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Children's literature is a rapidly expanding field of research which presents students and researchers with a number of practical and intellectual challenges. This research handbook is the first devoted to the specialist skills and complexities of studying children's literature at university level. Bringing together the expertise of leading international scholars, it combines practical advice with in-depth discussion of critical approaches. Wide- ranging in approach, Children's Literature Studies: A Research Handbook: * Considers 'children's literature' in its fullest sense, examining visual texts (such as picturebooks), films, computer games and other 'transformed' texts, as well as more traditional modes of writing for children* Offers a step-by-step guide to devising, starting and carrying out a research project (such as a dissertation or thesis), and advice on what kinds of research it is possible and profitable to undertake* Surveys the different methodologies and theoretical approaches used by children's literature scholars* Includes case studies, questions and exercises to reinforce ideas discussed in each chapter* Provides lists of further reading and a specialist glossary that will remain a useful reference resource. This handbook will be an essential companion for those studying children's literature, whether as undergraduates, postgraduates, or beyond.
The aim of the Selective Guide is to facilitate the first stage of research for those interested in Chinese literature between 1900 and 1949. It provides the reader with basic information on more than 300 words by Chinese writers. The contributions are based on independent research of sinologists from numerous countries. The guide consists of four volumes, which deal with the novel, the short story, the poem, and the drama (the current volume) respectively. Each volume contains an introduction which surveys the development of the particular genre and its characteristics in the period covered. All entries contain bibliographical information, summary of content and appraisal of the work as well as references to secondary sources and translations.
Incorporating a broad range of contemporary scholarship, A History of Victorian Literature presents an overview of the literature produced in Great Britain between 1830 and 1900, with fresh consideration of both major figures and some of the era's less familiar authors. Part of the Blackwell Histories of Literature series, the book describes the development of the Victorian literary movement and places it within its cultural, social and political context.
For decades, Ruth Chew's classic chapter books full of everyday magic have enchanted early readers. Now that they're in print again, a new generation can fall under her spell and fall in love with reading.
This study aims to apply Lacanian ideas to literary texts and film. Why is such an endeavour necessary? One might give different responses to this question: due to Lacan s emphasis on the Symbolic in the constitution of the subject, as he takes the human as a linguistic being, his ideas concerning unconscious might be used in analysing the unconscious of the text or the characters themselves, his ideas on the constitution of the subject might be applicable to the character creation in the texts, etc. The empirical fact is, everybody has a different reason to go to Lacan and in each case co-existence of literature and Lacan leads into different and interesting readings of the texts. This study is one of those attempts which hopes to offer a few of those happy encounters between Lacan and literature. Lacan in Literature and Film :A Closer Look at Formation of Subjectivity in Lacanian Epistemology might help to justify why Lacan is applicable in literary studies. Lacanian subject problematizes the post-Cartesian and the pragmatic ego as the perceiving subject of consciousness which is stable, self-knowing and which implies totality and wholeness. Lacan shatters the previous myth of autonomy since he bases his understanding of the human subject on reinterpretation of Freud s Ichspaltung or a splitting of the subject (Seminaire II 3-12); and since he locates this split at the source of human Identity formation by taking narcissism as the central imaginary relation of interhuman relationships (Seminaire III 92). Lacan s subject is formed by his conscious and unconscious parts, and finds its source in the Other (A) which infers familial prehistory, as well as the social order of language, myths, and conventions (Ragland-Sullivan 16). The Other (A) exists both inside and outside consciousness as a concept of continuity between consciousness and unconscious; and leaves no human action outside its domain participating in the functions of ideation, and even of thought (The Language of the Self 20). It is fundamentally discordant with being as it governs personality in reference to a savoir that, paradoxically, determines and transcends the human subject as being (Ragland-Sullivan 3). In a Lacanian context unconscious is the discourse of the Other (A) and emerges from its discourse as an object of Other (A) Desire (Ragland-Sullivan 16). Unconscious, as a closed system of a network of signifying representations, is structured like a language but these representations as pure signifiers operate on their own specific logic. There is an unbridgeable gap or split between conscious and unconscious meaning; [t]o the extent that what is spoken rarely coincides with what the ego intends to communicate (Schneiderman 3). Unconscious, which is a barred S for Lacan, due to this unbridgeable difference in their logic, is elusive and alien to the conscious subject as it is untranslatable into linguistic logic. Accordingly, it does not hear itself speaking in the conscious discourse.
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