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1

Bestwick, Margaret Angel. "Beatrix Potter and Her Paint Box lesson plan." Social Studies Research and Practice 12, no. 2 (September 11, 2017): 232–42. http://dx.doi.org/10.1108/ssrp-05-2017-0026.

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Purpose Beatrix Potter and Her Paint Box (McPhail, 2015) is a tranquil biography primarily focusing on the childhood of Beatrix Potter. This lesson plan, based in the National Council for the Social Studies (NCSS) C3 Framework, allows second-grade learners to explore the life of Beatrix Potter through this biography and to make connections to his or her own life. Learners move through four stages of inquiry in the C3 Framework. They examine the dust jacket and dual-image book cover for clues about the life of Beatrix Potter. Next, they engage in a read-aloud of the biography during which learners construct knowledge about the life of Beatrix Potter. Learners then create puppets and role play the life of Ms Potter. The lesson concludes with learners making comparisons between their own and Ms Potter’s life. The paper aims to discuss these issues. Design/methodology/approach This is a lesson plan that is intended for second grade students. The duration of the lesson is approximately 90 minutes in length. The lesson utilizes the Whole Book Approach (WBA). The WBA is “an intentional, inquiry-based approach to reading aloud that puts art and design [and children’s responses to them] at the center of the storytime experience” (Lambert et al., 2015, p. 81). During the lesson, the teacher utilizes the WBA through asking open-ended questions as she/he reads aloud. The students and the teacher co-construct meaning through a dialogue about the text and images within the text. The lesson also includes the Role-Playing Characters to Understand Them Better (adapted) approach. This fiction reading strategy is adapted for informational text, a biography, for this lesson. Rather than role-playing a character, students role-play real people: Beatrix Potter & her family, and themselves. Serravallo (2015) writes about this strategy, “Sometimes the best way to get to know our characters is to stand in their shoes-to do what they do, say what they say, and act how they act. With a partner[…] Using puppets or props, act out the scene. Try to talk in the voice of the character, and move the puppet just like the character would. When you finish creating the scene, stop and talk about what you think about the characters” (p. 172). Students will create paper puppets and role-play events from Beatrix Potter’s life as depicted in the biography. Students use a puppet of themselves to talk with Beatrix about how the student's life is similar to and different from Beatrix’s life. McPhail, D. (2015), Beatrix Potter and Her Paint Box, New York, Henry Holt and Co.; National Council for the Social Studies Notable Trade Book for Young People (2016); JLG Category – Genre: Nonfiction, Lexile Level: AD790L, Elementary Grades K-2, ISBN: 9780805091700 (Junior Library Guild, 2016); the duration of the lesson is approximately 90 minutes: second grade. Findings Little Beatrix Potter loved art. At an early age, she received her mother’s paint box. Beatrix Potter spent hours painting things she loved, like the animals she kept as pets. Her family traveled from their home in London to spend Summers in the country. She loved it there. She spent her time painting her surroundings. When she was older she learned of a young boy who was ill, and confined to bed. So, she wrote him a story and drew illustrations for the story. This story was later published as her first book, The Tale of Peter Rabbit. Beatrix Potter went on to publish many other animal tales that became popular across the world and beloved for generations. Originality/value This lesson plan is aligned with the NCSS theme number 10, individual development and identity.
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2

Thomson, Keith. "Beatrix Potter, Conservationist." American Scientist 95, no. 3 (2007): 210. http://dx.doi.org/10.1511/2007.65.210.

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Thomson, Keith. "Beatrix Potter, Conservationist." American Scientist 95, no. 3 (2007): 210. http://dx.doi.org/10.1511/2007.65.376.

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4

Roberts, Anne. "Beatrix Potter Studies VII: Beatrix Potter as Writer and Illustrator (review)." Lion and the Unicorn 25, no. 1 (2001): 171–74. http://dx.doi.org/10.1353/uni.2001.0010.

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5

Golden, Catherine. "Beatrix Potter: Naturalist Artist." Woman's Art Journal 11, no. 1 (1990): 16. http://dx.doi.org/10.2307/1358381.

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6

VINOGRADOV, SOPHIA. "The Remarkable Beatrix Potter." American Journal of Psychiatry 153, no. 12 (December 1996): 1646–47. http://dx.doi.org/10.1176/ajp.153.12.1646.

