CFP – Barnboken Special Issues on Money and Ulf Stark

CALL FOR PAPERS
Barnboken – Journal of Children’s Literature Research

Theme: Money
Money, or rather the lack thereof, is a frequently addressed topic in children’s and young adult literature. Moreover, economic factors play an important role when it comes to publishing and producing children’s and young adult literature, which suggests that money also controls and influences children’s and YA books as aesthetic objects. For this reason, Barnboken – Journal of Children’s Literature Research welcomes articles on the topic of “Money” in a broad sense. The aim is to highlight how primarily Nordic children’s and young adult literature has been influenced by issues related to money. How is children’s and young adults’ relationship to money portrayed in literature for young readers? Is making money and becoming self-sufficient central questions in stories of growth and maturity? And what economic factors influence publishing today? For instance, would the Nordic picturebook have become what it is today without the help of a growing middle class with money to spend? Deadline, abstracts: 10 September 2018. Please send a 300 word abstract to barnboken@sbi.kb.se. Guest editor of this theme is Dr. Lydia Wistisen, Stockholm University.

For more information, please see Call for papers.

Theme: Ulf Stark
Ulf Stark (1944-2017) was one of Sweden’s most prominent writers of children’s and young adult literature. His works include modern classics such as Dårfinkar och dönickar (Fruitloops & Dipsticks, 1984) and the trilogy about the two friends Ulf and Percy beginning with Min vän Percys magiska gymnastikskor (My Friend Percy’s Magical Gym Shoes, 1991). In addition, he worked as a cultural writer and critic and as a screenwriter, adapting not only his own books but also the works of others for the screen. Despite Ulf Stark’s long career in writing and debating children’s and young adult literature, there is surprisingly little research on his authorship. Therefore, Barnboken wishes to encourage research on Ulf Stark’s works, in particular on his lesser known works. Possible topics for articles include ideology and views on literature, language-play and poetry, historical fiction, spirituality and religious aspects, humour as a narrative strategy, father figures, translations, autofiction and perspectives on autobiographical writing. Deadline, abstracts: 17 September 2018. Please send a 300 word abstract to barnboken@sbi.kb.se.

For more information, please see Call for papers.

Barnboken – Journal of Children’s Literature Research is published by the Swedish Institute for Children’s Books. All articles accepted have been peer reviewed by at least two peers and will be published online under an Open Access model. The main language of the journal is Swedish, but articles written in Danish, Norwegian, and English are also welcome. We are especially interested in contributions related to Sweden and the Nordic countries.

CFP – Child and the Book Conference: Beyond the Canon (of Children’s Literature)

The 14th International Child and the Book Conference (CBC2019): Beyond the Canon (of Children’s Literature)
8 – 10 May 2019
Zadar, Croatia

The International Conference The Child and the Book, launched in London in 2004, has since taken place in different countries (Belgium, UK, Turkey, USA, Canada, Norway, Italy, Greece, Portugal, Poland, and Spain). It gathers scholars and students focusing on children’s and young adult literature, who exchange experiences, insights and knowledge in this interdisciplinary field. The Croatian Association of Researchers in Children’s Literature (CARCL) and the University of Zadar are organising the 14th Conference edition in May 2019.

The main topic of the Conference raises questions following recent research on the canon of children’s literature, focusing on exclusion from the canon, i.e. on literature and related phenomena and forms of expression which remain beyond the canon. Canonical works are generally considered to be of high value and vital for different spheres of human existence, both at the personal and at the social level. Simultaneously, literary and related systems which develop beyond the canon often prepare new beginnings which eventually influence the canon. Popular literature and children’s literature are examples of literary systems that enable the exploration of new areas and extend beyond their own boundaries, often creating new meanings and exploring innovative modes of expression. Thus, we also wish to encourage thinking about the position of children’s literature with regard to the literary canon in general and bring the attention of scholars and students to the frequent devaluation of the artistic quality of children’s literature as a whole, and to ascribing to it utterly utilitarian attributes. Such views place children’s literature beyond the mainstream canon, both national and international. We are particularly interested in the borderline position of children’s literature, picturebooks, young adult literature, and related systems, which enrich the world of children’s culture and balance on the fine line between recognition and dispute. Accordingly, we also encourage participants to concentrate on works written for children placed beyond the canon of children’s literature, for different reasons, and on how they may cross an imaginary borderline between acceptance and rejection in either direction. We hope to pinpoint, understand, and clarify different factors that have an impact on these processes and explore how they may be viewed in a diachronic perspective.

