No abstract
In this article I investigate how various representations of sound influence temporality and imagery in pictorial poetry. Literary pictorialism can be defined as a phenomenon that occurs when the fictional reality, psychological or physical, in a text is represented as image. A pictorial poem often revolves around one single image and the poem’s subject matter, a scene or a landscape for example, is described as silent and static; the poem is composed in a way that can lead the reader to create a stable mental image of its subject matter. The introduction of sound into such a poem can have various effects; one being that the static mood of the poem is interrupted. It can have other results as well, depending on the kind of sound. Sound can, for example, be represented as a concrete and tangible object, in which case it becomes part of the visual scene represented in the poem. A cognitive approach is used to illustrate and explain the relation between sound and sight in pictorial poetry.
Fantasin som medel att bearbeta rädslor -En stackars liten haj och bilderbokens unika förutsättningar Emma TornborgI följande artikel kommer jag att analysera bilderboken En stackars liten haj (2014) av Mårten Sandén och Per Gustavsson ur ett par olika perspektiv, för att undersöka hur den gestaltar ett litet barns bearbetning av rädsla med hjälp av fantasin, och hur den, både verbalt och med hjälp av bilderna, kan få sina unga läsare att identifiera sig med huvudpersonen, känna empati för honom och därmed själva gå stärkta ur läsupplevelsen. För att göra detta kommer jag bland annat att närmare studera hur ord och bild samverkar i boken samt de olika tolkningsnivåer och intertextuella relationer man kan finna i den. Fantastik i barnlitteraturenÄven om det i olika tider har funnits olika uppfattningar om vad barnbokens syfte bör vara, så har barnlitteraturen i praktiken för det mesta haft en dubbel funktion -förutom att roa sina unga läsare har den också lärt dem någonting. Barnlitteratur, särskilt den riktad mot yngre barn, har med andra ord för det mesta haft ett didaktiskt inslag, den är och har varit instrumentell på ett sätt som vuxenlitteratur inte är. Från och med mitten av 1900-talet har det visserligen skett en förändring när det gäller tilltal (address), ett begrepp som Barbara Wall diskuterar i samband med barnlitteratur:Contemporary criticism has not yet adjusted to the fact that the mode of address in fiction for children which emerged in the first half of the century and which is common today, a mode of address which I have called single address, is different in kind from the prevailing mode used by writers in the Victorian era. This earlier mode I have termed double address. An understanding of this difference, of the significance of the gradual disappearance of an adult narrative voice which exhibited strong consciousness of the presence of adult readers and its replacement by a voice concerned more genuinely and specifically with child readers, is a prerequisite for understanding contemporary attitudes to fiction for children. Narrators using single address, double address, or a fusion of the two, dual address, can be shown to speak respectively to single, double or dual audiences. (1991: 9)
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