I.

CHILDREN AND CHILDREN’S

LITERATURE

PREPARATION
Give your OWN ANSWERS to the following questions. (Do not
plagiarize.)
1. Why do we need to have literature specifically written for children?
Literature for children is important because it gives children opportunities for
literature to respond to them,  it appreciates the students' own and other cultural
heritage that will help students to foster emotional insight and creativity and of
course it promotes growth literature and development of their personality and
social capabilities that communicates important to literature.

2. What differences and similarities do you see between children's literature

and adult literature?

The literature of children is written with view of children's readers. It is also

written to take into account the reading capabilities of children of a certain age. It
is often published on subjects that are most certainly of children's concern.
Children's literature refers to books written by children of a certain age range. The
themes and reading age level are expected to be compatible. A children's book
with a reading age of six, for example, does not usually deal with puberty problems.
However, as the differences between reading ages have become better known, an
increasing number of ‘easy read' books with topics that cater to older readers but
don't place such a high demand on reading age are being available. On the other
side, adult literature is a euphemism for books that are specifically focused on
sexual acts, or have a heavy component of horror, abuse, or gore that may make
them inappropriate or unlawful for children in some jurisdictions.

3. What kinds of literary experience did you enjoy as a child? What kinds of

literary experience do you enjoy now as an adult?

When I was young, I used to read folktales and I even imagine every
scene that the story. There are many ways literature can be expressed.
Some people depict life experiences in the sense of literature. As I grow
older, I like reading novels that I can apply to my own life with my own tastes.
I enjoy reading romantic novels and poems most frequently. Romantic
novels give you an insight into various facets of marriage and the reality of
strife in our lives. I think that romantic novels also explain the mysteries of
life offered by this universe. The last novels that I have read are William
Shakespeare's "Romeo and Juliet" and Jane Austen's "Pride and Prejudice."
I still had no literary impressions in the early stages of my understanding
literature.

4. What are the purposes for children to read literature?

The purpose for children to read literature is not just for their own but in
the school environment and at home, children's literature is highly important.
Teachers and parents must be able to discern between quality and poor
literature in order to provide students with access to the best books but also
promoting these essential qualities of literature and taking developmental realms
 into account. Children's literature is important in that it allows students of all
ages to adapt to literature while also developing cultural literacy, emotional
maturity and imagination, social and personality formation, and literature history.
Reading quality literature to children will help them grow into responsible,
successful, and loving adults.

5. What makes a good children's book? Please list all the important
elements.

6.

 Story and Language-

Children's books have enough space for word play, the vocabulary should be easy
enough for young readers to comprehend.
 Structure-
Test it by reading it aloud or, better still, have someone unfamiliar with it read it to you.
Read it to ensure that the cadence fits and that the rhythm is easy to understand.
Remove complex phrasing and extra syllables while maintaining the rhythm.
 Illustrations-
Consider how the drawings will complement and reinforce the text as well as the story's
tone. You would also like to look at this great set.
 Storyboard-
will assist you in determining how the words and drawings will communicate in your
book, as well as how many illustrations you will need. Determine which text will appear
on each page and which image will complement it.
Themes-
Consider what you're going to say and how to say it clearly and simply.
 Target Audience-
Mostly intended for children from one years to the pre-school, although they can also
achieve higher levels. And I always remember that slightly older children will be able to
read them aloud to younger children, as my own children did when they were younger.

7. Read the poem "The Owl and the Pussy-Cat" written by Edward Lear. Then
decide whether or not you think it is a good poem for children to read. Try to
figure out the reasons that led you to your judgment. (*You can also read this
poem along with its pictures from Bedtime-Story Classic).

It is a great poem for the children because the poem itself means the
'sense' shouldn't be created. However, it is worth exploring how the poem
has gained its reputation as a poem reaches legendary status. It may be
does not seem to extend the standard principles of literary review to
nonsense literature. Well, it’s in a fantastic universe for children, and maybe
only love the exquisite use of vocabulary, rhyme and imagery in reading
such poem.

PRESENTATION

Definition of Children's Literature

 (*This part is based on Lynch-Brown, C. & Tomlinson, C. (2005). Essentials of Children’s
Literature, 5th edition. Chapter 1. Learning about children and their literature.)

Definition:
“Children’s literature is good quality trade books for children
from birth to adolescence, covering topics of
relevance and interests to children of those ages,
through prose and poetry, fiction and nonfiction.” (p. 3)
*Note: A trade book, by design and content, is primarily for the purpose of entertainment
and information. Trade books are often referred to as library books and story books.
They are different from textbooks, which are for the purpose of instruction.