Taking these issues as starting points, the Conference will focus on the following general topics:

  1. Children’s literature and the literary canon
  2. Forming the canon of children’s literature: contexts and influences
  3. Inside and outside the canon: reasons for inclusion/exclusion and forgotten titles
  4. The canon of children’s literature vs. the canon of young adult literature
  5. Translation and publishing practices in relation to the canon(s) of children’s and young adult literature
  6. The international canon and the perception of own and other cultures in the national canons of children’s literature
  7. Canonical illustrations and the (re-)interpretations of children’s classics
  8. Reading practices and the canon of children’s literature
  9. Adaptations of the canonical titles of children’s and young adult literature
  10. The canon of children’s culture: literature, arts, multimodality, new media

The official languages of the Conference are English and Croatian.

A second Call for Papers inviting the submission of abstracts and registration, and including additional information about the Conference, will be issued in September 2018.

News and detailed information about the Conference will be published on the Conference website (http://cbc2019.hidk.hr/) and on the official website of the Croatian Association of Researchers in Children’s Literature: www.hidk.hr. Should you have any further inquiries or require additional information, please contact us at the following email addresses: childbook2019@gmail.com; narancic-kovac@ufzg.hr; rbacalja@unizd.hr.

Two Postdoctoral Positions at Newcastle University

The School of English Literature, Language and Linguistics is seeking to appoint two postdoctoral Research Associates, each lasting two years (if full-time). The successful candidates will work on projects funded by Newcastle University’s Research Excellence Academy and Research Investment Fund.

Research Associate in Children’s Literature (REA) – B131592R – https://t.co/xwZhsKjXm1

This post will be attached to the project “New Stories of Modern British Children’s Literature: the Chambers Collection,” and will map research pathways into the Aidan and Nancy Chambers archival material newly acquired by Seven Stories, the National Centre for Children’s Books (https://www.sevenstories.org.uk/). Applicants for this post should supply an academic CV and a cover letter in addition to completing the electronic application form.

Research Associate in Children’s Literature (RIF) – B131593R – https://t.co/xwZhsKjXm1

This post will support research aligned with one of these three broad themes:

  1. Developing collections, archives and exhibitions of children’s books, with a particular focus on how we tell national stories of children’s literature.
  2. Children/young people and heritage.
  3. Diversity and inclusion in histories of children’s literature.

Details of how to apply for this post are given in full in the online ad.

Successful candidates will be based in the Children’s Literature Unit, within the School of English Literature, Language and Linguistics, and will be joining a large and successful team of academics, doctoral students, and other postdoctoral researchers.

Applicants should have been awarded a doctoral degree in children’s literature, children’s culture, 20th-century publishing or a related area (or be in expectation that the award will be made by 31 October 2018), and should be able to demonstrate ongoing research interests that align with one or more of the designated areas.

For informal enquiries relating to these posts, contact Professor Matthew Grenby (matthew.grenby@newcastle.ac.uk) or Dr Lucy Pearson (lucy.pearson@newcastle.ac.uk).

CFP – Crafts and Hobbies in Children’s Books

25th Annual NCRCL MA/IBBY UK Conference
Saturday, 10 November 2018
Digby Stuart College, University of Roehampton
Crafts and Hobbies in Children’s Books

