Titlebook: Revaluing British Boys‘ Story Papers, 1918-1939; Helen A. Fairlie Book 2014 Palgrave Macmillan, a division of Macmillan Publishers Limited

introspective

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Introduction,p more or less to the outbreak of the First World War, were a golden age. These were the years of Kipling and Carroll, Nesbit, Grahame, Potter and Barrie — the definitive classics of children’s literature, which were by any standards a hard act to follow. Historians of children’s literature are also

formula

Setting the Scene: Critical Perspectives, Producers and Consumers,ound to my arguments across the book as a whole. It also explores the nature of creators and audiences. The notion of context is important here: what do we know of the producers of the story papers and their publishing methods? Who were the consumers of the story papers and what were the contexts of

有抱負(fù)者

The Moral Code of Inter-War Story Papers, through conforming to profoundly moral standards. But what does that moral code look like in the story papers? How do its various strands function in the stories, and how did publishers and authors seek to frame moral meanings in the narratives? Most importantly, how did child readers interpret the

一個(gè)姐姐

BRAND

剛開始

,Inter-War Story Papers and the Rise of Children’s Cinema,. The appeal of cinema was just as strong for children, so how did this expansion of children’s cultural lives affect their reading? How are story paper reading habits connected to cinema attendance, and in what ways did the cinema influence the story papers? Making meaning from cultural acts does n

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包租車船

Conclusion,lass children, and mapped the scale of influence of the genre in terms of the business of publishing for children. The success of the story paper genre changed the nature of children’s publishing, shifting the focus to children as purchasers as well as readers, and correspondingly moving towards a d

circumvent