Constructions of Childhood(s) in Fiction and Nonfiction for Children

A special issue of Literature (ISSN 2410-9789).

Deadline for manuscript submissions: closed (15 April 2024) | Viewed by 1647

Special Issue Editors


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Guest Editor
Department of Language, Literature, Mathematics and Interpreting, Western Norway University of Applied Sciences, 5020 Bergen, Norway
Interests: constructions of childhood; children’s nonfiction; nonfiction picturebooks; children’s dictionaries

E-Mail Website
Guest Editor
Department of Language, Literature, Mathematics and Interpreting, Western Norway University of Applied Sciences, 5020 Bergen, Norway
Interests: children’s literature; young adult literature; genre studies; gender studies

Special Issue Information

Dear Colleagues,

We are pleased to invite you to contribute a paper to the Special Issue “Constructions of Childhood(s) in Fiction and Nonfiction for Children”.

“Childhood” and “children’s literature” are both complex categories that are difficult to define and delimitate. As Anna Davin (1999: 15) has observed, as an analytical term, “childhood” is problematic because it is “too familiar”, too intimately a part of universal human experience. Scholars have debated the nature of children’s literature for decades. Famously, Peter Hollindale (1997) argued that categorizing children’s literature meant accepting a paradox, in that such texts are characterized both by their (child) readership and the “childness” of the text. However, rather than focusing on defining the concepts of “childhood” and “children’s literature”, the present Special Issue aims to investigate the ways in which texts aimed at children and/or are read by children and young people present, construct, and negotiate different conceptions of children and childhood. The Guest Editors invite contributions from scholars in the fields of literature, children’s literature, and childhood studies.

It is well established that children’s literature carries explicit and implicit ideologies (Knowles & Malmkjær 1996). However, children’s literature scholarship in recent decades has contested the assumption that child readers passively receive the ideologies embedded in the books they read. Recent studies have also presented more nuanced views of the history of children’s literature as a progression from “instruction to delight”. For example, Louise Joy (2019) posits that children’s literature works on both an aesthetic and didactic level, with critical reading as “a united kind of work and play” (Joy 2019: 59). The ways in which the critical child reader might be invited to engage with the text and with ideological constructions of childhood also warrant further investigation.

As there are still comparatively fewer studies on nonfiction as opposed to fiction (Goga, Iversen and Teigland 2021), this Special Issue particularly encourages papers investigating constructions of children and childhood in nonfiction texts, as well as comparative analyses of fiction and nonfiction, and investigations of hybrid texts which do not easily fall into either category.

So far there have been no Special Issues devoted to children’s and young adult literature in Literature. This Special Issue aims to investigate constructions of childhood and the child reader in texts for children and young people, focusing in particular on ideological constructions and on nonfiction texts.

Research areas may include (but are not limited to) the following:

  • Constructions of the implied reader in texts for children;
  • Childhood studies and (children’s and young adult) literature;
  • Comparative perspectives on childhood constructions in fiction and nonfiction texts for children;
  • Child constructions across different modes and genres of children’s texts;
  • The intersections between childhood, gender, sexuality, socio-economic class, and race;
  • Comparative perspectives on childhood in texts from different times, cultures, and languages;
  • Childhood in translated children’s texts;
  • Childhood constructions in crossover literature;
  • Childhood constructions and dual address in literature;
  • Childhood in child-authored texts;
  • The critical child reader;
  • Childhood and posthumanism in literature;
  • Visual constructions of childhood in children’s fiction and nonfiction;
  • Constructions of childhood and adolescence in young adult literature;
  • Stylistic/linguistic perspectives on childhood and ideology in children’s texts.

Abstract submission deadline: 1 December 2023
Full manuscript deadline: 31 March 2024

References

Davin, A. What is a child? In Questioning Childhood: Children, Parents and the State; Fletcher, A., Hussey, S., Eds.; Manchester University Press: Manchester, UK, 1999; pp. 15–36.

Goga, N.; Iversen S.H.; Teigland, S. Verbal and Visual Strategies in Nonfiction Picturebooks; Universitetsforlaget: Oslo, Norway, 2021.

Hollindale, P. Signs of Childness in Children’s Books; Thimble Press: Jackson, MS, USA, 1997.

Joy, L. Literature's Children: The Critical Child and the Art of Idealization; Bloomsbury Academic: London, UK, 2019.

Knowles, M.; Malmkjær, K. Language and Control in Children's Literature; Routledge: London, UK, 1996.

We request that, prior to submitting a manuscript, interested authors initially submit a proposed title and an abstract of about 250 words summarizing their intended contribution. Please send it to the Guest Editors ([email protected] and [email protected]) or to the Literature Editorial Office ([email protected]). Abstracts will be reviewed by the guest editors for the purposes of ensuring proper fit within the scope of the special issue. Full manuscripts will undergo double-blind peer review. We look forward to receiving your contributions.

Dr. Sarah Hoem Iversen
Dr. Brianne Jaquette
Guest Editors

Manuscript Submission Information

Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. All submissions that pass pre-check are peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as short communications are invited. For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a double-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Literature is an international peer-reviewed open access quarterly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. The Article Processing Charge (APC) for publication in this open access journal is 1000 CHF (Swiss Francs). Submitted papers should be well formatted and use good English. Authors may use MDPI's English editing service prior to publication or during author revisions.

