Title (deu)
Serielle Narration in der Kinderliteratur
Parallel title (eng)
Serial narration in children's literature
Author
Carl Pick
Advisor
Roland Innerhofer
Assessor
Roland Innerhofer
Abstract (deu)
In this thesis, I create a typology of children’s book series. I analyze series from four different countries: the Italian “Adventures of Pinocchio,” the Austrian “Die Knickerbocker-Bande,” the German “Die Wilden Fußballkerle” and the American “The Spiderwick Chronicles,” and consider specifically the areas of fabula-episode-relation, beginnings and endings, and the relationship of the author to his/her work and story/discourse time. The paper defines three major different types of children’s book series: “Serie”, which has both a contained episode and an overlapping fabula;. “Reihe”, which has only fabula contained within the episode; “Feuilletonroman”, which is best defined with the already established definition: „Every fabula that is published in a periodical publication“.
There exists a phenomenon in current children’s literature called the illusion of the real, especially in children’s books where the level of border crossing between reality and fiction reaches a new climax: In two of the four series analyzed, it’s not only the author who stages himself as a witness-narrator, but protagonists of later episodes who have read earlier ones. While series in other media create cliffhangers by breaking on the peak of suspense, the books analyzed here use the narrator to achieve tension at the end of an episode.
In general, I conclude that similarities prevail over differences in children’s book series. While the plot may vary, the formal frameworks are very strict and serve as a narrative guide for the young reader.
Abstract (eng)
In this thesis, I create a typology of children’s book series. I analyze series from four different countries: the Italian “Adventures of Pinocchio,” the Austrian “Die Knickerbocker-Bande,” the German “Die Wilden Fußballkerle” and the American “The Spiderwick Chronicles,” and consider specifically the areas of fabula-episode-relation, beginnings and endings, and the relationship of the author to his/her work and story/discourse time. The paper defines three major different types of children’s book series: “Serie”, which has both a contained episode and an overlapping fabula;. “Reihe”, which has only fabula contained within the episode; “Feuilletonroman”, which is best defined with the already established definition: „Every fabula that is published in a periodical publication“.
There exists a phenomenon in current children’s literature called the illusion of the real, especially in children’s books where the level of border crossing between reality and fiction reaches a new climax: In two of the four series analyzed, it’s not only the author who stages himself as a witness-narrator, but protagonists of later episodes who have read earlier ones. While series in other media create cliffhangers by breaking on the peak of suspense, the books analyzed here use the narrator to achieve tension at the end of an episode.
In general, I conclude that similarities prevail over differences in children’s book series. While the plot may vary, the formal frameworks are very strict and serve as a narrative guide for the young reader.
Keywords (eng)
children's literatureseriesnarratology
Keywords (deu)
KinderliteraturSerieNarratologie
Subject (deu)
Type (deu)
Persistent identifier
https://phaidra.univie.ac.at/o:1255977
rdau:P60550 (deu)
132 S. : Ill.
Number of pages
132
Association (deu)
Title (deu)
Serielle Narration in der Kinderliteratur
Parallel title (eng)
Serial narration in children's literature
Author
Carl Pick
Abstract (deu)
In this thesis, I create a typology of children’s book series. I analyze series from four different countries: the Italian “Adventures of Pinocchio,” the Austrian “Die Knickerbocker-Bande,” the German “Die Wilden Fußballkerle” and the American “The Spiderwick Chronicles,” and consider specifically the areas of fabula-episode-relation, beginnings and endings, and the relationship of the author to his/her work and story/discourse time. The paper defines three major different types of children’s book series: “Serie”, which has both a contained episode and an overlapping fabula;. “Reihe”, which has only fabula contained within the episode; “Feuilletonroman”, which is best defined with the already established definition: „Every fabula that is published in a periodical publication“.
There exists a phenomenon in current children’s literature called the illusion of the real, especially in children’s books where the level of border crossing between reality and fiction reaches a new climax: In two of the four series analyzed, it’s not only the author who stages himself as a witness-narrator, but protagonists of later episodes who have read earlier ones. While series in other media create cliffhangers by breaking on the peak of suspense, the books analyzed here use the narrator to achieve tension at the end of an episode.
In general, I conclude that similarities prevail over differences in children’s book series. While the plot may vary, the formal frameworks are very strict and serve as a narrative guide for the young reader.
Abstract (eng)
In this thesis, I create a typology of children’s book series. I analyze series from four different countries: the Italian “Adventures of Pinocchio,” the Austrian “Die Knickerbocker-Bande,” the German “Die Wilden Fußballkerle” and the American “The Spiderwick Chronicles,” and consider specifically the areas of fabula-episode-relation, beginnings and endings, and the relationship of the author to his/her work and story/discourse time. The paper defines three major different types of children’s book series: “Serie”, which has both a contained episode and an overlapping fabula;. “Reihe”, which has only fabula contained within the episode; “Feuilletonroman”, which is best defined with the already established definition: „Every fabula that is published in a periodical publication“.
There exists a phenomenon in current children’s literature called the illusion of the real, especially in children’s books where the level of border crossing between reality and fiction reaches a new climax: In two of the four series analyzed, it’s not only the author who stages himself as a witness-narrator, but protagonists of later episodes who have read earlier ones. While series in other media create cliffhangers by breaking on the peak of suspense, the books analyzed here use the narrator to achieve tension at the end of an episode.
In general, I conclude that similarities prevail over differences in children’s book series. While the plot may vary, the formal frameworks are very strict and serve as a narrative guide for the young reader.
Keywords (eng)
children's literatureseriesnarratology
Keywords (deu)
KinderliteraturSerieNarratologie
Subject (deu)
Type (deu)
Persistent identifier
https://phaidra.univie.ac.at/o:1255978
Number of pages
132
Association (deu)
License
Citable links
Other links
Managed by
Details
Metadata
Export formats
Universitätsring 1, 1010 Wien | T
T +43-1-4277-0