Components and Creative Thinking Skills in Picture Books: An Analysis of Morghak Books
Mahboubeh
Alborzi
Shiraz University
author
text
article
2015
per
Alborzi*
Shiraz University
Abstract
Children's literature, especially picture books, are valuable tools for fostering creativity in children. Children’s 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). Contrary to the common narrative themes, decentralization plays an important role in fostering mental flexibility, risk taking, imagination, and sensitivity to the issue. Creative discovery depends upon characterization in the picture book.The more the acceptance of risks and uncertainties and problem solving characters depicted, the more they foster effective creativity in reader. If a picture book could provoke creative relevant skills and intrinsic motivation in the reader, it would contribute to fostering creativity in the reader. Five books from the series of Morghak books were analyzed with regards to creative thinking and cognitive factors. Design of the books, characterization, use of color and simplicity are among influential factors on creative readers.
* Associate Prof. of Foundations of Education, mahboobeh.alborzi@gmail.com
Iranian Children's Literature Studies
Shiraz University
2008-8647
6
v.
1
no.
2015
1
28
https://jcls.shirazu.ac.ir/article_2485_eea8f0c4566a1ce859f2793c60c5a748.pdf
dx.doi.org/10.22099/jcls.2015.2485
A Reflection on Nonsense: A Study of Hich Hich Hichaneh and the Interaction between Text-Picture
Setareh
Torabi
Shiraz University
author
Soudabeh
Shokrolahzadeh
Shiraz University
author
text
article
2015
per
Torabi* S. Shokrollahzadeh**
Shiraz University
Abstract
This paper is an analysis of the techniques of interaction between text and pictures of the book, Hich Hich Hichaneh. This book consists of 52 poems by seven prominent Iranian poets. The approach is deductive-inductive content analysis and the unit of analysis is every poem with its picture frame. This research is to answer two questions: 1- Are the poems and pictures of this book considered as nonsense? 2- What are the interactive techniques of text-picture? This research shows that most of the poems and pictures are not nonsense, but rather they are those childlike simple poems and non-innovative pictures which have a symmetrical relation with the text. It is also argued that in relation to each other, the text and picture of nonsense establish miscellaneous and various functions. The interactive techniques are composed of : inversion and its different types, imprecision, play with infinity and 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- poem is nonsense but not the picture 3- poem is nonsense while picture is not 4- picture is nonsense while text is not.
* MA in Children's and Young Adult Literature, s.torabi_30@yahoo.com
** MA in Philosophy of Education, shokrollahzadehs@yahoo.com
Iranian Children's Literature Studies
Shiraz University
2008-8647
6
v.
1
no.
2015
29
58
https://jcls.shirazu.ac.ir/article_2176_fb1dafa0461f4c9156244afe1d59b09e.pdf
dx.doi.org/10.22099/jcls.2015.2176
A Study of Identity in Iranian Children's Fictions
Mokhtar
Zakeri
Shiraz University
author
Babak
Shamshiri
Shiraz University
author
text
article
2015
per
Zakeri* B. Shamshiri**
Shiraz University
Abstract
The question of identity is one of the major issues of the modern world which many thinkers have concentrated on. In this study, components of national identity in children's fiction have been studied through non-emergent approach. It is also discussed 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 included ten fictions. The results show that in these fictions elements of national identity are present and the frequency of component's national identity in Seidabadi's fiction is more than Khosronejad's fiction. However, there is more variety and scope of dialogue in shaping the identity of children in Khosronejad's fiction.
* PhD student of Philosophy of Education, mokhtarzakeri@yahoo.com
** Associate Prof. of Philosophy of Education, bshamshiri@rose.shirazu.ac.ir
Iranian Children's Literature Studies
Shiraz University
2008-8647
6
v.
1
no.
