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Includes a reading group guide with discussion questions.
A simple account of September 11, 2001, explaining to the youngest about this day in a poetic and meaningful tone that says this happened, but we are going to be all right. It honors those that serve and protect our country and is a proper tribute to the heroes of this remarkable tragedy. It is a story of hope.
Looking at examples including picture books, young adult novels, and DC Comics, Lampert explores ethnic, national, and heroic identities in this pioneering and timely book that examines the ways in which cultural identities are constructed within young adult and children’s literature about the attacks of September 11, 2001.
The widespread threat of terrorist and counter-terrorist violence in the twenty-first century has created a globalized context for social interactions, transforming the ways in which young people relate to the world around them and to one another. This is the first study that reads post-9/11 and 7/7 British writing for the young as a response to this contemporary predicament, exploring how children’s writers find the means to express the local conditions and different facets of the global wars around terror. The texts examined in this book reveal a preoccupation with overcoming various forms of violence and prejudice faced by certain groups within post-terror Britain, as well as a concern with mapping out their social relations with other groups, and those concerns are set against the recurring themes of racist paranoia, anti-immigrant hostility, politicized identities, and growing up in countries transformed by the effects of terror and counter-terror. The book concentrates on the relationship between postcolonial and critical race studies, Britain’s colonial legacy, and literary representations of terrorism, tracing thematic and formal similarities in the novels of both established and emerging children’s writers such as Elizabeth Laird, Sumia Sukkar, Alan Gibbons, Muhammad Khan, Bali Rai, Nikesh Shukla, Malorie Blackman, Claire McFall, Miriam Halahmy, and Sita Brahmachari. In doing so, this study maps new connections for scholars, students, and readers of contemporary children’s fiction who are interested in how such writing addresses some of the most pressing issues affecting us today, including survival after terror, migration, and community building.
This peer-reviewed collection of critical essays on children’s literature addresses contemporary debates regarding what constitutes “suitable” texts for young audiences. The volume examines what adult writers “tell” their child readers with particular focus on the following areas: the representation of sexuality, gender and the body; the treatment of death and trauma; concepts of race, prejudice and national identity; and the use of children’s literature as a tool for socializing, acculturating, politicizing and educating children. The focus of the collection is on Irish and international fiction addressed at readers from mid-childhood to young adulthood. One section of the book examines what child readers were told in the past while another section examines young readers’ capacity for self-invention through the participatory culture of the twenty-first century. Topics explored include the controversial issue of teenage prostitution and the commodification of the male body in contemporary young adult fiction, the allure of celebrity and the impact of today’s surveillance culture on young people, the representation of the Holocaust for young readers, and representations of Muslim characters and culture in a post-9/11 mediascape. This collection, which offers insights into a range of literary constructions and representations of childhood, will be a valuable resource for students and scholars working in children’s literature, youth culture and childhood studies. Contributors: Jane Suzanne Carroll, Norma Clarke, Shehrazade Emmambokus, Michele Gill, Marnie Hay, Eimear Hegarty, Nora Maguire, Kerry Mallan, Anne Markey, Kimberley Reynolds, Beth Rodgers, Kay Sambell. This is the fifth publication of the Irish Society for the Study of Children’s Literature (ISSCL). It follows the Society’s publication of Studies in Children’s Literature 1500–2000 (Dublin: Four Courts Press, 2004), Treasure Islands: Studies in Children’s Literature (Dublin: Four Courts Press, 2006), Divided Worlds: Studies in Children’s Literature (Dublin: Four Courts Press, 2007) and Young Irelands: Studies in Children’s Literature (Dublin: Four Courts Press, 2011).
Winner of the Children’s Literature Association’s 2020 Edited Book Award Contributions by Hena Ahmad, Linda Pierce Allen, Mary J. Henderson Couzelis, Sarah Park Dahlen, Lan Dong, Tomo Hattori, Jennifer Ho, Ymitri Mathison, Leah Milne, Joy Takako Taylor, and Traise Yamamoto Often referred to as the model minority, Asian American children and adolescents feel pressured to perform academically and be disinterested in sports, with the exception of martial arts. Boys are often stereotyped as physically unattractive nerds and girls as petite and beautiful. Many Americans remain unaware of the diversity of ethnicities and races the term Asian American comprises, with Asian American adolescents proving to be more invisible than adults. As a result, Asian American adolescents are continually searching for their identity and own place in American society. For these kids, being or considered to be American becomes a challenge in itself as they assert their Asian and American identities; claim their own ethnic identity, be they immigrant or American-born; and negotiate their ethnic communities. The contributors to Growing Up Asian American in Young Adult Fiction focus on moving beyond stereotypes to examine how Asian American children and adolescents define their unique identities. Chapters focus on primary texts from many ethnicities, such as Chinese, Korean, Filipino, Japanese, Vietnamese, South Asian, and Hawaiian. Individual chapters, crossing cultural, linguistic, and racial boundaries, negotiate the complex terrain of Asian American children’s and teenagers’ identities. Chapters cover such topics as internalized racism and self-loathing; hypersexualization of Asian American females in graphic novels; interracial friendships; transnational adoptions and birth searches; food as a means of assimilation and resistance; commodity racism and the tourist gaze; the hostile and alienating environment generated by the War on Terror; and many other topics.
First published in 1992, this Sourcebook is a basic working tool for all those concerned with children’s reading. It will help librarians and teachers to select a comprehensive stock of children’s’ fiction for their institutions.The authors in the sourcebook have been selected on the grounds of importance, popularity and current availability. Author entries are arranged in alphabetical order and indexes provided by title, series, age-range and genre. Each entry consists of some background information, and evaluative comment on style of the book, a list of the authors books with publisher, date and price, and literary agent where applicable. There is a suggestion of similar authors, sequels, related series and reader age range.
Peter Pan, Jacqueline Rose contends, forces us to question what it is we are doing in the endless production and dissemination of children's fiction. In a preface, written for this edition, Rose considers some of Peter Pan's new guises and their implications. From Spielberg's Hook, to the lesbian production of the play at the London Drill Hall in 1991, to debates in the English House of Lords, to a newly claimed status as the icon of transvestite culture, Peter Pan continues to demonstrate its bizarre renewability as a cultural fetish of our times.
Beginning with Rudyard Kipling and Edith Nesbit and concluding with best-selling series still ongoing at the time of writing, this volume examines works of twentieth- and twenty-first-century children's literature that incorporate character types, settings, and narratives derived from the Greco-Roman past. Drawing on a cognitive poetics approach to reception studies, it argues that authors typically employ a limited and powerful set of spatial metaphors - palimpsest, map, and fractal - to organize the classical past for preteen and adolescent readers. Palimpsest texts see the past as a collection of strata in which each new era forms a layer superimposed upon a foundation laid earlier; map texts use the metaphor of the mappable journey to represent a protagonist's process of maturing while gaining knowledge of the self and/or the world; fractal texts, in which small parts of the narrative are thematically identical to the whole, present the past in a way that implies that history is infinitely repeatable. While a given text may embrace multiple metaphors in presenting the past, associations between dominant metaphors, genre, and outlook emerge from the case studies examined in each chapter, revealing remarkable thematic continuities in how the past is represented and how agency is attributed to protagonists: each model, it is suggested, uses the classical past to urge and thus perhaps to develop a particular approach to life.
Looks at gender in relation to children's fiction And The role that language plays in this relationship.