This year’s conference explores the significance of crafts and hobbies as theme, practice, motif, educational tool and generational bridge. We will be thinking about the historical shifts in the role and significance of these activities in childhood experience as depicted in a wide range of texts. We will examine the role of crafting and hobbies in children’s fiction and in picture books; think about the role of books in craft and hobby activities (including the handbooks of the Brownies, Scouts and Woodcraft Folk and the annuals of children’s TV shows such as Blue Peter); and consider the craft dimensions of books as material objects, looking at the use of collage and textile as illustrative components, at paper-cutting and pop-up books, and at books that are themselves craft or hobby objects (model-making books, sticker books). Discussion will cover the gendering of crafts and hobbies, the definition of a hobby (as distinct from a game or a toy), the vexed boundaries between arts and crafts, and craft as domestic or artisanal. Materials from the archives of the constituent colleges of the University of Roehampton will be on show, including weaving samples and patterns used in early Froebelian education and embroidery samplers from the Whitelands archive. The conference will include keynote presentations by well-known illustrators and craft practitioners, academics, and key figures in the children’s literature world. We will hear from Dr Jane Carroll of Trinity College, Dublin, an international specialist in the relationship between craft and children’s literature. As this year’s conference marks 25 years of the partnership between IBBY UK and the NCRCL and we are delighted that Professor Kim Reynolds, a long-time friend of both organisations, will be joining us for the celebration.

Proposals are welcomed for individual papers (20 minutes) on different aspects of craft and hobbies in relation to children’s books and reading, such as, but not only:

  • Craft and hobbies as themes in literary texts (for example stitching in Little Women, the sampler in Penelope Lively’s A Stitch in Time)
  • Craft and hobby instruction books for children
  • Craft and hobbies as theme/process in picture books (Faith Ringgold’s use of story quilts to map African American experience)
  • Non-craft hobbies and the books associated with them: train sets (and Thomas books), modelling (and role of kits), collecting, war-gaming (also craft element, eg Warhammer), digital hobbies (Minecraft, coding)
  • Paper-craft books – books that are themselves craft objects/materials
  • Craft/textiles as illustrative form (paper cutting, textiles, collage) (in the work, for instance, of Lauren Child and Mini Grey)
  • Books which feature dolls and toys as craft objects; as things to make and dress; as uncanny (Rumer Godden, Miss Happiness and Miss Flower; The Doll’s House)
  • Puppets and puppetry (issues as above)
  • Specific crafts in children’s books: knitting, sewing (quilting, dress making, toy making), weaving, woodworking, plus briefer crazes: macramé, origami, etc.
  • The gendering of hobbies and craft
  • Crafts and hobbies as effecting intergenerational bonds (grandparents, parents, passing on of skills)
  • Adult adoption of children’s hobbies (adult colouring books, train sets, lego building)
  • Craft as an educational tool
  • The ideology of craft and its historical changes (as an element in girls’ education; as work/not work in nineteenth century (Sarah Stickney Ellis); shifting distinctions between art and crafts, artisanal and domestic craft, hobbies and labour

We welcome contributions from interested academics, authors, illustrators, publishers etc. in any of these areas.

The deadline for proposals is Friday, 29 June 2018. Please email a 200-word abstract (for a 20-minute paper), along with a short biography and affiliation to: Julia.Noyce@roehampton.ac.uk.

CFP – Special Issue of Oxford Literary Review: Deconstruction and the Child: Children’s Literature: Anthropomorphism: Animality: Posthumanism

CFP: Oxford Literary Review 41.2 (December 2019)
Deconstruction and the Child
Children’s literature: anthropomorphism: animality: posthumanism (Timothy Clark and Jennifer Ford)

“The category of ‘childhood’—as well as the related notions of ‘children’ and ‘child’— requires a rethinking…” (Spyros Spyrou, Childhood [2017])

The title of OLR 41.2 (December 2019) deploys four unstable terms, all deeply implicated in definition of the other (children, anthropomorphism, animality, posthumanism). Children’s literature is often seen as a literature of nature, animals, talking animals and toys, but what concepts of the child, childhood and the nonhuman are being assumed or reinforced?

It has been argued that “it is difficult to overstate the correlation of the animal and the child in literature written and marketed for young readers” (Jaques, 2017, Childhood and Pethood in Literature and Culture, p. 109) and that “literature geared towards a child audience reflects and contributes to the cultural tensions created by the oscillation between the upholding and undermining the divisions between the human and the animal” (Amy Ratelle, 2015, Animality and Children’s Literature and Film, p .4). Such correlations, oscillation and instability often and sometimes inevitably occur within contexts of overt and covert didacticism (the “purpose” of “children’s literature” is to “teach” something), dialogism (between child reader, adult author, child narrator and nonhumans) and inter-generational or inter-species differences. Might a re-evaluation of “child” and “children’s literature” be part of the posthuman impulse dating back to Foucault’s speculation in 1971 that the concept “man” may be nearing its end?