2015
59
86
https://jcls.shirazu.ac.ir/article_3183_84fbec2e6b4bfd8e4c8bf3013d9f93a5.pdf
dx.doi.org/10.22099/jcls.2015.3183
The Passion of Play and Subversion: An Overview of Parodic Interactions between Pictures and Words in I Am The Hungry Mouse/ And Will Swallow You Up
Atiyeh
Firouzmand
Shiraz University
author
text
article
2015
per
Firouzmand*
Shiraz University
Abstract
The purpose of this article is to propose a revision of the concept and application of ‘parody’ in picture books. 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. Applying the deductive qualitative content analysis and by using the same features in cinema, as proposed by Dan Harries, the researcher has analyzed the parodic features in Khosronejad’s I Am the Hungry Mouse/ And Will Swallow You Up. Then by considering Nodelman and Kooistra’s views towards ironic and parodic interactions of pictures and words in picture books and through inductive qualitative content analysis, the researcher has 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. 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.
* MA in Children's and Young Adults’ Literature, atiyehfirouzmand@hotmail.com
Iranian Children's Literature Studies
Shiraz University
2008-8647
6
v.
1
no.
2015
87
122
https://jcls.shirazu.ac.ir/article_3187_ea1d75efc64930e16f02115a2dbda2d7.pdf
dx.doi.org/10.22099/jcls.2015.3187
Decentration Techniques in Image and Interction Between Text and Image in Picturebooks
Samaneh
Ghasemi
Children's book illustrator
author
text
article
2015
per
Ghasemi*
Shiraz University
Abstract
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 by Khosronejad (1382) in his explanation of inocence and experience theory in order to elaborate on the aesthetic characteristics of children’s literature. Decentration techniques are introduced in a study of Sobhi's collection of folk stories. Decentration signifies the mental ability to leave a phenomenon for another or for another level of the same phenomenon. Moradpour explored these techniques in Anjavi Shirazi's collection, adding some techniques to them. Research results indicated that from techniques of innocence and experience 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, and 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.
* MA in Children's and Young Adults’ Literature, ghasemi.samaneh@yahoo.com
Iranian Children's Literature Studies
Shiraz University
2008-8647
6
v.
1
no.
2015
123
150
https://jcls.shirazu.ac.ir/article_2981_af3ea5584b3a591c1efb5641f0f80115.pdf
dx.doi.org/10.22099/jcls.2015.2981
A Comparative Study of Arabic and Persian Picture Books Based on Decentralization Methods
Boshra
Mirghaderi
Isfahan University
author
Hamid
Ahmadian
Isfahan University
author
text
article
2015
per
Mirghaderi* H. Ahmadian**
Isfahan University
Abstract
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 show some effort in utilizing literary capacities in promoting decentralization ability. Introducing these efforts will hopefully encourage authors to pay attention to utilizing them. Some of these literary decentralization techniques are; monolog, rime and pun, emphasis, rhythm, repetition, metaphor and parable. Persian books had more litrary decentralization techniques than Arabic ones.
* Ph.D candidate in Arabic Language and Literature, bsmirghaderi@yahoo.com
** Assistant Prof in Arabic Language and Literature, ahmadian1776@yahoo.com
Iranian Children's Literature Studies
Shiraz University
2008-8647
6
v.
1
no.
2015
151
174
https://jcls.shirazu.ac.ir/article_2934_e91a30de0a86d8427d3028327b1e5b97.pdf
dx.doi.org/10.22099/jcls.2015.2934
Historical Evolution of the Illustrations of “Khaleh Suskeh”
Masih
Zekavat
Jahrom University
author
Zahra
Nazemi
Jahrom University
author
text
article
2015
per
Nazemi* M. Zekavat**
Jahrom University
Abstract
In this paper the writers 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 Khaleh Suskeh, 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. 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.
* M.A student of English Language and Literature, zahra.nazemi72@gmail.com
** Assistant Prof in English Language and Literature, Freelance Children's and Young Adults’ Literature Researcher, massihzekavat@gmail.com
Iranian Children's Literature Studies
Shiraz University
2008-8647
6
v.
1
no.
2015
175
204
https://jcls.shirazu.ac.ir/article_2008_b2af671fe411f9dd4c827f0aba951a38.pdf
dx.doi.org/10.22099/jcls.2015.2008
text
article
2015
per
Iranian Children's Literature Studies
Shiraz University
2008-8647
6
v.
1
no.
2015
205
224
https://jcls.shirazu.ac.ir/article_3280_c52217770184556bb45d1dd66a6aae70.pdf
dx.doi.org/10.22099/jcls.2015.3280