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Global and Transnational Perspectives
This collection focuses on the specific issue of controversy as a cross-sectional aspect of contemporary children’s and YA literature, in a spectrum stretching from national experiences, to explore the impact of specific historical, economic and social environments on the rise of controversies; to inter-national exchanges in which controversies are generated specifically by the interactions between cultures; to international contexts that deal with controversies relevant on a global scale. By adopting controversy as an adjustable lens for a joined consideration of literary themes, narrative or aesthetic solutions, translation choices, publishing and marketing decisions, and discursive practices, the volume establishes a diversified collection of chapters that offers new insight into functions of children’s and YA literature in contemporary culture.
Global and Transnational Perspectives
This collection focuses on the specific issue of controversy as a cross-sectional aspect of contemporary children’s and YA literature, in a spectrum stretching from national experiences, to explore the impact of specific historical, economic and social environments on the rise of controversies; to inter-national exchanges in which controversies are generated specifically by the interactions between cultures; to international contexts that deal with controversies relevant on a global scale. By adopting controversy as an adjustable lens for a joined consideration of literary themes, narrative or aesthetic solutions, translation choices, publishing and marketing decisions, and discursive practices, the volume establishes a diversified collection of chapters that offers new insight into functions of children’s and YA literature in contemporary culture.
Memory, Identity and the Haunted Imagination in Contemporary Literature and Art
Series:
Mobilizing Memories, Volume: 3
Author:
How does the spectre appear in Icelandic literature and visual art created in the aftermath of the economic crash in Iceland in 2008? Why does it emerge at that specific point in time and what can it tell us about repressed collective memories in Iceland? The book explores how the crash becomes an implicit background setting in novels that address the silences and gaps of the family archive, and how crime fiction employs generic features of horror to explicitly tackle the ghosts residing in the lost homes of the financial crash. Spectral space is an apparent theme of cultural memories produced in times of crisis, and the book explores how this is made apparent in visual art of the period.
Memory, Identity and the Haunted Imagination in Contemporary Literature and Art
Series:
Mobilizing Memories, Volume: 3
Author:
How does the spectre appear in Icelandic literature and visual art created in the aftermath of the economic crash in Iceland in 2008? Why does it emerge at that specific point in time and what can it tell us about repressed collective memories in Iceland? The book explores how the crash becomes an implicit background setting in novels that address the silences and gaps of the family archive, and how crime fiction employs generic features of horror to explicitly tackle the ghosts residing in the lost homes of the financial crash. Spectral space is an apparent theme of cultural memories produced in times of crisis, and the book explores how this is made apparent in visual art of the period.
Anna Langfus a contribué à un renouvellement majeur de la littérature de la Shoah, qui, avant ses publications, était largement dominée par le récit du témoin. Elle est l’auteure de pièces de théâtre et de trois romans : Le Sel et le soufre (1960), Les Bagages de sable (1962), lauréat du prix Goncourt, et Saute, Barbara (1965). Bien qu’ayant vécu les horreurs du génocide, elle n’a pas exprimé sa souffrance par l’autobiographie. Dans son œuvre elle explore, sans pathos, la tragédie des survivants atteints par ce qu’elle appelle « la maladie de la guerre ». Ce livre étudie, entre autres, la spécificité des textes de Langfus. Ecrits à une époque où prévalait l’ethos de la victimisation, de la repentance et parfois du manichéisme, ils nous invitent à tenir à distance toute idéalisation ou fausse consolation.
Anna Langfus participated in a major renewal of Holocaust literature which had been mainly testimonial and witness-focused prior to her publications. She is the author of theater plays and of three novels: Le Sel et le soufre (1960), Les Bagages de sable (1962), awarded with the Prix Goncourt, and Saute, Barbara (1965). She experienced the horrors of the Holocaust, but she refused to express her grief through autobiography. Through her work she explores, without pathos, the tragedy of those who survived, and what Anna Langfus herself calls “la maladie de la guerre”: the war disease. This books examines, among other issues, the specificity of Langfus’s texts. Written at a time when an ethos of victimization, repentance, and sometimes Manichaeism was dominant, Langfus’s they urge us to keep any form of idealization or false consolation at a distance.
Anna Langfus participated in a major renewal of Holocaust literature which had been mainly testimonial and witness-focused prior to her publications. She is the author of theater plays and of three novels: Le Sel et le soufre (1960), Les Bagages de sable (1962), awarded with the Prix Goncourt, and Saute, Barbara (1965). She experienced the horrors of the Holocaust, but she refused to express her grief through autobiography. Through her work she explores, without pathos, the tragedy of those who survived, and what Anna Langfus herself calls “la maladie de la guerre”: the war disease. This books examines, among other issues, the specificity of Langfus’s texts. Written at a time when an ethos of victimization, repentance, and sometimes Manichaeism was dominant, Langfus’s they urge us to keep any form of idealization or false consolation at a distance.