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7

Mahon, Eugene J. "The Remarkable Beatrix Potter." Psychoanalytic Quarterly 67, no. 4 (October 1998): 730–32. http://dx.doi.org/10.1080/00332828.1998.12006077.

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8

Avery, Gillian. "Beatrix Potter and social comedy." Bulletin of the John Rylands Library 76, no. 3 (September 1994): 185–200. http://dx.doi.org/10.7227/bjrl.76.3.12.

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9

Breedlove, Byron. "Beatrix Potter, Author, Naturalist, Mycologist." Emerging Infectious Diseases 25, no. 9 (September 2019): 1786–87. http://dx.doi.org/10.3201/eid2509.ac2509.

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10

Frey‐Ridgway, Susan. "Beatrix Potter: An annotated bibliography." Reference Services Review 24, no. 3 (March 1996): 21–28. http://dx.doi.org/10.1108/eb049285.

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11

Fimi, Dimitra. "Beatrix Potter: Fables to Faeries." Folklore 123, no. 1 (April 2012): 113–14. http://dx.doi.org/10.1080/0015587x.2012.643639.

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12

Gryszkowiec, Mary. "Beatrix Potter: An Elementary School Unit." Art Education 39, no. 4 (July 1986): 22. http://dx.doi.org/10.2307/3192984.

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13

Mackey, Margaret. "Beatrix Potter: Writing in Code (review)." Children's Literature Association Quarterly 30, no. 2 (2005): 208–9. http://dx.doi.org/10.1353/chq.2005.0031.

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14

Luce-Kapler, Rebecca. "The seeing eye of Beatrix Potter." Childrens Literature in Education 25, no. 3 (September 1994): 139–46. http://dx.doi.org/10.1007/bf02355391.

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15

Ashrafi, Ali. "INVESTIGATION OF CHILDREN FANTASY LITERATURE IN ENGLISH LANGUAGE: THE CASE OF BEATRIX POTTER’S WORK/INVESTIGASI SASTRA FANTASI ANAK-ANAK DALAM BAHASA INGGRIS: CASE OF BEATRIX POTTER’S WORK." Aksara 32, no. 2 (January 3, 2021): 247–57. http://dx.doi.org/10.29255/aksara.v32i2.472.247-257.

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Abstract In this research, we chose the series of Beatrix Potter in English languages. Then the obtained data studied in three parts of the style of writing, the semiotics of fantasy characters, and in terms of social concepts such as power, gender, and collaboration. This research is descriptive research based on the library method. Fantasy is a ction about a topic in the past or an event in the future that is now untrue, but relying on individual knowledge and imagination. Fantasy literature, as it stands today, was created in Europe in the eighteenth century, although its elements exist in myths and ancient myths. Beatrix Potter (1866-1943) grew up in London is the most acclaimed Baby Writer. She was an English writer, illustrator, natural scientist, and conservationist best known for her children’s books featuring animals. She is well-known as the author of children’s books such as The Tale of Peter Rabbit. She wrote 23 books altogether, the most famous of which was “the Tale of Peter Rabbit “, which translated into 35 languages and printed 151 million copies in the world. Keywords: characterization, fantasy literature, story, Beatrix Potter, phantom fantasy, realistic fantasy, writing style Abstrak Dalam penelitian ini, dipilih seri Beatrix Potter dalam bahasa Inggris. Kemudian data yang diperoleh dianalisis dalam tiga bagian: gaya penulisan, semiotika karakter fantasi, dan ditinjau dari konsep sosial, seperti kekuasaan, jenis kelamin, dan kolaborasi. Penelitian ini merupakan penelitian deskriptif berdasarkan metode kepustakaan. Fantasi adalah ksi tentang suatu topik di masa lalu atau peristiwa di masa depan yang sekarang tidak benar, tetapi mengandalkan pengetahuan dan imajinasi individu. Sastra fantasi, seperti yang ada saat ini, diciptakan di Eropa pada abad kedelapan belas, meskipun unsur-unsurnya ada dalam mitos dan mitos kuno. Beatrix Potter (1866-1943) besar di London adalah Penulis Bayi, ilustrator, ilmuwan alam, dan konservasionis yang terkenal karena buku anak-anaknya yang menampilkan hewan. Karyanya yang terkenal adalah buku anak-anak, seperti The Tale of Peter Rabbit. Kata kunci: penokohan, sastra fantasi, cerita, Beatrix Potter, fantasi hantu, fantasi realistik, gaya menulis
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16

FRIED, GABRIEL. "FRAGMENTS FROM UNPUBLISHED TALES OF BEATRIX POTTER." Yale Review 100, no. 4 (August 27, 2012): 129–31. http://dx.doi.org/10.1111/j.1467-9736.2012.00843.x.

