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Rachel Falconer 《Children‘s Literature in Education》2007,38(1):35-44
This article provides a close reading of Geraldine McCaughrean’s award-winning novel, The White Darkness. It argues that this is a key text in the increasing debate about ‘crossover’ literature. Whereas, traditionally, adolescent
books were seen to offer compensatory fantasies to the adolescent reader, McCaughrean’s text goes beyond this, exploring adolescence
in deeper terms: not simply as an age-defined period but as a time when the traditional coordinates of the self are thrown
into crisis, or become destabilized (as an ‘open psychic structure’, as Kristeva puts it). Adopting such a psychoanalytical
approach, it is argued, we can begin to understand this book’s appeal (and others like it) to adolescent and adult alike;
that is, it stages a shift from an imaginary identification with a stable self to a more realistic, albeit less secure recognition
of the flimsiness of identity. The white wastes of Antarctica provide the perfect backdrop for this confrontation with the
ungraspable Real.
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Lying in Children’s Fiction: Morality and the Imagination 总被引:1,自引:0,他引:1
Christopher Ringrose 《Children‘s Literature in Education》2006,37(3):229-236
The telling of lies is significant in fiction written for children, and is often (though not in all cases) performed by child protagonists. Lying can be examined from at least three perspectives: philosophical, moral and aesthetic. The moral and the aesthetic are the most significant for children’s literature. Morality has been subtly dealt with in Anne Fine’s A Pack of Liars and Nina Bawden’s Humbug. The aesthetic dimension involves consideration of lying’s relation to imagination, fantasy and creativity; Richmal Crompton’s William: the Showman and Geraldine McCaughrean’s A Pack of Lies show this at a complex, metafictional, level. 相似文献
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