Series:
Francopolyphonies, Volume: 34
Anna Langfus a contribué à un renouvellement majeur de la littérature de la Shoah, qui, avant ses publications, était largement dominée par le récit du témoin. Elle est l’auteure de pièces de théâtre et de trois romans : Le Sel et le soufre (1960), Les Bagages de sable (1962), lauréat du prix Goncourt, et Saute, Barbara (1965). Bien qu’ayant vécu les horreurs du génocide, elle n’a pas exprimé sa souffrance par l’autobiographie. Dans son œuvre elle explore, sans pathos, la tragédie des survivants atteints par ce qu’elle appelle « la maladie de la guerre ». Ce livre étudie, entre autres, la spécificité des textes de Langfus. Ecrits à une époque où prévalait l’ethos de la victimisation, de la repentance et parfois du manichéisme, ils nous invitent à tenir à distance toute idéalisation ou fausse consolation.
Anna Langfus participated in a major renewal of Holocaust literature which had been mainly testimonial and witness-focused prior to her publications. She is the author of theater plays and of three novels: Le Sel et le soufre (1960), Les Bagages de sable (1962), awarded with the Prix Goncourt, and Saute, Barbara (1965). She experienced the horrors of the Holocaust, but she refused to express her grief through autobiography. Through her work she explores, without pathos, the tragedy of those who survived, and what Anna Langfus herself calls “la maladie de la guerre”: the war disease. This books examines, among other issues, the specificity of Langfus’s texts. Written at a time when an ethos of victimization, repentance, and sometimes Manichaeism was dominant, Langfus’s they urge us to keep any form of idealization or false consolation at a distance.
Anna Langfus participated in a major renewal of Holocaust literature which had been mainly testimonial and witness-focused prior to her publications. She is the author of theater plays and of three novels: Le Sel et le soufre (1960), Les Bagages de sable (1962), awarded with the Prix Goncourt, and Saute, Barbara (1965). She experienced the horrors of the Holocaust, but she refused to express her grief through autobiography. Through her work she explores, without pathos, the tragedy of those who survived, and what Anna Langfus herself calls “la maladie de la guerre”: the war disease. This books examines, among other issues, the specificity of Langfus’s texts. Written at a time when an ethos of victimization, repentance, and sometimes Manichaeism was dominant, Langfus’s they urge us to keep any form of idealization or false consolation at a distance.
Series:
East and West, Volume: 16
Contests over heritage in Asia are intensifying and reflect the growing prominence of political and social disputes over historical narratives shaping heritage sites and practices, and the meanings attached to them. These contests emphasize that heritage is a means of narrating the past that demarcates, constitutes, produces, and polices political and social borders in the present. In its spaces, varied intersections of actors, networks, and scales of governance interact, negotiate and compete, resulting in heritage sites that are cut through by borders of memory.
This volume, edited by Edward Boyle and Steven Ivings, and with contributions from scholars across the humanities, history, social sciences, and Asian studies, interrogates how particular actors and narratives make heritage and how borders of memory shape the sites they produce.
This volume, edited by Edward Boyle and Steven Ivings, and with contributions from scholars across the humanities, history, social sciences, and Asian studies, interrogates how particular actors and narratives make heritage and how borders of memory shape the sites they produce.
Series:
East and West, Volume: 16
Contests over heritage in Asia are intensifying and reflect the growing prominence of political and social disputes over historical narratives shaping heritage sites and practices, and the meanings attached to them. These contests emphasize that heritage is a means of narrating the past that demarcates, constitutes, produces, and polices political and social borders in the present. In its spaces, varied intersections of actors, networks, and scales of governance interact, negotiate and compete, resulting in heritage sites that are cut through by borders of memory.
This volume, edited by Edward Boyle and Steven Ivings, and with contributions from scholars across the humanities, history, social sciences, and Asian studies, interrogates how particular actors and narratives make heritage and how borders of memory shape the sites they produce.
This volume, edited by Edward Boyle and Steven Ivings, and with contributions from scholars across the humanities, history, social sciences, and Asian studies, interrogates how particular actors and narratives make heritage and how borders of memory shape the sites they produce.
Memory is always moving ‒ between the individual and the collective, the local and the (trans)national, the past, the present, and the future. Remembering simultaneously creates and reveals connections across cultural, sociopolitical, and epistemological spheres. Such entanglements can be uneven or ambivalent in nature. Recent approaches frame and understand memory discourses as mobile, with the potential to mobilize individual and collective agency to serve diverging political ends.
Memory studies, consolidated as a field of research over the past few decades, remains a vibrant intellectual and political project, particularly since broadening its conceptual and contextual horizons beyond the received paradigms of nation, region, and culture. Responding to this development, the editors of this series are particularly interested in projects that adopt a comparative approach, bringing postcolonial, migration, transregional, social movement, and performance studies into dialogue with memory studies. In this vein, we welcome scholarly work which explores memory in relation to postcoloniality, transculturality, and intersectionality, as well as projects that interrogate how memories can be a resource for the future which they inevitably shape.
Authors are cordially invited to submit proposals for manuscripts to the publisher at BRILL, Masja Horn.
Please advise our Guidelines for a Book Proposal.