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17

Mackey, Margaret. "Beatrix Potter: A Life in Nature (review)." Children's Literature Association Quarterly 32, no. 3 (2007): 271–73. http://dx.doi.org/10.1353/chq.2007.0041.

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18

Cocargeanu, Dana, Eithne O’Connell, and Áine McGillicuddy. "Beatrix Potter: A Hundred Years in Translation." Children's Literature in Education 47, no. 4 (September 23, 2016): 374–91. http://dx.doi.org/10.1007/s10583-016-9294-2.

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FRIED, GABRIEL. "FRAGMENTS FROM UNPUBLISHED TALES OF BEATRIX POTTER." Yale Review 100, no. 4 (2012): 129–31. http://dx.doi.org/10.1353/tyr.2012.0005.

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20

Cocargeanu, Dana. "The Adventures of Peter Rabbit in Romania: Translation Challenges and Strategies." International Research in Children's Literature 7, no. 2 (December 2014): 198–212. http://dx.doi.org/10.3366/ircl.2014.0132.

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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.
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21

Blomley, Nicholas. "The boundaries of property: lessons from Beatrix Potter." Canadian Geographer/Le G?ographe canadien 48, no. 2 (June 2004): 91–100. http://dx.doi.org/10.1111/j.0008-3658.2004.00049.x.

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22

Hulick, Jeannette. "Beatrix Potter and Her Paint Box by David McPhail." Bulletin of the Center for Children's Books 69, no. 5 (2016): 263. http://dx.doi.org/10.1353/bcc.2016.0030.

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23

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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24

Hsu, Chun-Ting, Markus Conrad, and Arthur M. Jacobs. "Fiction feelings in Harry Potter." NeuroReport 25, no. 17 (December 2014): 1356–61. http://dx.doi.org/10.1097/wnr.0000000000000272.

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25

Squire, Shelagh J. "Gender and tourist experiences: assessing women's shared meanings for Beatrix Potter." Leisure Studies 13, no. 3 (July 1994): 195–209. http://dx.doi.org/10.1080/02614369400390141.

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26

Kutzer, M. Daphne. "A Wilderness Inside: Domestic Space in the Work of Beatrix Potter." Lion and the Unicorn 21, no. 2 (1997): 204–14. http://dx.doi.org/10.1353/uni.1997.0040.

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27

White, Donna R. "Finding Beatrix Potter: Bryan Talbot’s The Tale of One Bad Rat." Journal of Graphic Novels and Comics 10, no. 5-6 (October 13, 2018): 589–98. http://dx.doi.org/10.1080/21504857.2018.1533484.

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28

Laws, Emma. "Showing ‘what a woman has done’: the Beatrix Potter collections at the V&A." Art Libraries Journal 32, no. 1 (2007): 25–30. http://dx.doi.org/10.1017/s0307472200014826.

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A woman artist of wide-ranging interests, Beatrix Potter is less well-known for her activities in sheep farming, natural science and the preservation of the Lakeland countryside than for her much-loved children’s books, especially The tale of Peter Rabbit. But Potter scholars and enthusiasts can gain a broad view of her oeuvre at the Victoria & Albert Museum (V&A) in London, home to the internationally-acclaimed original collection of Leslie Linder, the first curator and collector of her work. The world-wide popularity of the material gives rise to some challenging conservation issues that the V&A, in close association with Frederick Warne, is working to resolve.
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29

Scheftel, Susan. "The Child’s Child: Theory of Mind in the Work of Beatrix Potter." American Imago 71, no. 2 (2014): 161–72. http://dx.doi.org/10.1353/aim.2014.0014.

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30

Holt, Samantha. "Rebirth in the Life and Works of Beatrix Potter by Richard Tuerk." Children's Literature Association Quarterly 46, no. 1 (2021): 106–8. http://dx.doi.org/10.1353/chq.2021.0010.

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31

Evans, Heather A. "KITTENS AND KITCHENS: FOOD, GENDER, ANDTHE TALE OF SAMUEL WHISKERS." Victorian Literature and Culture 36, no. 2 (September 2008): 603–23. http://dx.doi.org/10.1017/s1060150308080364.