This is the first time the concept of the “child” has featured as a central question for a volume of OLR, or of deconstructive thought more widely.

Topics for “Deconstruction and the Child: Children’s literature: anthropomorphism: animality: posthumanism” might include: children’s philosophy/philosophy for children; environmental ethics and children’s literature; childish dissonance — the repetition of obvious and unanswerable questions (why do we eat some animals?); approaches to notions of the “autobiographical” animal or nonhuman in children’s literature; the child as a nonchronological category, present throughout life in all textual forms (the “outsider within” (David Kennedy) or the “hidden adult” (Perry Nodelman); the child as deconstructive of the human/animal/environment difference; natality; “the child” as “a concept that runs a particular risk of being hypostatised” (Stephen Thomson, OLR vol 25); childhood, adolescence and magic realism; childhood and adolescence as privileged sites for philosophies of the pre-reflective; “children’s literature” and reassessments of hierarchies of “serious” and “genre” fiction; visual and literal deconstructions across different formats within children’s literature.

Expressions of interest, with an abstract of up to 500 words for a proposed paper of maximum 6000 words are invited by October 31, 2018. Contact t.j.clark@durham.ac.uk and/or jen.oz.ford15@gmail.com. The deadline for completed submissions would then be May 15, 2019, for a publication date of December 2019.

For more information on the OLR, see https://www.euppublishing.com/loi/olr.

CFP – Edited Collection on Young Adult Gothic Fiction

Call for Papers: Edited Collection on Young Adult Gothic Fiction

The twenty-first century has seen a marked increase in the Gothic themes of liminality, monstrosity, transgression, romance, and sexuality in fiction for young adults. While Stephenie Meyer’s Twilight series (2005-2008) is the most well-known example of Gothic young adult fiction, it is part of a growing corpus of hundreds of novels published in the genre since the turn of the millennium. During this period, the Gothic itself has simultaneously undergone a transformation. The Gothic monster is increasingly presented sympathetically, especially through narration and focalisation from the “monster’s” perspective. In YA Gothic, the crossing of boundaries that is typical of the Gothic is often motivated by a heterosexual romance plot in which the human or monstrous female protagonist desires a boy who is not her “type.” In addition, as the Gothic works to define what it means to be human, particularly in relation to gender, race, and identity, contemporary shifts and flashpoints in identity politics are also being negotiated under the metaphoric cloak of monstrosity.

Yet the Gothic also operates within young adult fiction to enable discussions about fears and anxieties in relation to a variety of contemporary concerns, including environmentalism, human rights, and alienation. Catherine Spooner suggests that the Gothic takes the form of a series of revivals. In the proposed collection we seek to explain what the current Gothic revival in YA fiction signifies and call for papers engaging with any aspect of Gothic fiction published for young adults since 2000.

Potential topics include, but are not limited to:

  • The Gothic and the posthuman
  • The paranormal romance
  • The monstrous feminine
  • The adolescent body
  • The evolution of canonical monsters including the vampire, the werewolf, the witch
  • Postfeminism and the Gothic
  • The Gothic and race
  • Gothic spaces
  • Gothic historical fiction

The editors are currently preparing a proposal for a university press Gothic series, in which the publisher has already expressed preliminary interest.

Please submit abstracts of up to 300 words and a biographical note of up to 150 words to both Dr Kristine Moruzi (kristine.moruzi@deakin.edu.au) and Dr Michelle Smith (michelle.smith@monash.edu) by 16 July 2018. Full papers of 6000 words will be due by 1 December 2018.

CFP – University of Notre Dame’s Gender Studies Conference: Girl Studies

The University of Notre Dame’s Gender Studies Program is happy to announce its fifth biennial international conference, which will be held in conjunction with the second meeting of the International Girls Studies Association.

University of Notre Dame – Notre Dame, Indiana, USA

28 February – 2 March, 2019

Deadline for submissions: Sunday, 1 July 2018

Girls Studies has become one of the most dynamic academic fields, encompassing scholars from a vast array of disciplines engaged in a variety of interdisciplinary approaches. This conference aims to bring together scholars and creative practitioners from across the world to explore contemporary and historical experiences and constructions of girlhood and girls’ culture, as well as recent developments within the field.

