A literary destination for children and children's literature enthusiasts, Stockholm's concert hall is the venue for not only the Nobel Prize in Literature but also the world's largest prize in ...children's and young-adult literature, the Astrid Lindgren Memorial Award (alma).
Stargirl (2000) by Jerry Spinelli Although the title indicates this novel's focus on a female protagonist, the narrative is told from the point of view of a male character, Leo, as he observes a new ...student make her way in his high school. Jumping OffSwings (2009) by Jo Knowles Told through multiple perspectives, this book tells the story of two teens who are forced to deal with the consequences after they find out their "one-night stand" has resulted in pregnancy.
a poem about Lillebror and Karlsson Belov, Igor; Platt, Kevin M. F.; Vinokour, Maya
World literature today,
11/2011, Volume:
85, Issue:
6
Journal Article
Researchers at the Astrid Lindgren Children’s Hospital and Karolinska Institute, Stockholm, Sweden, reviewed medical records of 71 of 93 children who were treated for acute encephalitis at 5 weeks to ...17 years of age in 2000-2004, using questionnaires and a structured telephone interview conducted with the parents.
...it faces barriers abroad because "a particular programme rooted in one culture, and thus attractive in that environment, will have a diminished appeal elsewhere as viewers find it difficult to ...identify with the style, values, beliefs, institutions and behavioural patterns of the material in question" (Hoskins and Mirus 500). The two economists considered the cultural discount as influential in shaping the international flow of cultural products as factors such as production costs and size of home markets.1 With the cultural discount concept in mind, this paper examines newspaper articles and reviews, trade journals, film databases, and theater attendance statistics to discuss how the producers of Pippi Långstrump consciously sought to disengage their main character from some of her cultural roots and how that attempt was viewed by critics in Sweden and in one of the intended foreign markets, the United States. ...the production and response to Pippi are compared with those of an earlier animated film based on another children's book character, Pelle Svanslös (Peter-No-Tail).
Astrid Lindgren, author of the famed Pippi Longstocking novels, is perhaps one of the most significant children's authors of the last half of the twentieth century. In this collection contributors ...consider films, music, and picturebooks relating to Lindgren, in addition to the author's reception internationally. Touching on everything from the Astrid Lindgren theme park at Vimmerby, Sweden to the hidden folk songs in Lindgren's works to the use of nostalgia in film adaptations of Lindgren's novels, this collection offers an important international and intermedial portrait of Lindgren research today.
Bettina Kümmerling-Meibauer is Professor in the German Department at the University of Tübingen. In 2010 she held the position of guest professor in memory of Astrid Lindgren at Linnaeus-University of Kalmar/Växjö, Sweden. She was also one of the advisory editors for The Oxford Encyclopedia of Children’s Literature .
Astrid Surmatz is tenured Assistant Professor in Swedish and Scandinavian Literature at the University of Amsterdam. In 2008 she was guest professor in memory of Astrid Lindgen at Linnaeus-University of KalmarVäxjö/, Sweden, where she continues as a visiting professor. She wrote her dissertation on Astrid Lindgren’s Pippi Longstocking in various translations and is works currently on Linnaeus.
