides an in-depth analysis of the history of the origin of the term satire types of satire, definitions of the term satire in encyclopedias and scientific dictionaries. Representatives of satire in Russian, English and Uzbek literature are also mentioned. The article also includes opinions of famous scholars on satire, as well as their translation into Uzbek. The genre of satire has evolved since ancient times and covered almost all types of fiction. The satirist writers exposed the social events of the period in which they lived with humor and satire. They put the final conclusion on their works to readers themselves. Satirical works delight readers, they are immortal. In ancient Roman literature, Quintus Horace Flaccus, Detsim Junior Juvenile, Menippus Gadarsky elevated satire, while in English literature Daniel Defoe, Jonathan Swift, in American literature Mark Twain left a deep imprint in the hearts of readers with their works. In Russian literature, the works of Nikolai Gogol, Mikhail Saltikov-Shchedrin, Mikhail Zoshchenko further flourished the genre of satire. In Uzbek literature, the first examples of satire appeared in folklore, and later flourished in written literature. In the genre of satire, our ancestors Alisher Navoi, Turdi, Makhmur, Gulkhani, Haziq, Muqimi, Zavkiy created. Hamza Hakimzoda Niyazi, Abdulla Kodiri, Ghazi Yunus, Sofizoda, Gafrur Gulam, Abdulla Kahhor, Said Ahmad, Nemat Aminov, Sadulla Siyoev also contributed the further development of satire. The purpose of the article is to analyze the status of satire as a genre, the system of artistic interpretation of satirical works, the specific artistic expression of the moral and philosophical worldview and the stages of formation and development of this genre, its dynamics and its new forms, comparative-historical, comparative-typological analysis. Theoretical methods were used: comparative analysis, synthesis, comparative induction, deduction, and comparative-historical analysis. In results the genesis of the satire genre, the historical, theoretical and poetic foundations of the satire genre and the stages of its formation were established. The most common types of satire were analyzed. Conclusion 1. The folklore roots of satire and the peculiarities of satirical images in oral folklore have been identified. 2. The problem of the genesis of the genre of satire was considered on the basis of world artistic-philosophical, socio-cultural thinking. 3. The problem of the genre of satire is covered in the comparative literary aspect. 4. The peculiarities of the classification and types of the genre of satire were determined.

Bradbury’s fascination with genre fiction art resulted in “1982: A Helicon Year for the Artists of Science Fiction.” Chapter 19 goes on to describe how Byron Preiss assembled a range of well-known artists to illustrate a new collection of Bradbury stories, Dinosaur Tales. These included Gahan Wilson, Jim Steranko, Jean Henri Giraud, David Wiesner, and Overton Loyd. The chapter also explores Bradbury’s high regard for traditional poets Phyllis McGinley and Helen Bevington in the context of his second and third Knopf volumes of his own poetry. The chapter concludes with Bradbury’s ill-fated collaboration with Japanese producer Yutaka Fujioka, Roger Allers, and Chris Lane on the juvenile animated feature, Little Nemo in Slumberland, inspired by the comic strip character by Winsor McCay.

A range of elements in Burton’s multi-volume History are analysed as reflecting the characteristics of nineteenth-century romantic literature. These include the habit of ‘performative’ authorship. In addition, many events are conveyed in passages whose narrative incorporates romantic language and associations, including allusions to romantic literature, particularly the works of Walter Scott. Besides romantic content – at times incorporated despite the author’s explicit scepticism on their sources – it is argued his approach includes an identifiably romantic methodology. This is characterised by an emphasis on attending to the actual words and language of the sources, and a search, partly achieved through such attention, for the ‘spirit of the times’: the past should be understood on its own terms. The extent to which this approach involves the inclusion of source passages in the Scots language, and in the characteristic expressions of Scottish religiosity, is highlighted. The formative influences shaping these features in Burton’s work are then traced in the manuscript evidence of his literary juvenilia; his early familiarity with romantic fiction and poetry, particularly Scott; his admiration for T. B. Macaulay and Macaulay’s early essay on History; and his enthused response to the historiographic approach of P.F. Tytler.