The Host Committee invites proposals for individual papers, pre-constituted panels, pre-constituted roundtables, and creative works that address one or more of the following topics. Moreover, we are keen to move beyond the traditional conference format and encourage collaborative work and presentations of digital humanities projects as well as creative, visual, and performance-based work. We also welcome proposals from individuals working in collaboration with girls in schools, after-school programs, and community-based organizations.

We welcome submissions from scholars, teachers, activists, artists, and students (both graduate and undergraduate).

Topics may include (but are not limited to):

  • Histories of girlhood
  • Global girlhood(s)
  • Girlhood and intersectionality
  • Representations of girlhood
  • Intergenerational girlhoods
  • Queer and trans girls
  • Girls’ cultures
  • Girlhood and consumption
  • Mediated girlhoods
  • Girls and feminism
  • Girls and sport
  • Girls and education
  • Girls and religion
  • Girls and STEM
  • Body image
  • Girls and subcultures
  • Girls and digital media
  • Girls and politics/activism
  • Girls and popular culture
  • Girls and music
  • Girls and literature & theatre
  • Girlhood during austerity
  • Girls’ sexuality
  • Girls’ health
  • Neoliberal girlhoods
  • Ethnographies of girlhood
  • Methodological approaches to Girls’ Studies

Please direct any questions about the conference and the submission process to: igsaatnd2019@gmail.com.

Updates about the conference schedule, events, travel and lodging, and more will be posted at: https://genderstudies.nd.edu/conferences/.

Conference Organizers: Barbara Green, Mary Celeste Kearney, Sonja Stojanovic, and Pamela Robertson Wojcik, University of Notre Dame

CFP – Special Issue of IRCL: Children’s Engagement with the Political Process

Call for Papers – Special Issue of International Research in Children’s Literature: Children’s Engagement with the Political Process
Editors: Farah Mendlesohn and Blanka Grzegorczyk

Although there has been a great deal of critical material on dystopic children’s literature, there is a great deal less on children’s engagement with the organisation of the world around them. Children themselves have always been engaged with both domestic and transnational socio-political issues. The experience of achieving socio-political consciousness involves a recognition of the existence of unequal power relations, their consequences and the possibility of acting to change them.

We welcome articles on the topic of children’s engagement with political activity, and/ or which demand some critical reckoning from readers, inviting them to think their way into alternative political possibilities.

Possible topics might include:

  • The experience of young people growing up during periods of conflict/impasse
  • Texts committed to children and young people exploring the underlying causes of conflict
  • The experience of children and young people in school or community politics
  • Formal developments that reinvigorate the political function of texts for children

We particularly welcome explorations of politics outside the Anglo-American context.

Blanka Grzegorczyk is the author of Discourses of Postcolonialism in Contemporary British Children’s Literature (Routledge, 2015) and Terror and Counter-Terror in Contemporary British Children’s Literature (Routledge, 2019).

Farah Mendlesohn is the author of The Inter-Galactic Playground: Science Fiction for Children and Teens (McFarland, 2009) and (Re) Creating Memory: Children’s Literature and the English Civil War, (Palgrave Macmillan, 2019).

Abstracts should be no more than 300 words and should indicate texts and critical apparatus. Final essays are expected to be between 5000 and 7000 words. Images desirable but authors must secure permissions.

Abstracts due: 1 September 2019
Submission date: 1 April 2020
Publication in December 2020
Please submit abstracts to farah.sf@gmail.com

CFP – Theatrical Experiences and Ideologies: Conditions for the Emergence of Theatre for Young People in Europe

Call for Papers: Special Issue of Strenae
Theatrical Experiences and Ideologies: Conditions for the Emergence of Theatre for Young People in Europe

Theatre for young people has come into existence throughout the twentieth century, thanks to pioneering experiences that took place before a dramatic repertoire was properly established. In France, this repertoire has been part of youth literature since the early 2000s. Thus, we propose to look back at those pioneering experiences, through an aesthetic and historical approach. In particular, we will try to understand how twentieth century ideologies may have influenced or even encouraged the development of a theatre for young people in Europe.

