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

FLIC

Setting the Scene: Critical Perspectives, Producers and Consumers,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 their reading lives? The chapter offers an introduction to some of the key themes and perspectives that will be explored in more detail in the following chapters.

心胸狹窄

Understanding School Worlds, stories so popular amongst child readers? In order to understand the significance of the school as a central theme, in this chapter we will look closely at the nature and structure of the genre, approaching it from the varying viewpoints of producer and consumer.

Concrete

The Moral Code of Inter-War Story Papers,se moral framings? Are readers simply ‘a(chǎn)bsorbing a set of beliefs’ (Orwell, 1962: 200), or is there any space for subversion? By exploring the perspectives of consumers and producers, this chapter analyses the patterns of relationship which develop, and looks in more detail at the ideologies embedded in the story narratives.

Reservation

甜瓜

ndschaft, die endgültigen Bruch herbeizuführen droht, — wird die Briefverbindung noch einmal von Jacobi hergestellt, nur um sofort danach für weitere drei Jahre auszusetzen. In ihrem krassen Gegensatz zum Bild der ersten Zeit deuten diese Tatsachen auf eine frühe Krise in der Entwicklung dieser so e

TEN

短程旅游

Helen A. Fairliegenossin wu?te er im Grunde wenig: kaum mehr, als ihm Christiane nach ihrem Besuch in Frankfurt im Herbst 1808 berichtet hatte und als ihm in gelegentlichen Briefen und Gespr?chen aus der Vaterstadt zugekommen war. Das mochte — wie wir sahen — für Goethe genügen, um sich von den Verh?ltnissen, die z

表臉

Resign

The Imperial Hero: Story Paper Hero-Figures,ers for boys throughout the 1920s and 1930s, in school stories as well as in other publications for children? Analysis of the key figures in . and . stories reveals that, beneath the very different styles of writing, imperialist influences still have some bearing on both characters and plotlines.

毛細(xì)血管

,Inter-War Story Papers and the Rise of Children’s Cinema,rratives of the period intersect and draw from each other, setting up structural parallels. Weekly story papers carry obvious comparisons with weekly cinema serials, but beyond superficial similarities some key points can be drawn out about the roles of producers and consumers, authors and directors