مجله مطالعات ادبیات کودک
سال ششم شماره 1 (پیاپی 11، بهار و تابستان 1394)

Children''s Literature especially picture books are valuable tools for fostering creativity in children. Childrensʼ symbolic representations and narrative intelligence plays an important role in the efficiency of a picture book. Accordingly، the present study examined the role of picture books in creative thinking skills (domain relevant skills، creative relevant skills، and motivation) and cognitive elements of creative (fluency، flexibility، elaboration، originality). Decentralization in a manner contrary to the common narrative themes play an important role in fostering mental flexibility، risk taking، imagination، and sensitivity to the issue. Creative discovery depends the picture book character. The acceptance of risks and uncertainties and problem solving more characters depicted in foster creativity more effective reader. If a picture book، domain relevant skills، creative relevant skills and intrinsic motivation to create in the reader، the reader contributes to fostering creativity. At the end of a five-book series of books morghak on creative thinking and cognitive factors were analyzed. Design، cut، book، character، simplicity and use of color and space of the book are the influencing factors on creative reader.

This paper aims at analyzing the techniques of the interaction between text and pictures of Hich Hich Hichaneh. Thereby this book comprised of 52 poetries from 7 eminent poets is studied. The approach is deductive- inductive content analysis and the unit of analysis is every poetry with its picture frame. This research is to answer to two fundamental questions: 1- Are the poetries and pictures of this book considered as nonsense? 2- What are the interactive techniques of text-picture? This research shows that most of the poetries and pictures are not nonsense، but rather they are those childlike simple poetries and non- innovative pictures which have symmetrical relation with text. It also found that in relation to each other، the text and picture of nonsense establish miscellaneous and various functions. The found interactive techniques are composed of: Inversion and its different types، Imprecision، Play with infinity، simultaneity in place. Furthermore new interactive techniques are found which include 1- Irony 2- Decentration 3- pictorial pun 4- bathos. Regarding these techniques، we can establish four relations between text-pictures of nonsense: 1- both text and picture are not nonsense 2- poetry nor pictures are nonsense 3- poetry is nonsense while picture is not 4- picture is nonsense while text is not. It is noticeable that in spite of possessing most of the characteristics، in account of inappropriate usage many of these poetries and pictures are not considered nonsense.

The question of identity is one of the major issues of the modern world which many thinkers have concentrated on. In this study; we have examined the issue in children''s fiction. In this study by nonimmigrant approach، components of national identity in children''s fiction have been studied. Also is discussed that how the writers of children''s fiction shape the identity of children''s literature. For data collection the documentary method and for data analysis، deductive content analysis suggested by Mayring and reflective analysis have been used. Purposive sample includes ten fiction. The results shows that in this fiction، there are elements of national identity. also shows that the frequency of component''s national identity are more in Sydabady''s fiction than Khosronejad''s fiction and however the variety and scope of the dialogue in shaping the identity of children''s literature are more in the Khosronejad''s fiction.

The purpose of this article is to revise the concept and application of ‘parody’ in picture books. Relying on this revisionary perspective and drawing upon the classical concept of parody as defined by Bakhtin، the researcher examines the possibility of parodying verbal texts by visual texts and vice versa. Also the role of parody in changing inherent power structure in children’s literature is explained. At first، by applying the deductive qualitative content analysis and by using the same features in cinema، as proposed by Dan Harries، the researcher has analysed the parodic features in Khosronejad’s I Am The Hungry Mouse/ And Will Swallow You UP. Then by considering Nodelman and Kooistra’s attitudes towards ironic and parodic interactions of pictures and words in picture books and through inductive qualitative content analysis، the researcher has actually proposed a new reading for the picture book. In this study، parody has been addressed in 5 modes: 1. Parodic relationship of subverted verbal text and the original one; 2. Parodic relationship of subverted visual text and the original one; 3. Parodic interaction between verbal and visual narration in subverted text; 4. Parodic relationship of the verbal text of the picture book and the other stories in the collection: Story، Play، and Fun; 5. Parodic relationship of the visual text of the picture book and the illustrator’s other work in that collection. However، the researcher has focused on analytical rereading of the parodic interactions in a single story –without considering the intertextual dialogues of that particular story with hypertexts or other stories in Story، Play and Fun. This study has proposed the possibility of analysing parody in picture books by borrowing from the cinematic technique of parody. This way، Harries’s techniques have both been confirmed and criticised. The parodic interactions in this picture book has been categorised in 3 modes، each of which has its own features: 1. Parodic interaction between pictures and words; 2. Parodic interaction among pictures; 3. Parodic interaction among words. As a conclusion to this mixed revision، the researcher believes that the context of children’s literature in the subversive play of mysterious synergy of pictures and words in picture books is parodic and is found in the process of creating and the reading of the book. Such subversive play is not only recognizable for children but also pleasurable; and it is necessary for the transmission of inevitable power relations in this genre.