A) Content
● Topic: 1) experiences of childhood set in the past, present, or future (e.g.,
enjoying birthday parties, anticipating adulthood, getting a new pet, enduring
siblings, and dealing with family situations); 2) things that are of interest to
children (e.g., dinosaurs, Egyptian mummies, world records)
● Manner: 1)  stories are told in a forthright, humorous, or suspenseful manner
(stories that are told in nostalgic or overly sentimental terms are
inappropriate); 2) stories should emphasize the hope for a better future
rather than the hopelessness and utter despair of the moment.

B) Quality
“The best children’s books offer readers enjoyment as well
as memorable characters and situations and valuable insights into
the human condition.” (p. 4)
Quality of writing:
● originality and importance of ideas
● imaginative use of language
● beauty of literary and artistic style
*Note: Children usually enjoy reading fast-moving, adventure-filled, and easily
predictable stories. These works have won no literary prizes, but they encourage
children to read independently and read more.

Values of Literature to Children

(*This part is based on Lynch-Brown, C. & Tomlinson, C. (2005). Essentials of Children’s
Literature, 5th edition. Chapter 1. Learning about children and their literature.)

A) The Personal Value

- enjoyment
- Imagination and inspiration
- vicarious experience
- understanding and empathy
- cultural heritage
- moral reasoning
- literary and artistic preferences

B) The Academic Value

- improving reading skills
 - developing writing voice and style
- learning content-area knowledge
- promoting art appreciation

Children's Literature and Child Development

(*This part is based on 1) Lynch-Brown, C. & Tomlinson, C.

(2005). Essentials of Children’s Literature (5th edition). Chapter 1.
Learning about children and their literature; and 2) Russell, D. L.
(2009). Literature for children: a short introduction (6th edition).
Chapter 2. The study of childhood)

See a chart of children's developmental stages

Ages 0-2 - nursery rhymes for reading aloud
  - brief, plotless, concept books with brightly colored
sensorimotor pictures
period - interactive books (e.g. touching and opening little
doors)
- often in the form of heavy, nontoxic cardboard or
cloth books
 
Ages 2-4 - simple-plot picture storybooks and folktales for
reading aloud
pre-conceptual - nursery rhymes for them to memorize
stage - concept books including numbers, letters, and
more complex concepts like opposites (e.g.
counting books, word books, and illustrated
dictionaries) 
Ages 4-7 - easy-to-read picture storybooks, folktales, and
Beginning   rhymes for reading aloud, storytelling, and “play-
readers reading”
  - informational books for beginning readers that help
intuitive stage children find out about the world and how it works
- they begin to understand the notion of stories,
  letter-sound relationship, left-to-right and top-to-
bottom progression of print on the page, and a
slight vocabulary
Ages 7-9 - longer picture books and short chapter books with
Transitional simple, straightforward plots and writing styles
readers - their interest in folktales begin to fall off by age 8;
period of concrete they show more interest in realistic stories and
operations adventures of young characters
(7-11 years)

Ages 9-12 - sophisticated picture storybooks and novels

Competent  (chapter books) with more complicated plots,
readers including realistic fiction (survival stories, peer
stories, animal stories, mysteries, and romances),
  historical fiction, and science fiction
- series books containing similar topics, recurring
characters, and formulaic patterns of plots 
 Some Trends in Children’s Literature
(This part is based on Lynch-Brown, C. & Tomlinson, C. (2005). Essentials of Children’s
Literature, 5th edition. Chapter 1. Learning about children and their literature.)
● Increased numbers of adults reading children’s books, primarily because of
the Harry Potter phenomenon.
● Increasing dominance of illustration in children’s books. Readers are
becoming more visually oriented as they spend more time watching television
and playing video games and spend less time reading. 
● Fewer full-length novels and more short, high-interest, low-reading-level
novels begins written for 10- to 14-year-olds.
● Rapid growth of technology in all areas of publishing. As schools adopt
computerized managements reading programs, reading and books become
less a means to enjoyment and discovering new information and more a matter
of gaining points.
● An increase in the publication of bilingual books to accommodate the rapid
increase in second language learner students.
● Increased merchandising of book-related paraphernalia, such as games, craft
kits, cookbooks, dolls, and doll accessories.