Memory studies, consolidated as a field of research over the past few decades, remains a vibrant intellectual and political project, particularly since broadening its conceptual and contextual horizons beyond the received paradigms of nation, region, and culture. Responding to this development, the editors of this series are particularly interested in projects that adopt a comparative approach, bringing postcolonial, migration, transregional, social movement, and performance studies into dialogue with memory studies. In this vein, we welcome scholarly work which explores memory in relation to postcoloniality, transculturality, and intersectionality, as well as projects that interrogate how memories can be a resource for the future which they inevitably shape.
Authors are cordially invited to submit proposals for manuscripts to the publisher at BRILL, Masja Horn.
Please advise our Guidelines for a Book Proposal.
In Communes and Conflict, Jan Dumolyn and Jelle Haemers explore the urban rebellions that regularly erupted in Flanders between the thirteenth and sixteenth centuries. They analyse not only how these rebellions were sparked and repressed, but also how they shaped the culture and identity of Flemish townspeople. Drawing from a wide range of theoretical methods and concepts, including those of discourse analysis, semiotics, speech acts, collective memory and material cultural studies, the authors return to key Marxist questions on ideology, labour and class interest to map the perspectives of the rebels, the urban patriciate and the Flemish and Burgundian nobility.
In Communes and Conflict, Jan Dumolyn and Jelle Haemers explore the urban rebellions that regularly erupted in Flanders between the thirteenth and sixteenth centuries. They analyse not only how these rebellions were sparked and repressed, but also how they shaped the culture and identity of Flemish townspeople. Drawing from a wide range of theoretical methods and concepts, including those of discourse analysis, semiotics, speech acts, collective memory and material cultural studies, the authors return to key Marxist questions on ideology, labour and class interest to map the perspectives of the rebels, the urban patriciate and the Flemish and Burgundian nobility.
Author:
Abstract
This chapter discusses three Polish annotated editions of Charles Perrault’s fairy tales from 2012, 2017, and 2018, placing them within a larger network of controversies present in the system of children’s literature. On the one hand, fairy tales have been either perceived as authorless and timeless products of the folk spirit and the collective unconscious, or presented as literary artefacts created by individuals in specific historical contexts. On the other hand, the annotated edition formula intended for school readings evokes reactions ranging from approval of its usefulness to rejection of its anti-humanist character. Thus, the status of the tales presented in the analysed editions alternates between sanctified literary artefacts and ownerless “types”, freely bowdlerized and rewritten in order to fit the mould of the fairy-tale ideal conceived by contemporary educators and publishers. Shaped by tacit manipulations of the texts’ meanings, and suspended between the realm of written folklore and classic literature, the annotated editions conceal the presence of the adaptor, falsify the voice of the original author, turn “Perrault” into no more than a brand name, and deprive the (child) reader of cognitive independence, subjecting him or her to a ready-made and conformist interpretation of the tales.
Author:
Abstract
Taking a look at articles and opinion pieces from Dutch newspapers covering the ongoing debate around controversial race and gender depictions in literary classics, this chapter scrutinizes where the practice of altering old children’s books originates from, and works out opinions and reasoning behind it. The analysis is aimed to find out which modes of thinking cause many to view the controversial choice of censoring old children’s books as justified. It further demonstrates that such justification is stimulated by hierarchical thinking expressed through a teleological outlook on history. It motivates historical othering, a practice very similar to regarding children as other in comparison to adults, which causes old children’s literature to be especially vulnerable to this type of logic. The analysis reveals that people still largely view children as passive readers, easily influenced by what they read and unable to engage in equal dialogue with a text. This contradicts the statements of certain scholars and opinion makers who argue that children do not necessarily adopt the images present in a text, or the subject position it proposes.
Author:
Abstract
Brecht Evens’ Panther is a visual narrative whose convoluted form explores the cultural status of childhood and exposes the degree to which the concept of childhood may be mystified and misunderstood in modern societies. As argued in this chapter, Panther’s implications and metaphorical senses address controversies inherent in the very genre of children’s literature. By alluding to children’s literature and yet targeting the work at a more adult audience, Panther contests cultural norms surrounding the “child”/“adult” distinction, challenges strict categorisations of literary works, and becomes a kind of metacritical commentary on the cultural status and role of children’s literature. What is more, Panther can be seen as a text which refers ironically to the controversy implied in the cultural status of fairy tales. Exploiting and twisting some of the iconic conventions of well-known fairy tales, Panther exposes the hypocrisy of the fairy tale, which has been solidified with time as a genre that communicates “humanistic” values to its audience, although its history has been defined by the presence of dark, even antihumanistic, subjects and very ambivalent plot twists and endings.
Author:
Abstract
This chapter focuses on four titles whose publication evoked controversy, even though Scandinavian picturebooks are perceived as dialogue-oriented, appreciative of child readers, and eager to discuss difficult taboo issues. The presented analysis explores the double address of the iconotexts, understood as the intricate interplay of text and image. Through qualitative analysis focused on selected doublespreads, as well as discussion of epitexts, it examines the verbal and visual narration of the taboo themes (abortion, incest, pornography, child death) from the perspective of a novice reader and an experienced reader. The chapter refers the provocative, eccentric, transgressive and metaphoric qualities of the discussed picturebooks to Olga Tokarczuk’s vision of perfect literature.