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The fascination with dark and deathly threatening spaces, with
looming towers and bloody deeds, is now accepted as characteristic
of contemporary fantasy and fantastic fictions for children and
adolescents. Although this fascination dates back to the gothic
genre of the mid-18th century, at that time, the gothic genre was
not regarded as suitable for children or young persons in general.
However, many young authors' first literary attempts were linked to
the gothic genre, and child characters were employed in many of
their novels, thereby transforming the gothic into a domain with a
predilection for youth.
Monolingual, monolithic English is an issue of the past. In this collection, by using cinema, poetry, art, and novels we demonstrate that English has become the heteroglossic language of immigration - Englishes of exile. By appropriating its plural form we pay respect to all those who have been improving standard English, thus proving that one may be born in a language as well as give birth to a language or add to it one's own version. The story of the immigrant, refugee, exile, expatriate is everybody's story, and without migration, we could not evolve our human race.
Fascination with the dark and death threats are now accepted features of contemporary fantasy and fantastic fictions for young readers. These go back to the early gothic genre in which child characters were extensively used by authors. The aim of this book is to rediscover the children in their work.
Why do adults write about the child and why do they choose to depict children? This book looks at various examples from literature, art and film to analyze aspects of adults' outlook on the child, and what it tells us about the adult. It pays special attention to the eye motif, as well as looking, watching and representing children. It outlines what might become an interesting topic of analysis for other studies, namely, the idea that the adult's journey to self-actualization passes through writing for and about children.Rather than drawing major conclusions, the book opens venues for further thought on the topics treated. It also brings together works that might not have been compared or contrasted before, so that the reader can acquire a broader view of the threads that connect literature, art and film.
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