"When I was ten, I read fairy tales in secret and would have been
ashamed if I had been found doing so. Now that I am fifty I read them
openly. When I became a man I put away childish things, including the
fear of childishness and the desire to be very
grownup."                            
 ~ from C. S. Lewis (1952)

HISTORICAL BACKGROUND OF CHILDREN’S LITERATURE

The Classical World: Ancient Greece and Rome

 [850 BCE to 476 CE]

● Oral literature was the principal entertainment for most people during this
period. All literature began with the ancient art of storytelling. The purpose of
storytelling was to entertain each other, to comfort each other, to instruct the
young in the lessons of living, to pass on their religious and cultural heritage.
● There was no distinction between adult and children’s literature.
● Greek stories (500 BCE):
o Stories of the Trojan War (from Homer’s Iliad), the travels of Odysseus
(from Homer’s Odyssey), Jason and the Golden Fleece, and the
adventures of Hercules.
o Aesop's Fables: animal tales with pointed morals to instruct children in,
cultural and personal values.
● Roman stories (100 CE):
o Tales of Virgil's Aeneid (stories of Aeneas, the Trojan hero who was
credited with founding the Roman race)
o Tales of Ovid’s Metamorphose (the tales of the gods, goddesses, heroes,
and heroines of the classical world)
o See Online information on Vergil's Aeneid - Ovid's Metamorphoses
● Modern retellings of Greek and Roman stories:
o The most famous ones are Padraic Colum’s The Children’s
Homer (see sample pages), The Golden Fleece and the Heroes Who
Lived Before Achilles (see the text), and The Adventures of Odysseus and
the Tale of Troy (see the text)
o Online texts: Bulfinch’s Mythology (by Thomas Bulfinch) – The Age of
Fables or Stories of Gods and Heroes, such as The Golden Fleece, The
Adventures of Ulysses, and The Adventures of Aeneas.

The Middle Ages (The Medieval World)

Between the Fall of Rome and the Rise of the Renaissance
 [476 to 1450 CE]

● Background: The Roman Catholic Church dominated the social and political
scene and was responsible for what education there was. Education was a
luxury. Books were extremely rare and expensive, and few people could read or
write.
● Biblical stories were very popular. The lives of saints were used to set
examples for young people.
● Secular stories (Medieval romances) were also popular, such as the romantic
tales of the legendary King Arthur and his Knights of the Round Table, the epic
describing the great heroes Roland (Song of Roland from France) or the Cid
(The Lay of the Cid from Spain) or even Beowulf (from the Norse)
● Children’s versions of these tales:
o Rosemary Sutcliff’s Dragon Slayer – a retelling of Beowulf and her King
Arthur stories: "Sword and the Circle", "Light Beyond the Forest", "Road
to Camlann"
o Online texts: Bulfinch’s Mythology (by Thomas Bulfinch) –
Beowulf; Children’s Bible Stories, God’s Stories for Children 

The Renaissance
A time for a rebirth of the ideals of
ancient Greece and Rome 
 [1450 - 1700]
● Background: 
o Johannes Gutenberg's (around 1450) invention of the movable type
printing press (活字排版印刷) made it possible to print multiple copies
of books, thus reducing time, labor and cost.
o This technology also made it possible to spread information quickly;
therefore, this opened the door to mass education and increased literacy.
● During the early Renaissance:
 o Most books for children were textbooks or educational books – “books of
courtesy” giving lessons in proper behavior for young gentlemen
(Women did not yet merit their own books).
o The earliest children’s picture book: John Comenius’s Orbis
Sensualium Pictus. It first appeared as a German/Latin version in 1658
and as an English/Latin version in 1659, used for the teaching of Latin
through pictures. This book provided a wealth of information about
17th century European life (see more information about the book: Orbis
Sensualium Pictus – An Invitation to Wisdom and
Schooling, Orbis Sensualium Pictus – A brief introduction; and the
author About John Comenius, John Comenius and his writing textbooks)
● In the 17th Century – two specific influences that brought a heightened sense
of special needs of the child
o Spiritual Development: the rise of Puritanism, which placed special
emphasis on the individual's need to tend to his or her own salvation
o Intellectual Development: work of John Locke, the English philosopher
of education
A) Puritanism
o The Puritans placed a high value on reading because they believed the
Bible should be accessible to everyone and it helped ensure material
success. The Puritans are credited with encouraging literacy among the
middle class.
o Hornbooks: consisting of simple wooden slabs, usually with a handle.
Parchment containing basic language lessons (the alphabet, numbers,
and so on) was fastened to the wood and was then covered with
transparent horn (from cattle, sheep, goats), a primitive form of
lamination that made these books very durable (see example 1, example
2).
o Battledores: cheap books made of folded cardboard and usually
containing educational material. They were widely used into the
19th century (see example 1, example 2).
o New England Primer: the most famous early schoolbooks, first
appearing around 1690 and continuing in print in some form or another
until 1886. It introduced young Puritan children to the alphabet through
rhymes and then to increasingly sophisticated reading material, all with a
religious intent (see more information about the book: New England
Primer).
o Chapbooks: small and cheaply made books containing fairy tales and
other secular works. Few chapbooks before the late eighteenth century
were written with children in mind, but by 1800 chapbooks for children
were being produced in some quantity. Many chapbooks were badly
written, and they were often badly printed, but nonetheless they display a
raw kind of energy and excitement. However, the Puritans frowned on
these books (see example 1, example 2).
 B) John Locke and Educational Philosophy
o Thoughts Concerning Education: a famous essay written by John Locke
in 1693, in which he formulated his notion that the minds of young
children were similar to blank slates (he called them tabula rasa) waiting
to be filled up. He believed every child had equal capabilities to learn and
adults had the responsibility to provide proper education.
 o Children continued to adopt certain adult works of literature. Some
famous works were retold from time to time and rewritten in various
versions for children in the later time:
▪ The Pilgrim’s Progress (1678) by John Bunyan – the story of a
man’s journey to Heaven
▪ Robinson Crusoe (1719) by Daniel Defoe – a shipwreck
adventure tale that is the ancestor of numerous survival stories
▪ Gulliver’s Travels (1726) by Jonathan Swiff – a satirical travel
fantasy 

