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      <pubDate>2022-11-11 10:23:45 UTC</pubDate>
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         <title>How picturebooks work </title>
         <author>flaviapariciani</author>
         <link>https://padlet.com/flaviapariciani/z6oxyeic67o2hubn/wish/2381090015</link>
         <description><![CDATA[<div>in the conclusion, the most effective examples create some tension between the information included in the works and in the pictures, so that they collaborate rather than simply repeat redundantly what is communicated in the other mode of expression (most interesting texts have their origins in the 1980s and 1990s).&nbsp;<br>All these uncertain iconotexts, where the readers are drawn into decoding aspects of the picturebooks that frequently remain ambiguous despite their attention, reflect in their methodologies the way life has changed in the last century. We have shifted from absolutes to relativities, from understood rules of behavior to personal preference, from shared values to situational ethics, from community to anomie.&nbsp;<br>These books diverge from the traditional concept of children's books as 'simple' -&gt; clear-cut narrative structures, a chronological order of events, an unambiguous, preferably didactic narrative voice, and clearly delineated and fixed borders between 'fantasy' and 'reality', between the objective truth and subjective perception.&nbsp;<br>In most postmodern books we can observe a shift in artistic representation fro the mimetic toward the symbolic.&nbsp;<br>The interrelation between word and image in picturebooks can be described in Lacan's terms.&nbsp;<br>The real stage is, in Lacan's theory, an attempt to reconcile the imaginary stage and the symbolic stage. We can apply this idea to demonstrate how picturebooks bridge the gap between the verbal and nonverbal. When picturebooks successfully combine the imaginary and the symbolic, the iconic and the conventional, they achieve something that no other literary form has mastered.&nbsp;<br><br></div>]]></description>
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         <pubDate>2022-11-12 16:18:08 UTC</pubDate>
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         <description><![CDATA[<div>The two extremes in the word-picture dynamic are a text without pictures and a wordless picturebook.<br>On the verbal side of the spectrum we will then have either a story (narrative) or a nonnarrative text (a poem, a dictionary, a nonfiction text), and on the visual side a picture narrative or an exhibit book (picture dictionary). </div>]]></description>
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         <pubDate>2022-11-12 16:22:10 UTC</pubDate>
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         <pubDate>2022-11-12 16:53:36 UTC</pubDate>
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         <description><![CDATA[<div>COUNTERPOINT</div>]]></description>
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         <pubDate>2022-11-12 17:16:38 UTC</pubDate>
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         <pubDate>2022-11-12 17:27:52 UTC</pubDate>
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         <pubDate>2022-11-12 19:31:44 UTC</pubDate>
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         <pubDate>2022-11-12 19:32:29 UTC</pubDate>
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         <description><![CDATA[<div>As an experiment, open any children's book, look at the sentences - the narrative rather than the dialogue of course, and try to say them as if they are part of a conversation. For most of it, it just doesn't work. You can't switch 'codes'. So if we ask ourselves, what does this mean for child-readers, it becomes very significant. It means that we ask of children and young people to make the leap from spoken English to written English.&nbsp; Can we take it as self-evident then, that the more that children and young people are exposed to this written spoken English, the easier they will find it when they come across unfamiliar, new and challenging texts in school - whether that's fiction or a science text book or whatever? I think so.</div>]]></description>
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         <pubDate>2022-11-15 20:05:03 UTC</pubDate>
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