The intention is to highlight the conditions for the emergence of theatre for young people from the interwar years to the 1950s, as this period has fostered the emergence of theatrical practices with and for children. In France, Léon Chancerel and Miguel Demuynck’s innovative experiences are generally contrasted with the commercial purposes of the Théâtre du Petit Monde: it is important, however, to paint a more nuanced picture. Other European cases could be explored in depth so as to become more aware of what was created at a time when societies were suddenly preoccupied with children’s leisure activities, and when some totalitarian states used theatre for young people to achieve ideological ends. The experiments which have been conducted in the USSR and in the “people’s democracies” with the advent of the Soviet regime deserve special attention, both for the magnitude of their political project and for their remarkable artistic achievements.

These are possible avenues for reflection:

  • First of all, it would be interesting to analyze the ideological foundations of this first theatre with and for young people: what refers, in its conception, to a democratic ideal; but also what it owes to the lyrical strength of certain totalitarian ideologies, like communism or fascism.
  • To establish a “European landscape” of this first theatre for young people, it would be useful to examine in some detail the theatrical aesthetics dedicated to young audiences that have developed from the interwar period to the 1950s. Some contributions may focus on particular cases, while others may draw comparisons on the scale of a country, or between European countries. One could also shed light on artistic enterprises which have stayed away from ideology and have defended other ways of dealing with young audiences.
  • Beyond dramatic creation itself, the enquiry can be broadened to the practices of dramatic play that have been initiated by artists towards young people. As a matter of fact, these practices may have enriched the poetic and theoretical imaginary of those who intended to build a theatre for young audiences.
  • The interwar period and the ensuing post-war years turn out to be a decisive starting point for the history of theatre for young people. According to Robert Abirached, Léon Chancerel was the “founding father” of this artistic sector in France ; another key reference at a European level is the path of Latvian director Asja Lacis, commented on by Walter Benjamin in the 1930s. Therefore, one could try to determine how this foundation period has influenced the utopia of a theatre for young people as it has been formulated in Europe in the post-1968 context.

Bibliography:
ABIRACHED, Robert, « Une histoire », dans Théâtre aujourd’hui n°9 : Théâtre et enfance : l’émergence d’un répertoire, Paris, Scéren-CNDP, 2003.
BENEVENTI, Paolo, Introduzione alla storia del teatro-ragazzi, Firenze, La Casa Usher, 1994.
CHANCEREL, Léon, Le Théâtre et la Jeunesse, Paris, Bourrelier, 1941.
LACIS, Asja, Walter Benjamin et le théâtre pour enfants prolétariens, Strasbourg, Le Portique, 2007.
LESOURD, Sibylle, L’Enfant protagoniste : naissance, mouvances et paradoxes d’une figure clé du théâtre contemporain pour la jeunesse en France et en Italie, thèse Paris Sorbonne, 2016.
PAGE, Christiane, Pratiques théâtrales dans l’éducation en France au XXe siècle : aliénation ou émancipation ?, Arras, Artois Presses Université, 2010.
ROMAIN, Marilyne, Léon Chancerel : portrait d’un réformateur du théâtre français, Lausanne, L’Âge d’homme, 2005.
VAN DE WATER, Manon, Moscow theatres for young people : a cultural history of ideological coercion and artistic innovation, 1917-2000, New York, Palgrave Macmillan, 2006.
WINOCH, Michel, Le XXe siècle idéologique et politique, Paris, Perrin, 2009.
YENDT, Maurice, Les Ravisseurs d’enfants. Du théâtre et du jeune spectateur, Arles, Actes Sud-Papiers, 1989.

Proposals (500 words maximum), in English or French should be sent before 14 December 2018 to the journal Strenae: strenae@revues.org, along with a short biography and bibliography.

Proposals will be reviewed by the editor Sibylle Lesourd and the editorial board of the journal. Authors will be promptly notified of the acceptance or rejection of their proposal. Full articles (30,000 characters, including spaces, maximum) are to be submitted by 4 may 2019. Articles will be accepted in English or French.

Publication is scheduled for Fall 2019.