Keywords

  • childhood
  • fiction
  • nonfiction
  • children’s literature
  • children’s texts
  • YA literature
  • ideological constructions
  • child reader

Published Papers (3 papers)

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12 pages, 244 KiB  
Article
Mark Haddon’s The Curious Incident of the Dog in the Night-Time, Narrative Fallibility, and the Young Adult Reader
by Jessica Allen Hanssen
Literature 2024, 4(2), 135-146; https://doi.org/10.3390/literature4020010 - 27 May 2024
Viewed by 88
Abstract
The Curious Incident of the Dog in the Night-Time by Mark Haddon presents a remarkably complex narrator, 15-year-old Christopher Boone. Due to his implied autism spectrum condition, Christopher is possibly the ultimate in “reliable” narrators: he struggles to articulate emotions and is incapable [...] Read more.
The Curious Incident of the Dog in the Night-Time by Mark Haddon presents a remarkably complex narrator, 15-year-old Christopher Boone. Due to his implied autism spectrum condition, Christopher is possibly the ultimate in “reliable” narrators: he struggles to articulate emotions and is incapable of telling or understanding lies. His point of view (POV) is an extreme form of first-person limited, with Christopher at times seeming (or even yearning) to be more computer than human. The limitations of Christopher’s experience are reflected in his narrative self-presentation, and while, ordinarily, these would damage any sort of achieved authority, they instead underscore the book’s powerful thematic messages. Christopher’s narrative fallibility echoes the developmental stage of its crossover young adult (YA) audience: Curious Incident works with fallibility to establish a strong narrative voice that inspires an empathetic connection between Christopher and his implied reader. This article therefore considers how narrative fallibility is linked to constructions of adolescence in The Curious Incident of the Dog in the Night-Time, and further explores the relationship between the narrator and the implied reader(s). Positioned within narratology-based theories and secondary research on Haddon and representations of neurodiversity in YA literature, it provides guidance for teachers and scholars who might question the value of authenticity in this or similar novels. Full article
(This article belongs to the Special Issue Constructions of Childhood(s) in Fiction and Nonfiction for Children)
14 pages, 3912 KiB  
Article
Set Moves: Constructions of Travel in Commercial Games for Children
by Melissa Jenkins
Literature 2024, 4(2), 87-100; https://doi.org/10.3390/literature4020007 - 9 May 2024
Viewed by 339
Abstract
During the long nineteenth century, Western publics experienced the invention and proliferation of commercial games for children. Card games, board games, and other parlor games were no longer for adults only; these new offerings formalized some aspects of what it meant for a [...] Read more.
During the long nineteenth century, Western publics experienced the invention and proliferation of commercial games for children. Card games, board games, and other parlor games were no longer for adults only; these new offerings formalized some aspects of what it meant for a child to engage in play. Many games centered travel, becoming sites for children to simulate adult agency in movement through space. This paper examines the stories told by narrative card games and board games about travel, especially travel within and between urban centers. The games present the city as microcosm of the world. Child players are invited to construct multiple national and ethnic identities as they pretend to be city travelers. The games attempt to teach children, and their caregivers, how to travel. I argue that the structures and aims of the games evolve over time, keeping pace with new mores surrounding work and leisure travel. I also argue for connections between games and the “set moves” of narrative fiction and theatre. Full article
(This article belongs to the Special Issue Constructions of Childhood(s) in Fiction and Nonfiction for Children)
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14 pages, 233 KiB  
Essay
How the Character of the Narrator Constructs a Narratee and an Implied Reader in Philip Pullman’s Northern Lights
by Richard Grange
Literature 2024, 4(2), 122-134; https://doi.org/10.3390/literature4020009 - 24 May 2024
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Abstract
The third-person omniscient narrator of fiction texts for children holds the ability to access characters’ thoughts, fly where they will within the story, and interact with time and tense. Philip Pullman characterises this kind of narrator as a multiscient sprite, not a human [...] Read more.
The third-person omniscient narrator of fiction texts for children holds the ability to access characters’ thoughts, fly where they will within the story, and interact with time and tense. Philip Pullman characterises this kind of narrator as a multiscient sprite, not a human seeing and telling, but something else which possesses unhuman-like qualities. This paper uses an analysis of the narrator’s voice, character, and choices to access two other characters created by the story being told—the narratee and the implied reader, both of whom may well be thought of as child characters produced by the text. A profile of these two products is then presented. Through a close textual analysis, which draws out untagged parts of Northern Light’s narrator’s speech, an examination of the kinds of characters the narratee, and implied reader could be seen to be is gathered. The narrator’s ability to intensely empathise with characters is passed onto the narratee and also normalised by aspects of the story, including the alethiometer, a device from the created world of the story which is imbued with strikingly similar qualities to the narrator. Lyra, the book’s protagonist, and the instrument interact with each other in a manner akin to the narrator and narratee, both having an agency which the implied reader could be bestowed with from reading the text. Full article
(This article belongs to the Special Issue Constructions of Childhood(s) in Fiction and Nonfiction for Children)
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