Abstracts, Seminar 12 |
The abstracts are copied as received. |
Freedom of Speech in Children´s Books• “To Create, to Think. Presence of Laura Devetach in Children´s Books in Argentine” (Abstract 83) Professor Christina Pizarro, Argentine
Dr. Mónica Domínguez Pérez, Spain
Illustrator Stella East, Canada/Norway
“Seeing the Light – without Submission” (No Abstract) Author Kåre Bluitgen, Denmark
(83)
" To create, to think. The presence of Laura Devetach in Children´s books in Argentine."
NAME: CRISTINA PIZARRO TITLE: Proffessor in Children´s Literature for Training Kindergarten teachers, Mailing address: Av. Federico Lacroze 2277 4°B-1426-Buenos Aires. R. Argentina Phone: 54-11-4-772-0637; Fax: 54-11-4-772-0637 e-mail: cristinapizarro@fibertel.com.ar
SUMMARY: The subject of this paper agrees with the purpose of IBBY: "How has children´s literature reflected the actual history of a country or people-and how consciousness of the past influenced stories for children”. The intention is to bring out the importance of Laura´s Devetach in Children´s Argentinian Literature through the presence of Freedom of Speech. This writer is a creative agent because she re-made the entire field of literature through her humanistic and existencialistic interventions and cultural contributions. This paper analyses different viewpoints concerning the relation of agency, as a historical project, culture as personal constructions and new meanings in constant social changes, and Children´s Literature, standing out the constructing personal understandings and meanings with social practices and concepts to ascertain what´s the best for creativity and fulfilling, social realities and changes in our world´s vision with a planet bruised by wars, power, poverty. Laura Devetach´s narrative and poetry offer a good opportunity to create a new possible and better world; it is a challenge to think about the galaxy of meanings that implies the essence of our lives. Young readers can enjoy attractive characters and imaginative scenes like we can appreciate in the short stories: “The coal bumpkin”, “The tower of cubes”, “The little green man and his bird” for example, between others. Laura Devetach achieves a genuine writing to suggest the joint between reality and fantasy; the metaphorical use of language constitutes an integrated tool for ensuring freedom in a capitalist society and market economy. Her ouvre not only is rich in fictional works but includes numerous insightful articles on theory and practice applicable to teaching Children´s Literature.
BIOGRAPHICAL NOTE.
Cristina Pizarro was born in 1949 in Buenos Aires , Argentine. Proffessor of Spanish and Literature. She teaches Children´s Literature in the Institute “Sara C. de Eccleston” in Buenos Aires since 1978 as Trainning teachers of kindergarden. She has promoted the movement for better books for children in Argentine. She has conducted writers´workshops in different places of the country. She´s a frequent contributor to journals in the field of children´s literature. She published numerous critic articles on Argentine children´s literature. She is the author of: Poemas de agua y fuego (Poems of water and fire), Buenos Aires ,1993. La voz viene de lejos( The voice comes from far away),Buenos Aires,1995(poetry). Taller de juegos literarios( Literary workshop),Buenos Aires,1994. Taller de juego dramático(Dramatic workshop),Buenos Aires,1996. Lirios prohibidos(Forbidden lilies),Buenos Aires,1998(poetry) Jacarandaes en celo(Jacarandaes in zeal),Buenos Aires,2003(poetry) Confesiones de Gertrudis Glauben(Gertrudis Glauben´s Confessions),Buenos Aires, 2006. En la búsqueda del lector infinito. Una nueva estética de la Literatura Infantil (Searching the infinitive reader .A new aesthetic of Children´s Literature .-theoric aspects and didactic proposals about teaching).Buenos Aires, 2007 . She integrated ALIJA, National Section IBBY as vowel (1993-1995),and as secretary (1995-1996). She integrates the Cultural Committe in the ILCH of California(Hispanic Literary and Cultural Institute. Since January 2000 represents in Buenos Aires , Argentine, the Indo- Argentinian Cultural Centre of Calcuta presided by Dr. Mukherjee. She belonged to the editorial committe of Francachela, literary issue of Chile , Argentine and Peru and other countries. She has participated in several international congresses in Argentine , Brazil , Paraguay , Chile , Venezuela , Colombia , United States , Spain , India , Guatemala , Mexico , Iran . She was winner of awards in Poetry.
