By Kirsten Malmkjaer, Murray Knowles
This research examines the paintings of children's writers from the nineteenth and twentieth centuries in an effort to divulge the persuasive strength of language. the paintings of nineteenth century English writers of minor fiction, Knowles and Malmkjaer divulge the colonial and sophistication assumptions on which the books have been predicated. within the glossy "teen" novel and the paintings of Roald Dahl the authors locate modern makes an attempt to regulate youngsters inside socially verified frameworks. different authors mentioned comprise, Oscar Wilde, E. Nesbit, Lewis Carroll and C.S. Lewis.
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Additional info for Language and Control in Children's Literature
Its pace and fullness, its good temper, the scale of its protagonists, its manageable horrors and disasters, its simple triumphs and morals, all fit it to the child’s eye view. (1981:199) The Lord of the Rings as a sequel to The Hobbit began life as a children’s book but Tolkien had not intended the finished version to be such. It has, however, been read by many children and it is in so many ways a book for a young readership. The narrative in many respects would fit easily into the genre of traditional juvenile fiction we discussed earlier and this is important as it underlines how different traditions in children’s literature are not mutually exclusive.
Genre, then, can be considered traditionally as ‘types’ of literature Children’s literature in England 31 —ballads, sonnets, tragedies, fairytales, etc. Any description of a ‘type’ of text, however, in a study such as ours must take account of the intertextual element of literature written for children or the ways in which any one text is linked to other texts. This could mean, for example, that in reading a Victorian adventure story we recognise features which we would perceive as belonging to other traditions or genres.
The first English children’s book in the poll was The Boys’ Own Annual (17) which was fifth overall. This annual was a year’s collection of The Boys’ Own Paper and contained many school and adventure stories including those of Henty. The BOP was overwhelmingly the favourite magazine of Welsh’s boy respondents (404) and Henty wrote extensively for it (see Avery, 1965:236). He was also a regular contributor to and editor of The Union Jack, the respondents’ fourth favourite magazine, the second and third choices being publications for adults.
Language and Control in Children's Literature by Kirsten Malmkjaer, Murray Knowles