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With the publication ofThe Tale of Mr. Tod(1912), Beatrix Potter articulated her impatience with “goody goody books about nice people” (Linder 210) and declared her intention “to make a story about two disagreeable people” (Potter,Tale of Mr. Tod7). Yet although the subjects of the story, Tommy Brock and Mr. Tod, might be the most viciously disagreeable protagonists in Potter's children's stories, her readers were already acquainted with characters who challenged the boundaries of propriety, graciousness, and respectful deference to authority. Throughout her oeuvre, many such characters are not entirely punished for their trespasses, a pattern which often surprises modern readers who blithely assume that the daintily-illustrated books about woodland critters and barnyard creatures affirm conservative Edwardian conventions of behavior and standards of decorum.
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Rudd, David. "Beatrix Potter and Jacques Derrida — Problematic Bedfellows in the Teaching of Children’s Literature?" English in Education 30, no. 1 (March 1996): 9–17. http://dx.doi.org/10.1111/j.1754-8845.1996.tb00313.x.

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33

Bellis, Peter J. "Israel Potter: Autobiography as History as Fiction." American Literary History 2, no. 4 (1990): 607–26. http://dx.doi.org/10.1093/alh/2.4.607.

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Verona, Stéfani Oliveira, and Beatriz Polidori Zechlinski. "DO COELHO ESPERTO À RATINHA CORAJOSA: REPRESENTAÇÕES DE GÊNERO NAS HISTÓRIAS INFANTIS DE BEATRIX POTTER." História: Questões & Debates 67, no. 1 (December 19, 2018): 165. http://dx.doi.org/10.5380/his.v67i1.61377.

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Os contos de Beatrix Potter, publicados na Inglaterra, no início do século XX, podem ser interpretados através da análise das representações de gênero presentes na literatura, para que as tramas e as personagens possam revelar visões de mundo construídas pela autoria feminina e para maior compreensão das transformações sociais e culturais do período. Durante a análise ficou claro que existem contradições nas representações dos papéis de gênero elaboradas pela autora, já que as mulheres foram retratadas como mães que educavam seus filhos com disciplina e com autoridade, mas sempre dentro do lar. O orgulho masculino foi demonstrado em desafio a essas figuras mais velhas, especialmente através do descumprimento de ordens, e é possível que essas passagens retratem a aspiração da autora pela igualdade entre homens e mulheres, através de seu desejo de ser vista com a mesma consideração elevada aos homens. O papel das personagens femininas ficou amplamente concentrado no ambiente doméstico, sendo que deveriam dar o exemplo de bom comportamento, gentileza e educação. As personagens masculinas, no entanto, não tinham a mesma responsabilidade e suas travessuras eram sempre perdoadas. Algumas das protagonistas se arriscaram, mas a autora deixou claro que para isso acontecer, elas eram obrigadas a sair de suas zonas de conforto domésticas. Considerando os ideais de gênero do início do século XX, é possível concluir que os contos de Beatrix Potter representam uma crítica à sociedade inglesa da época, que colocava os homens sempre acima das mulheres e responsáveis por protegê-las e mantê-las.
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Underhill, Jennifer. "Beatrix Potter — a Tale of Commodification: Examining the Place of ‘Classics’ in the Primary Classroom." English in Education 36, no. 1 (March 2002): 56–65. http://dx.doi.org/10.1111/j.1754-8845.2002.tb00755.x.

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Mackey, Margaret. "The Case of the Flat Rectangles: Children's Literature on Page and Screen The Francelia Butler Lecture, Children's Literature Association, June 2010 Ann Arbor, Michigan." International Research in Children's Literature 4, no. 1 (July 2011): 99–114. http://dx.doi.org/10.3366/ircl.2011.0010.

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Children's literature has long been dominated by the flat rectangle of the page, and more recently, of the screen. It is easy to assume that the recent flood of literary-related commodities and collectibles represents something very new. But popular culture has spawned a similar industry of multimodal materials for well over a century, and children's authors such as Beatrix Potter and L. Frank Baum mastered the art of the spin-off and the collectible in the very early days of the twentieth century. This article investigates questions about changes in children's literary culture through the lens of past, present, and future, and explores a shifting future world where texts become ever more hybrid, porous, slippery, and unfinished.
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Sikorska, Magdalena. "THE STORIES ILLUSTRATIONS TELL: THE CREATIVE ILLUSTRATING STRATEGY IN THE PICTURES BY BEATRIX POTTER AND JANOSCH." New Review of Children's Literature and Librarianship 11, no. 1 (April 2005): 1–14. http://dx.doi.org/10.1080/13614540500105396.