(98) THE TRANSLATION OF FANTASÍAS INFANTILES : CHANGES IN IDEOLOGY, TREND AND CULTURAL FEATURES
Mónica Domínguez Pérez Universidade de Santiago de Compostela monicado@usc.es In this paper two books will be presented and analised: Fantasías infantiles: Cuentos-teatro and Monicreques: teatro infantil galego , which is the translation of the first although it was published six years earlier. We are dealing, therefore, with an interesting case that was scarcely researched on. Several features of the books will be presented here, but two questions are of major importance. On one hand, it will be discused whether we are dealing with an inter- or intra-systemic translation, as Fantasías infantiles was seldom read outside Galicia , but it got several prizes in Madrid . On the other hand, major changes were operated between the two editions. Some of them are due to the changes in children's literature during the inbetween period: from the realist literature of Franco's dictatorship, we arrive to the flowrishing fantasy literature. The religious passages, deleted in Fantasías infantiles , may also be due to the ideology of Franco period. But the typical Galician features, which were ignored in this edition, may show that the target system of Fantasías infantiles was not the same as in the translation. These pieces of work were re-published in Galician in 2000, so they are still read by the public.
BIOGRAPHY Mónica Domínguez Pérez is a postgraduate student at the Universidade de Santiago de Compostela ( Spain ), where she makes her doctoral thesis on translations of children's literature among the four official languages of Spain . When she graduated she was awarded by the Regional Government and after that she has taught Literary Theory at her university. She has also experience teaching Spanish to foreign students. In the last years she has participated at several conferences and published some articles. Since 2007 she coordinates a journal about the different literatures of the Iberian Peninsula .
CONTACT Mónica Domínguez Pérez telephone: 00-34-606 248 167 C/ Primero de Mayo 12, ático 5ª • EL PRAT DE LLOBREGAT ( BARCELONA ) SPAIN
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Pre-censorship
of children's books: Curtailing the freedom of speech and expression of
Canadian authors and illustrators.
Cherie
Givens is a Ph.D. candidate at the School of Library , Archival and Information
Studies at the University of British Columbia . Prior to enrolling in
the Ph.D. program at UBC, Cherie held library positions in academic, legal,
public, and special libraries. She is an attorney at law with a particular
interest in U.S. First Amendment issues.
(31) “Freedom of Speech” in Children's Picturebook illustration
Stella East The 31 st IBBY World Congress Stories in History – History in Stories Freedom of speech in children's books
As a picturebook illustrator, and therefore the visual storyteller in children's picturebooks, I share a responsibility with the writer, to tell the story in the most interesting way possible. The act of visual storytelling may include changes to the story's “fabula” as well as adding new elements and information during the storytelling process. The story in a children's picturebook then, is a result of a composite storytelling, dependent both on written words and on visual images. According to Gunther Kress and Theo van Leeuwen though, visual representations are often defined as “uncoded replicas of reality or as a means of individual expression.” (1) The narrative in a picturebook then may be assigned to the verbal text, masking the illustration's narrative role as subservient to that of the written word. Consequently the illustrations may be treated as such. I propose to demonstrate in this paper with a case-in-point example, how the picturebook picture is semiotically composed of an articulate, rational and poetic language, equal yet different to verbal language. Further I will demonstrate how modern pictorial digital editing, without aesthetic or narrative discretion, can have devastating consequences for the whole story, robbing the artist of “freedom of speech” [1] and invisibly denying the potential reader of the visual storyteller's intention and a possible numinous experience.
(1) Though “freedom of speech is the concept of being able to speak freely without censorship,” (Wikipedia) The Herald Tribune , and ABC News , 11 Feb. 2006, both used the term “freedom of speech” when discussing the controversial drawings , depicting Islam's Prophet Mohammed printed in the Danish newspaper Jyllands-Posten 30 Sept. 2005.
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