Titlebook: Radical Children‘s Literature; Future Visions and A Kimberley Reynolds Book 2007 Palgrave Macmillan, a division of Macmillan Publishers Lim

Slit-Lamp

,Self-harm, Silence, and Survival: Despair and Trauma in Children’s Literature, best of my knowledge, this chapter comprises the first exploration of the relationship between what young people read and attitudes to self-harming. The role reading can play in transforming the lives of young people who are caught in cycles of despair and anger directed against themselves is sugge

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,Baby, You’re the Best: Sex and Sexuality in Contemporary Juvenile Fiction,d off hassles at home and school. When boys snuffle in her ear she’s like a bitch on heat, and that’s just what she becomes in Melvin Burgess’s comic allegory about adolescent sexuality, . (2001). As a dog, Sandra can do it wherever, whenever and however she likes — and that suits her just fine. Jus

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Frightening Fiction: The Transformative Power of Fear,s associated with contemporary neoconservative politics, this kind of writing rejects many of the liberal ideas that were shaping children’s and youth lit-erature in the 1960s; its radicalism is anti-progressive in its assumption that mass political engagement is undesirable, and that the needs of t

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異端邪說(shuō)下

Conclusion: The Foundations of Future Fictions,s literature itself is taking place in cyberspace. As critics in the field regularly observe, children’s literature is the only body of writing to be defined by and named for its audience: children read children’s literature, they do not produce it (see Rudd, 2004 for a discussion of children’s rela

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about books, society, and narratives in an age of instant communication and multi-media. It looks at the stories about the world and young people; the interaction with changing childhoods and new technologies.978-0-230-23937-1978-0-230-20620-5

agenda

Conclusion: The Foundations of Future Fictions,d continues, the nomenclature of writing read by the young may be forced to adjust. ‘Children’s literature’ may indeed come to refer to writing by the young for the young, meaning that the work produced by adults for children to read will have to be relabelled..

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https://doi.org/10.1057/9780230206205children‘‘s literature; Narrative; space

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978-0-230-23937-1Palgrave Macmillan, a division of Macmillan Publishers Limited 2007