LEADER 06012nam 2200745 450 001 9910797365903321 005 20230516110521.0 010 $a90-272-6838-X 035 $a(CKB)3710000000449795 035 $a(EBL)2096331 035 $a(SSID)ssj0001561547 035 $a(PQKBManifestationID)16203767 035 $a(PQKBTitleCode)TC0001561547 035 $a(PQKBWorkID)14258421 035 $a(PQKB)11006649 035 $a(PQKBManifestationID)14289112 035 $a(PQKB)22573801 035 $a(DLC) 2015020275 035 $a(Au-PeEL)EBL2096331 035 $a(CaPaEBR)ebr11079044 035 $a(CaONFJC)MIL813970 035 $a(OCoLC)910009669 035 $a(MiAaPQ)EBC2096331 035 $a(EXLCZ)993710000000449795 100 $a20150728h20152015 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 00$aChildren's literature and the avant-garde /$fedited by Elina Druker, Bettina Ku?mmerling-Meibauer 210 1$aAmsterdam, Netherlands ;$aPhiladelphia, Pennsylvania :$cJohn Benjamins Publishing Company,$d2015. 210 4$d©2015 215 $a1 online resource (307 p.) 225 1 $aChildren's Literature, Culture, and Cognition,$x2212-9006 ;$vVolume 5 300 $aDescription based upon print version of record. 311 $a90-272-0159-5 320 $aIncludes bibliographical references at the end of each chapters and indexes. 327 $aChildren's Literature and the Avant-Garde; Editorial page; Title page; LCC data; Table of contents; Table of figures; Introduction; What is Avant-garde?; Avant-garde and children's books; Aims of this volume; Selected bibliography; John Ruskin and the mutual influences of children's literature and the avant-garde; The condition of childhood; Influence of improved printing for children; Children's literature and culture as Purveyors of the Grotesque; Political caricaturists as children's book illustrators; Roots of the picturebook in total design; References; Primary sources; Secondary sources 327 $aEinar Nerman - From the picturebook page to the avant-garde stageCaricature artist, painter and performer; Crow's Dream - An animal revolution; Darkness and light; From stage designs to picturebooks; Mass culture, children's literature and the avant-garde; References; Primary sources; Secondary sources; Sa?ndor Bortnyik and an inter-war Hungarian children's book; Introduction; Publication variations; The book; Sa?ndor Bortnyik: Biography and activity; Bortnyik in Germany; Return to Hungary; Hungarian modernism and its origins; Modernism and its relationship to graphic design 327 $aPotty e?s Po?tty: Illustrations and textBortnyik and children's books; Conclusion; Acknowledgments; References; Primary sources; Secondary sources; The forgotten history of avant-garde publishing for children in early twentieth-century Britain; Recovering Britain's lost avant-garde legacy; Surrealism and British children's fiction: Jean de Bossche?re The City Curious (1920); Childhood recaptured: Child art and children's literature in Britain; The E?migre? effect: Adapting European techniques to British tastes; Avant-garde echoes 327 $aExperimental landscapes: Avant-garde arts meet the English landscapeAcknowledgement; References; Primary sources; Secondary sources; The square as regal infant; Introduction; Kazimir Malevich and the avant-garde infantile; Shape, Geometry, and the Infantile; El Lissitzky and the avant-garde infantile; Vladimir Lebedev and the avant-garde infantile; Conclusion; References; Primary sources; Secondary sources; The 1929 Amsterdam exhibition of early Soviet children's picturebooks; Historical background; Publishing children's books in the early Soviet Union; Early Soviet children's books 327 $aIllustrators of Soviet children's booksEarly exhibitions of Soviet children's books; The organization of the 1929 Amsterdam exhibition; The reconstruction of the exhibition; Representativeness; The reception; Conclusions; References; Primary sources; Secondary sources; Appendix; Rupture. ideological, aesthetic, and educational transformations in Danish picturebooks around 1933; A new society, a new child, a new picturebook; The new world presented in Jørgens Hjul; The education of the socialist citizen; Aesthetic appeal in text and image 327 $aToward a pedagogic poetics. Progressive educational ideals in Denmark around 1933 330 $aThis chapter addresses what an avant-garde for children might look like, and what it might do. It is called "Surrealism for Children: Paradoxes and Possibilities" because the very notion of an avant-garde for children strikes the author as both paradoxical and not, and as both possible and impossible. In making this claim, the author argues with - and revises - his own analysis in The Avant-Garde and American Postmodernity: Small Incisive Shocks (2002), which took for granted that an avant-garde for children was both possible and critically viable. What he once accepted as a certainty, he now 410 0$aChildren's literature, culture, and cognition ;$vVolume 5. 606 $aChildren's literature$xHistory and criticism 606 $aAvant-garde (Aesthetics)$xHistory$y20th century 606 $aAvant-garde (Aesthetics)$xHistory$y21st century 606 $aLiterature, Experimental$xHistory and criticism 610 $abørne- og ungdomslitteratur. 615 0$aChildren's literature$xHistory and criticism. 615 0$aAvant-garde (Aesthetics)$xHistory 615 0$aAvant-garde (Aesthetics)$xHistory 615 0$aLiterature, Experimental$xHistory and criticism. 676 $a809/.89282 702 $aDruker$b Elina$f1970- 702 $aKu?mmerling-Meibauer$b Bettina 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910797365903321 996 $aChildren's literature and the avant-garde$93725549 997 $aUNINA