The 18th and Early 19th Centuries

 [1700 - 1830]
● John Newbery and Children’s Book Publishing
o The serious publishing of children’s books began notably by John
Newbery (1713-1778), a clever English bookseller. Newbery first
successfully promoted children’s literature.
o His books were largely collections of stories and poems with crude
woodblock illustrations by various (usually anonymous) writers
(including himself) (see more information on John Newbery’s
books and John Newbery ).
o A Little Pretty Pocket Book (1744): one of the first published children’s
books designed particularly to entertain children as well as to teach
them.

● Rousseau and the Moral Tale

o Rousseau expressed his ideas about education in Emile (1762), in which
he emphasized the importance of moral development that could be
best accomplished through living a simple life.
o Rousseau’s followers wrote didactic and moralistic books to teach
children how to be good and proper human beings.  
o Most writers of children’s moralistic tales were women because
children’s writing was considered inferior to adult writing by men (see
more information on Moralistic Tales). For example, The Purple Jar”
(1796) by Maria Edgeworth.

● The Revival of old Folktales

The didactic element in children’s books persisted through the early 19th
century, but the old folktales from oral tradition revived during this time.
o Tales of Mother Goose, originally retold and published by the Frenchman
Charles Parrault (1697) and then translated and published in English in
1729. The retellings, including Cinderella, Little Red Riding Hood, and
Sleeping Beauty, soon became staples in English nurseries (see more
information on Mother Goose Origins, Selected Poetry of Mother Goose
in the 18th century, Charles Perrault's Mother Goose Tales, pictures
from Charles Perrault's Mother Goose Tales). These stories were usually
retold for a moral purpose.
o Tales from the Arabian Nights, published by Elizabeth Newbery (1791),
the first children’s edition of the Middle Eastern tales, featuring Sinbad
the Sailor and Aladdin and his lamp (see Tales from the Arabian Nights
1888 by Sir Richard Burton, Arabian Nights from Candlelight stories)
 o Grimms’ Nursery and Household Tales (1812, Germany), published at
the beginning of the 19th century, inspired a flurry of folktale collecting
throughout Europe.
o Hans Christian Anderson’s Fairy Tales (1835, Denmark), considered the
first book containing modern fairy tales (i.e. all the fairy tales were
created and written, but not collected, by Anderson).
o Joseph Jacobs’ English Fairy Tales (1894, England)
o Some adults felt them unsuitable for children as they contained adult
themes, alarming frankness and violence, lack of moral messages

PRACTICE!! PRACTICE!! PRACTICE!!

TASK 1:
Collect 3 children’s books and compare them with books read by adults.
Prepare a graphic organizer to depict the comparison and present it through a
video.

TASK 2:
Gather an example of literature for each period mentioned and do a
storytelling to group of kids. Take a video of yourself while doing the storytelling.

TASK 3:
Read a children’s book and show how the book can be used to develop
personal and academic values in children. Use examples from the book to
support your presentation.