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Setyowati Putri, Ratna, Rosma indriana Purba, and Donna Imelda. "HARRY POTTER" AND MORAL VALUES LEARNING: A QUALITATIVE STUDY OF THE RESPONSE OF CHILDREN AGED 11-13 YEARS AGAINST J.K. ROWLING BOOKS." Dinasti International Journal of Education Management And Social Science 1, no. 3 (February 11, 2020): 282–305. http://dx.doi.org/10.31933/dijemss.v1i3.147.

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"Harry Potter" and Moral Value Learning ​​is a qualitative study of the response of students aged 11-13 at an international Christian school in Bekasi, Indonesia, towards the phenomenal J.K Rowling text. Through the hermeneutic method, this research tried to seek the influence of Harry Potter texts, which are suspected of bringing adverse effects for their young readers. Besides, this research offers rational considerations to the authority in schools, especially regarding matters related to book censorship. Three things investigated in this study were the ability of students to think critically in making a distinction between fiction and facts in the Harry Potter text, the influence of the Harry Potter text on students' tendencies of violence and occultism, and finally about student learning of moral values ​​contained in the text. The data was collected through in-depth interviews with two male respondents and three female respondents aged 11-13 years with a high religious background, mediocre, and less significant religious background. It was found that all respondents were able to distinguish between fiction and facts in the Harry Potter texts, and there was no significant evidence that the texts influenced respondents' tendency for violence nor respondents' interest in occultism. This study also found that respondents were able to identify the moral values ​​contained in the text.
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Schmid, Rudolf. "Bamboozled by Botany, Beatrix Bypasses Bigoted Biology, Begins Babying Bountiful Bunnies: OR Beatrix Potter [1866-1943] as a Mycologist: The Period before Peter Rabbit and Friends." Taxon 48, no. 2 (May 1999): 438. http://dx.doi.org/10.2307/1224463.

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Curthoys, Ann. "Harry Potter and Historical Consciousness: Reflections on History and Fiction." History Australia 8, no. 1 (January 2011): 7–22. http://dx.doi.org/10.1080/14490854.2011.11668354.

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Harris, W. C. "Undifferentiated Bunnies: Setting Psychic Boundaries in the Animal Stories of Beatrix Potter, Jack London, and Ernest Seton." Victorian Review 23, no. 1 (1997): 62–113. http://dx.doi.org/10.1353/vcr.1997.0014.

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Anderson, Clifford W., and George E. McMaster. "Emotional Tone in Peter Rabbit before and after Simplification." Empirical Studies of the Arts 11, no. 2 (July 1993): 177–85. http://dx.doi.org/10.2190/hv5b-txbb-tgm9-cf11.

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A revised version of The Tale of Peter Rabbit was published in 1987 by Ladybird press with simplified text and alteration of the illustrations of the 1902 original. Revisions of two other of the Beatrix Potter stories were subsequently published. By applying a computer system that detects words with connotative meaning scores and applying mathematical models to the stories it was possible to make an objective comparison of the emotional tone patterns in the original and the revised versions. As would be expected, the initial editions of the three stories were quite different from each other. The emotional tone pattern of Peter Rabbit and one of the other stories was shown to have been altered considerably by the simplification of text, which lends objective support to the outcry in the popular press against these changes.
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Sultan, Ameer, Rashida Imran, and Saira Maqbool. "Teaching of Harry Potter and the Philosophers Stone in the Light of Barthes Narrative Codes at BS English Level." Global Regional Review I, no. I (December 30, 2016): 228–42. http://dx.doi.org/10.31703/grr.2016(i-i).18.