"An impressively diverse collection in terms of both methodology and subject... The essays in this volume demonstrate how Astrid Lindgren defined and continues to resonate with both a specific national identity and the citizenry of the so-called universal republic of childhood." - Karen Coats, Children's Literature Association Quarterly
Introduction Bettina Kümmerling-Meibauer and Astrid Surmatz I. Different Aspects of the International Reception 1. Pippi Longstocking in the United States: Representations and Reception Eva-Maria Metcalf 2. Pippi Longstocking in South Africa: Translation and Reception Rolf Annas 3. We Love What We Know: The Canonicity of Pippi Longstocking in Different Media in Flanders Sara van den Bossche II. Intermedial Studies: Films 4. Re-making the National Past: The Uses of Nostalgia in the Astrid Lindgren Films of the 1980s and 1990s Anders Åberg 5. Intermediality in Children’s Literature: Reflections of Adult Relationships in the Film "Ronia, the Robber’s Daughter" Tobias Kurwinkel and Philipp Schmerheim 6. Bill Bergson, a Political Statement or a Symbol of Swedishness? A Comparison of Astrid Lindgren’s Bill Bergson Texts with the 1990s Film Adaptations Corina Löwe III. Intermedial Studies: Illustrations and Picture Books 7. Visualizing People: Multimodal Character Construction in Astrid Lindgren’s Work Maria Nikolajeva 8. Astrid Lindgren’s Picturebooks: One Text -- Two Illustrators Agnes Bjorvand 9. Photographical Picture Books by Anna Riwkin-Brick and Astrid Lindgren Helene Ehriander 10. To Mirror the Real: Ideology and Aesthetics in Photographic Picturebooks Elina Druker IV. Intermedial Studies: Music, Sculpture, and Architecture 11. In Heaven There Is Great Joy: Folk Song Tradition in the Writings of Astrid Lindgren Magnus Gustafsson 12. The Sound and Music of Astrid Lindgren Björn Sundmark 13. Disbeliefs in the Sculptural Imagination: On Theatricality and Intermediality in the Astrid Lindgren Memorials Jens Arvidson 14. Astrid Lindgren’s World in Vimmerby – a "Total Work of Art"? Heidrun Führer
Giri and Ninjo Miyazaki's involvement with animated adaptations of classic children's literature began in the 1970s, and as noted above, the roots of My Neighbor Totoro are strongly evident in these ...adaptations from their very basic premise; the shows follow young girls through their everyday life in a somewhat slow pace, which is very different from the fast-moving plots of the other projects that involved Miyazaki prior to his becoming a feature-film director. The Panda Kopanda films gave the inspiration for the design of Mei s character and the fantasy of friendship with a big, furry creature; Arupusu no Shôjo Haiji made the separation between the adult, Giri-oriented world and the childhood, Ninjo world physical, linking wild natural landscapes to the latter and emphasizing the joy of being absorbed into these landscapes as the ultimate expression of emotion; and Akage no Anne supplied the template for the relationship between an older and younger sister, and also the notion of passage from childhood to adulthood, from Ninjo to Giri.
What most international (and Swedish) reviewers overlook is that die financial and moral corruptibility at the heart of The Girl with the Dragon Tattoo is so profound as to indict most attributes ...associated with contemporary Sweden as democratic and gender-equal.\n With no author to interview, feature in bookstore readings, or market in media appearances, Norstedts invested over a million Swedish crowns in promoting advance copies, building a separate website on Larsson and the series, and working with several advertising and publicity firms to shift the focus of the launch to consumers that could spread the word; this strategy included one thousand advertising placards in local transit systems all over Sweden, making it the most expensive campaign that Norstedts had ever undertaken for a debut novelist (Winkler; see also Ullberg). Knopf's strategies for promoting The Girl with the Dragon Tattoo in the US seems to have drawn on similar strategies of shaping individual consumer patterns rather than relying on media exposure, issuing unusually large quantities of advance copies distributed to independent book sellers and through retail channels, and including an invitation tiirough an ad in The New York Times Book Review diat anybody who wrote and requested a copy of the book could indeed receive one in advance of die publication date (Woodroof).
In Astrid Lindgren's authorship, there are many bodies in motion, and one of her most movable and energetic characters is Pippi Longstocking. In the illustrated novels about Pippi (Lindgren and Nyman
...1945
1946
, and 1948) there are relatively few pictures, and as a result, Lindgren's words carry most of the story. In the novels, her words have a greater functional load (Kress
2003
, 46) than Nyman's pictures. Naturally then, the words convey most of the information about Pippi and the other characters' movements. But how does the portrayal of bodies in motion change when Pippi is portrayed in picturebooks where the pictures have a lot more space, ie, a greater functional load than in the illustrated novels? The aim of this article is to study bodies in motion in Astrid Lindgren's and Ingrid Nyman's picturebook Do you Know Pippi Longstocking? (1947). My main focus will be how words and illustrations - together and separately - provide the reader with information about Pippi's movements in this picturebook.
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