CFP – Special Issue of Humanities: Children’s Narratives as Transnational Cultural Heritage

CALL FOR CONTRIBUTIONS TO A SPECIAL ISSUE OF HUMANITIES, an international, peer reviewed, open access journal (http://www.mdpi.com/journal/humanities)
Children’s Narratives as Transnational Cultural Heritage

Children’s narratives have often been thought to sum up national character: Nils Holgersson as an introduction into Swedish landscapes and cultures, Heidi as the epitome of “Swissness,” Hansje Brinker as a prototypical Dutch hero, etc. It is important to realize, however, that they became national icons in the eyes of non-Swedish, –Swiss and – Dutch audiences, through transnational reception, adaptation and remediation: Heidi, for example, exemplified the Swiss way of life in the eyes of a German audience. Familiarizing children with and involving them in these ongoing processes of creative transnational appropriation may help them to deconstruct national stereotypes. Positively put, it may help them to feel at home in “a wider circle of we” that allows for the coexistence of local, national and transnational identifications. Contemporary citizens may well identify simultaneously as, for instance, Bavarians, Germans, and Europeans. Heritage narratives for children may facilitate the development of such a poly-local, multidimensional sense of belonging in today’s globalizing world. Young and adult readers also actively contribute to these processes of adaptation and remediation as co-creators of heritage by, for example, participating in fan cultures, as a significant dimension of their emergent citizenship.

The aim of this special issue is to explore the viability of childhood heritage for citizenship education of 8-12-year-olds in a globalizing, multi-ethnic Europe. It seeks to address issues such as: 1) How are children’s (non-)fictional narratives constructed as local, regional, national and/or transnational heritage through dynamic processes of adaptation and remediation? 2) How can childhood heritage institutions such as museums, archives and international advocacy organizations facilitate transnational appropriations of aesthetic and educative artefacts? 3) How can children be actively engaged in the process of heritage construction as a significant dimension of their emergent citizenship?

Papers may address topics such as:

  • the trope of home in children’s narratives: stories beyond the “home-away-home” plot described by Perry Nodelman in The Pleasures of Children’s Literature
  • children’s texts in an imagological perspective
  • transnational fan practices related to children’s narratives
  • transnational memory in children’s literature
  • children’s narratives as materials for citizenship education
  • children and/or young adults as active participants in heritage construction
  • children’s literature as national and transnational heritage in institutional contexts (museums, heritage libraries, etc.)
  • international organizations advocating children’s narratives as media for fostering international understanding

Length of the article: 6000-7000 words

Manuscript Submission Information
Manuscripts should be submitted online at www.mdpi.com by registering and logging into this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. All papers will be peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as short communications are invited. For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a single-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Humanities is an international peer-reviewed open access quarterly journal published by MDPI.

The Article Processing Charges (APCs) of 350 CHF (Swiss Francs) per published paper are fully funded by institutions through the Knowledge Unlatched initiative, resulting in no direct charge to authors. Submitted papers should be well formatted and use good English. Authors may use MDPI’s English editing service prior to publication or during author revisions.

Keywords

  • children’s narratives
  • childhood heritage
  • citizenship education
  • poly-local citizenship

Guest Editors

Prof. Dr. Lies Wesseling

Faculty of Arts and Social Sciences, Centre for Gender and Diversity, Maastricht University Grote Gracht 80, 6211 SZ Maastricht, The Netherlands
Website | E-Mail
Interests: cultural construction of childhood in fiction and science; narrative models for forging kinship in global adoption; the selling, forgetting and remembering of child removal in the Dutch East Indies in the (post-)colonial Netherlands.

Dr. Justyna Deszcz-Tryhubczak

Institute of English Studies, Center for Young People’s Literature and Culture, University of Wrocław, ul. Kuźnicza 22,50-138 Wrocław, Poland
Website | E-Mail
Interests: contemporary children’s literature and culture; childhood studies; participatory research

Mr. Mateusz Marecki

Institute of English Studies, Center for Young People’s Literature and Culture, University of Wrocław, ul. Kuźnicza 22,50-138 Wrocław, Poland
Website | E-Mail
Interests: cognitive poetics; literary and musical emotions; contemporary children’s literature and culture; participatory research