Download Postmodern Picturebooks: Play, Parody, and by Lawrence R. Sipe, Sylvia Pantaleo PDF
By Lawrence R. Sipe, Sylvia Pantaleo
During the last 15 years, there was a stated pattern towards a selected form of picturebook that many could label "postmodern." Postmodern picturebooks have stretched our traditional proposal of what constitutes a picturebook, in addition to what it skill to be an engaged reader of those texts. The foreign researchers and students integrated during this compelling choice of paintings seriously study and talk about postmodern picturebooks, and replicate upon their distinctive contributions to either the sector of children’s literature and to the improvement of recent literacies for baby, adolescent, and grownup readers.
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Extra resources for Postmodern Picturebooks: Play, Parody, and Self-Referentiality (Routledge Research in Education)
Sample text
Tan’s work combines traditional craftskills with a postmodern tone, including references to surrealism and other movements, and clear evidence of his interest in the comic book format. net) is full of insights into his working process. It also inadvertently highlights what can be major disparities between the levels on which “word people” and “picture people” (excuse the crass generalisation) experience and process information. It is often assumed that a book fi rst emerges as a narrative idea that requires illustrating, but many picturebooks evolve from random visual musings that are somehow threaded together to make a kind of visual, sequential sense.
This means that these books are not subject to the same kind of commercial pressures as, for example, in the UK (where the need to sell coeditions invariably drives down standards), and the publishers can focus on quality. There is also a far less rigid distinction here between the idea of a children’s book and a book for adults. These books are bought by and for all ages. Perhaps we can dare to hope that the postmodern picturebook is leading a revival of illustration in books for adults, with growing awareness of the intellectual demands that narrative pictures can make.
My point is that collage and assembled artwork, so characteristic of many postmodern picturebooks, is no substitute for drawing. If schools can begin to understand the importance of drawing in terms of intellectual development we may see a visual literacy emerge which goes a little deeper than acquired decoding skills. Learning to draw means learning to see. This might in turn lead to a higher incidence of quality postmodern picturebooks such as those by Stian Hole and Toby Morison. With so many contemporary picturebooks falling easily under the postmodern label, and with most people in the publishing industry agreeing that there have been far too many mediocre picturebooks published recently, it seems to me that there is a need for distinctions to be drawn between the picturebook as amusing throwaway postmodernism, and the picturebook as art, if I may use that frightening word.