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J. K. Rowling has written seven novels in the Harry Potter series. This fiction series has also inspired the educationists and academicians and it has been introduced in different western colleges as part of their syllabi. Warner Brothers made the films based on all the novels of Harry Potter series. Harry Potter World, the studio where these movies were made, is a tourist spot in London and thousands of fans from all over the world visit it every week. The present study explores teaching of Harry Potter and The Philosophers Stone in the light of Barthes Narrative Codes with emphasis on hermeneutic codes and their roles in the building blocks of narrative structure of the novel. The result of the study shows the extensive use of enigma and delays in the series to make it captivating and interesting for the readers.
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44

Sultan, Ameer, Rashida Imran, and Saira Maqbool. "Teaching of Harry Potter and the Philosophers Stone in the Light of Barthes Narrative Codes at BS English Level." Global Regional Review I, no. I (December 30, 2016): 271–87. http://dx.doi.org/10.31703/grr.2016(i-i).21.

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J. K. Rowling has written seven novels in the Harry Potter series. This fiction series has also inspired the educationists and academicians and it has been introduced in different western colleges as part of their syllabi. Warner Brothers made the films based on all the novels of Harry Potter series. Harry Potter World, the studio where these movies were made, is a tourist spot in London and thousands of fans from all over the world visit it every week. The present study explores teaching of Harry Potter and The Philosophers Stone in the light of Barthes Narrative Codes with emphasis on hermeneutic codes and their roles in the building blocks of narrative structure of the novel. The result of the study shows the extensive use of enigma and delays in the series to make it captivating and interesting for the readers.
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45

Scott, Carole. "Between Me and the World: Clothes as Mediator between Self and Society in the Work of Beatrix Potter." Lion and the Unicorn 16, no. 2 (1992): 192–98. http://dx.doi.org/10.1353/uni.0.0309.

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Robertson, Judith P., Eugenia Gritziotis, and Tony Campbell. "The Psychological Uses of Ruthlessness in a Children's Fantasy Tale: Beatrix Potter and The Tale of Peter Rabbit." Changing English 7, no. 2 (October 2000): 177–89. http://dx.doi.org/10.1080/13586840050137946.

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Scott, Carole. "Clothed in Nature or Nature Clothed: Dress as Metaphor in the Illustrations of Beatrix Potter and C. M. Barker." Children's Literature 22, no. 1 (1994): 70–89. http://dx.doi.org/10.1353/chl.0.0559.

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Bryant, Victoria. "Harry Potter and the Osteopathic Medical School: Creating a Harry Potter-Themed Day as a High-Yield Review for Final Exams." Medical Science Educator 31, no. 2 (January 13, 2021): 819–25. http://dx.doi.org/10.1007/s40670-021-01204-2.

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AbstractIncorporating contemporary fiction into educational activities that are interactive and memorable creates a positive learning environment for students. The current article describes how our medical school created a Harry Potter-themed educational event to review didactic material before a final exam. Students were sorted into Hogwarts houses and collected house points in the 8 themed classrooms that reviewed material for the individual disciplines. The event also included a Quidditch tournament and a Yule Ball. The event received positive feedback from students, encouraging the school’s faculty to look for other opportunities to create similar educational experiences during preclinical medical education.
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Alderton, Zoe. "‘Snapewives’ and ‘Snapeism’: A Fiction-Based Religion within the Harry Potter Fandom." Religions 5, no. 1 (March 3, 2014): 219–67. http://dx.doi.org/10.3390/rel5010219.

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50

Samutina, Natalia. "Emotional landscapes of reading: fan fiction in the context of contemporary reading practices." International Journal of Cultural Studies 20, no. 3 (January 28, 2016): 253–69. http://dx.doi.org/10.1177/1367877916628238.

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Abstract:
This article focuses on fan fiction as a literary experience and especially on fan fiction readers’ receptive strategies. Methodologically, its approach is at the intersection of literary theory, theory of popular culture, and qualitative research into practices of communication within online communities. It characterizes fan fiction as a type of contemporary reading and writing. Taking as an example the Russian Harry Potter fan fiction community, the article poses a set of questions about the meanings and contexts of immersive reading and affective reading. The emotional reading of fan fiction communities is put into historical and theoretical context, with reference to researchers who analysed and criticized the dichotomy of rational and affective reading, or ‘enchantment’, in literary culture as one of the symptoms of modernity. The metaphor of ‘emotional landscapes of reading’ is used to theorize the reading strategies of fan fiction readers, and discussed through parallels with phenomenological theories of landscape. Among the ‘assemblage points of reading’ of fan fiction, specific elements are described, such as ‘selective reading’, ‘kink reading’, ‘first encounter with fan fiction texts’ and ‘unpredictability’.
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