Drawing on a cognitive poetics approach to reception studies, this volume examines the use of spatial metaphors - palimpsest, map, and fractal - to organize the classical past for preteen and adolescent readers, arguing that these reflect different modes in children's literature and encourage different cognitive effects in readers.
Drawing on a cognitive poetics approach to reception studies, this volume examines the use of spatial metaphors - palimpsest, map, and fractal - to organize the classical past for preteen and adolescent readers, arguing that these reflect different modes in children's literature and encourage different cognitive effects in readers.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Claudia Nelson has published widely on nineteenth- and twentieth-century British and American children's literature and family studies. Her book Little Strangers: Portrayals of Adoption and Foster Care in America, 1850-1929 (Indiana University Press, 2003) won the Children's Literature Association award for the best scholarly book in the field of children's studies. A professor of English at Texas A&M University, she is a former president of the Children's Literature Association and a former editor of the Children's Literature Association Quarterly. Anne Morey is an associate professor of English at Texas A&M University. Her book Hollywood Outsiders: The Adaptation of the Film Industry, 1913-1934 (University of Minnesota Press, 2003) deals with Hollywood's critics and co-opters, and she has also edited a volume on Stephenie Meyer's "Twilight" phenomenon, Genre, Reception, and Adaptation in the 'Twilight' Series (Routledge, 2012). She is currently at work on a book about the Junior Literary Guild and children's reading from 1929-1955 and is co-writing a book with Shelley Stamp on women in American silent cinema.
Inhaltsangabe
* Frontmatter * List of Illustrations * 1: Introduction * 1.1: The Models * 1.2: Sample Exception #1: Mirroring in Echo Echo * 1.3: Sample Exception #2: Insides and Outsides in Bull * 1.4: Sample Exception #3: Curves vs. Straight Lines in The Mark of the Horse Lord * 1.5: Conclusion * 2: HISTORY IS A PALIMPSEST 1: The Layers of Ancient Rome in Puck of Pook's Hill and Its Successors * 2.1: Foundations: Puck of Pook's Hill * 2.2: Layers for Adults: Three Fantasies * 2.3: Layers for Children: Three Fantasies * 2.4: Beyond Fantasy: Philip Turner's Yorkshire Palimpsest * 2.5: Conclusion * 3: HISTORY IS A PALIMPSEST 2: Time Zones, Scars, and Family in (Mostly) Realistic Works * 3.1: Magical Rules and Classical Tradition in The Enchanted Castle * 3.2: Liminality and Mixed Metaphors in Three Novels by Caroline Dale Snedeker * 3.3: Trauma, Family, and History in The Bronze Bow * 3.4: Wounding in The Eagle of the Ninth * 3.5: Conclusion * 4: HISTORY IS A MAP 1: Navigating the Underworld * 4.1: A Map Text Without a Map: The Story of the Amulet * 4.2: Underworlds and (Platonic) Caves in The Silver Chair * 4.3: Underworlds and Returns in Mystery at Mycenae and The Roman Mysteries * 4.4: Symbolic Underworlds and Shifting Scripts in the Roman Pony Trilogy * 4.5: Mapping the Orpheus Myth in the Jack Perdu Books and the Underworlds Series * 4.6: Conclusion * 5: HISTORY IS A MAP 2: Carnivals, Grotesquerie, and the Antic(que) Map Text * 5.1: Gryllus the Pig and the Playful Attack on Borders * 5.2: Spartapuss the Cat and the Repeating and Consuming of Time * 5.3: Julius Zebra and Cognitive Connection through Words, Pictures, and Warthogs * 5.4: The Dogs of Pompeii and Popular Culture's Alliance with the Past * 5.5: Percy Jackson and the Apotheosis of the Comic Didactic * 5.6: Conclusion * 6: HISTORY IS FRACTAL: Patterns of Conflict in Contemporary Young Adult Fantasies * 6.1: Despairing Didacticism: Learning and Misery in Red Shift * 6.2: Separate Spheres and If Worlds: Culture Clash in the Fireball and Warriors Trilogies * 6.3: Panem et Circenses: Countries, Cats, and Conflict in the Hunger Games Trilogy * 6.4: Monsters and Masks: Trust and Treachery in the Ember in the Ashes Series * 6.5: Secret Keepers: Manipulating Misprision in The Queen's Thief Sequence * 6.6: Conclusion * 7: Conclusion * Endmatter * Works Cited * Index
* Frontmatter * List of Illustrations * 1: Introduction * 1.1: The Models * 1.2: Sample Exception #1: Mirroring in Echo Echo * 1.3: Sample Exception #2: Insides and Outsides in Bull * 1.4: Sample Exception #3: Curves vs. Straight Lines in The Mark of the Horse Lord * 1.5: Conclusion * 2: HISTORY IS A PALIMPSEST 1: The Layers of Ancient Rome in Puck of Pook's Hill and Its Successors * 2.1: Foundations: Puck of Pook's Hill * 2.2: Layers for Adults: Three Fantasies * 2.3: Layers for Children: Three Fantasies * 2.4: Beyond Fantasy: Philip Turner's Yorkshire Palimpsest * 2.5: Conclusion * 3: HISTORY IS A PALIMPSEST 2: Time Zones, Scars, and Family in (Mostly) Realistic Works * 3.1: Magical Rules and Classical Tradition in The Enchanted Castle * 3.2: Liminality and Mixed Metaphors in Three Novels by Caroline Dale Snedeker * 3.3: Trauma, Family, and History in The Bronze Bow * 3.4: Wounding in The Eagle of the Ninth * 3.5: Conclusion * 4: HISTORY IS A MAP 1: Navigating the Underworld * 4.1: A Map Text Without a Map: The Story of the Amulet * 4.2: Underworlds and (Platonic) Caves in The Silver Chair * 4.3: Underworlds and Returns in Mystery at Mycenae and The Roman Mysteries * 4.4: Symbolic Underworlds and Shifting Scripts in the Roman Pony Trilogy * 4.5: Mapping the Orpheus Myth in the Jack Perdu Books and the Underworlds Series * 4.6: Conclusion * 5: HISTORY IS A MAP 2: Carnivals, Grotesquerie, and the Antic(que) Map Text * 5.1: Gryllus the Pig and the Playful Attack on Borders * 5.2: Spartapuss the Cat and the Repeating and Consuming of Time * 5.3: Julius Zebra and Cognitive Connection through Words, Pictures, and Warthogs * 5.4: The Dogs of Pompeii and Popular Culture's Alliance with the Past * 5.5: Percy Jackson and the Apotheosis of the Comic Didactic * 5.6: Conclusion * 6: HISTORY IS FRACTAL: Patterns of Conflict in Contemporary Young Adult Fantasies * 6.1: Despairing Didacticism: Learning and Misery in Red Shift * 6.2: Separate Spheres and If Worlds: Culture Clash in the Fireball and Warriors Trilogies * 6.3: Panem et Circenses: Countries, Cats, and Conflict in the Hunger Games Trilogy * 6.4: Monsters and Masks: Trust and Treachery in the Ember in the Ashes Series * 6.5: Secret Keepers: Manipulating Misprision in The Queen's Thief Sequence * 6.6: Conclusion * 7: Conclusion * Endmatter * Works Cited * Index
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