Children’s Literature in Europe at the Start of the 20 th Century and the Intellectual Place of Ivana Brlić-Mažuranić’s Children’s Story Čudnovate zgode
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2014-03-26 Libri et Liberi 2 2 STUDIJE 01 Ewers
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- Neoromanticism, Fairy Tales and Fantasy Stories for Children
Keywords: children’s literature, Europe, turn of the 20
th century, Ivana Brlić-Mažuranić, The Strange Adventures of Hlapich the Apprentice 180 by Ellen Key of Sweden in the proclamation of the Century of the Child. 2 The theorists of this era referred to many of the theories of childhood from the late 18 th and early 19 th centuries: what Jean-Jacques Rousseau had suggested in the 18 th century, namely that childhood was in its essence entirely misunderstood, was now applied to the bourgeois 19 th century – the Belle Époque. The diverse currents of pedagogical reform in the late 19 th and early 20 th centuries largely consist of a revival of Rousseau’s Enlightenment philosophy of childhood: children are fundamentally different from adults and must be respected in this difference. Children see, think, and feel differently from adults. They have their own worldview and their own needs and interests. It was thought that whoever was continuously involved with children ought to accustom themselves unconditionally to children’s ways. Neoromanticism, Fairy Tales and Fantasy Stories for Children Other currents of reform focused on the Romantic concept of the child from the period around 1800. Following this theory, children were differentiated from adults in that they still had access to a mythic-animistic world view. For children, all natural phenomena were animate and the world was ruled by good and evil spirits. Around 1900, there was renewed interest in taking seriously the idea that children think primitively. People once again began to consider in earnest the child’s capacity for enthusiasm for everything wonderful and magical. Around this time, many people returned to the Romantic notion, from around 1800, that traditional, so-called ‘folk poetry’ best expressed the child’s manner of thinking. Admittedly, ‘folk poetry’ had to be fundamentally reworked in order to be understandable to children. In Germany, for example, Wilhelm Matthießen produced children’s versions of traditional fairy tale lore, the first edition of which appeared in 1923 under the title Das alte Haus. Ein Märchenbuch für Kinder zum Vorlesen [The Old House: A Fairy Tale Book for Reading Aloud to Children]. Not only did German Romanticism establish so-called ‘folk poetry’ as children’s reading material in the early 19 th century, but it also went on to create children’s stories in the fantastic mode, exemplarily embodied in the work of E.T.A. Hoffmann. This side of the Romantic programme for children’s literature also saw a revival around 1900. England in particular experienced a new blossoming of children’s fantasy literature; here it is worth mentioning Lewis Carroll, Edith Nesbit, James Matthew Barrie, Kenneth Graham, and Pamela Travers. Interestingly, Travers’s Mary Poppins stories are closely related to E.T.A. Hoffmann’s literature of the fantastic. This great variety of children’s fantasy literature classics, still 2 Her book on education Barnets århundrade from 1900 was translated in English in 1909 as The Century of the Child. H.-H. Ewers: Children’s Literature in Europe... 181 popular today, put England at the forefront of the development of European children’s literature. England continues to have a leading position, which has spread worldwide, not least because of J.K. Rowling’s Harry Potter novels. Exceptional German children’s fantasy stories from this time include Otto Julius Bierbaum’s free adaptation of Pinocchio, Zäpfel Kerns Abenteuer [Adventures of Zäpfel Kern] from 1905, and Gerdt von Bassewitz’s play Peterchens Mondfahrt [Peterkin’s Trip to the Moon] from 1911. Download 309.55 Kb. Do'stlaringiz bilan baham: |
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