 
 GRATITUDE
DID I EVER TELL YOU HOW LUCKY YOU ARE
BY: Dr. Seuss
Who better than Dr. Seuss to remind us how lucky we truly are, even when we’re down
in the dumps?
THE MORAL OF THE STORY: Focus on what you have and don’t dwell on the bad.
The story centers around Duckie, a young boy who visits his friend the , Old Man, in the
Desert of Drize. Here, the Old Man sings him tales of those that are far unluckier than
he. He goes on to share the stories of the Bee Watchers, Ali Sard and Gucky Gown, to
name a few, in the hopes of shedding light on how fantastic Duckie’s own life really is.

The story can be interpreted as being a overarching message to young readers to stop
and think about what things they are grateful for in their lives. Young children are often
more receptive to such messages and indeed, understanding the concept of being
grateful from a young age will help them to maintain their outlook on life as they get
older.

IT COULD ALWAYS BE WORSE

BY: Margot Zemach
This Yiddish folktale depicts gratitude in an uproarious light. When an unfortunate man
follows the advice from his Rabbi, his life seems to go from bad to worse – or does it?
THE MORAL OF THE STORY: Things are not always as bad as they seem.

A poor man is distraught in the story because of his cramped living arrangements,
which include himself, his mother, his wife, and six children in a small one-room shack.
In his frustration, he seeks advice from the Rabbi. The Rabbi's strange suggestion is to
put the chickens inside as well. The poor man goes home and does this, and then
 returns to the Rabbi, telling him how much more crowded the house is now. The Rabbi
then instructs him to include the goat in the family. This brings more livestock to an
already overcrowded home. Finally, the Rabbi orders that all of the animals be
removed. Oh, no. Surprisingly, the house is now spacious enough for the family.
The story is humorous, but there is definitely a lesson to be learned here.
Even very young kids will appreciate the humor and the great illustrations
while older kids will grasp the meaning of the story more.
SYLVESTER AND THE MAGIC PEBBLE
BY: William Steig
Sylvester the donkey is thrilled to have found a magic pebble! But when he encounters
a lion on his way home, he must make a decision that separates him from his family.
When he’s finally reunited with them, he learns a valuable lesson.
THE MORAL OF THE STORY: Always be grateful for family.

The book teaches children that their parents love them more than anything and family is
the most important thing in life. In the end it didn't matter what Sylvester and his family
could have got with the magic pebble, they had each other and that was all they needed
to be happy. Steig, William.

Task 1:          In groups of 4, collect 3 children’s books and compare them with books read by
adults. Prepare a graphic organiser to depict the comparison and present it.

THE GIVING TREE

BY: Shel Silverstein
A classic by Shel Silverstein, this tender story is that of a boy who learns a lesson about
the gift of giving - but only after it’s too late.
THE MORAL OF THE STORY: Generosity should be appreciated and returned.
THE MINE-O-SAUR
BY: Sudipta Bardhan-Quallen
The Mine-O-Saur is always snatching up all the toys, grabbing all the snacks and
hoarding all the blocks, yelling “mine, mine, mine!”  When will he learn the secret to
making friends?
THE MORAL OF THE STORY: Sharing is caring.
THE QUILTMAKER'S GIFT
BY: Jeff Brumbeau
The generous Quiltmaker spends all of her time making quilts only to give them away.
When she’s approached by the greedy king to make him a quilt, she agrees, but only
under certain conditions.
THE MORAL OF THE STORY: Giving is the true secret to happiness.
Task 2:          In groups of 4 gather an example of literature for each genre mentioned and
present it in class justifying your choice.

Epic

An epic is a tale, often told in verse, of a heroic figure on a quest. You see epics in
literature, movies, and even music. A few epic examples you’ll see in literature, movies,
and music include:

 The Hobbit by J.R.R. Tolkien

 The Last Legion (2007)
 Skylon by Gruff Rhys

Military

The military genre usually involves stories of battle and espionage from the war front.
Examples of this genre include titles like:

 We Were Soldiers Once… and Young by Lt. Gen. Harold G. Moore

 Black Hawk Down (2001)
 Soldiers and Jesus by James Otto

Spy Fiction

This genre, in the James Bond vein, recounts the pulse-pounding expeditions of spies in
various agencies throughout the world. Examples include:

 The Secret Agent by Joseph Conrad

 Red Sparrow (2018)
 Dangerous by Big Data, Joywave

Westerns

This genre covers the Wild West, typically including gun duels, train robberies, heists,
and showdowns, known collectively as Westerns. A few fun examples you might know
include:

 True Grit by Charles Portis

 The Magnificent Seven (2016)
 Ghost Riders in the Sky by Johnny Cash