The aim of this study is to investigate the decentration techniques in picturebooks and also those involved with the interction between text and image in such books. ‘Decentration’ was first suggested byKhosronejad (1382) when he was explaining Inocence And Experience Theory and in order to elaborate on the aesthetic characteristics of children’s literature. Decentration techiniques are introduced in a study of Sobhi''s collection. Decentration signifies the mental ability to leave a phenpmenon for another or for another level of the same phenomenon. Moradpour explored these techniques in Anjavi Shirazi''s collection، adding some to them. Research results indicated that out of innocence and experience techniques overstating، reverse، gap، balance and imbalance long shot and close – up، leaving and return were observed in pictures. In terms of the interaction between text and picture، on the other hand، only reverse، and gap were found. In case of Moradpour’s techniques، pictures were found to contain techniques including A single scene from two different perspectives، simultaneous scenes، long shot and close – up، protagonist transfer، chain of events، surprise، metamorphoses while the interacion between text and image only displayed the technique of one scene in different sizes. Fourteen new techniques for pictures were discovered: temporal movement، self-reference، contrast، resemblance، foreshadowing، pictorial tricks، one scene in different sizes، heterogeneous framing، multiple-technique pictures، margin pictures، unusual reference، cuts in stages، moving parts، and this and that. Three new techniques were also acheieved from the interaction between text and image: contrast، resemblance، and intra-iconic texts.

One of the mechanisms which help children’s literature to build a creative relationship is decentralization. The purpose of this article is to study fictional picture books in Arabic and Persian، based on decentralized techniques. To achieve this purpose، 13 picture books are selected from each language. Using the method of inductive content analysis and based on decentralization and how to use these techniques the stories were investigated and analyzed. The study found that the Persian and Arabic authors in using decentralized techniques pay more attention to mental and visual properties rather than linguistic and literary properties. Nevertheless، they have some effort in utilizing literary capacities in promoting decentralization ability. Introducing these efforts in this study strengthening decentralized features and increasing authors attention to utilizing them. Some of these literary decentralization tips are; monolog، rime and pun، emphasis، rhythm، repetition، metaphor function and parable. Persian books had more litrary decentralization tips than Arabic ones.

In their article ‘Historical Evolution of the Illustrations of “Khālih Sūskih” ’ Massih Zekavat and Zahra Nazemi contend that the notion of implied viewer is not neutral and that pictures in illustrated and picture books interpellate their reader/viewers through creating preordained subject positions for them. The illustrations of different adapted and recreated versions of Khālih Sūskih، a Persian folktale، are analyzed within the framework of implied viewer as proposed by Perry Nodelman by administering content analysis. Nodelman’s concept of implied viewer، founded on Wolfgang Iser’s notion of implied reader، posits that pictures imply specific social subjects and their response as viewers. Yet، a diachronical investigation of various illustrations of the folktale conveys that the relationship between the real and implied reader/viewer of these books is reciprocal and the child viewer cannot be considered merely as an agent who takes pleasure in consuming their pictures. To put it in other words، the child viewers are not pre-constructed stable subjects before their encounter with pictures، and illustrations contribute to children’s interpellation as social subjects and partly modify their subjectivity through their definition of subject positions and their ideological impositions.