|
Introductory
|
|
|
Pat
Pinsent
|
Crossing
the Boundaries
|
|
|
How
the Authors of Children’s Books Perceive their Audience:
Penelope Lively, Ann Thwaite, Theresa Breslin, Linda Newbery,
Elizabeth Laird & Neil Gaiman
|
|
Section
One: Picture Books for All Ages
|
|
Catherine
Buscall
|
Mummy,
Why is Daddy Reading my Picturebook?: The Magical World(s) of
Claude Ponti
|
|
Sarah
Godek
|
Fabulous
Frankensteins: The Adaptation of an Adult Novel in
Children’s Picture Books.
|
|
Penni
Cotton
|
Adult
Challenges from the European Picture Book
|
|
Mieke
Desmet
|
The
Universe of Jimmy: Creating Picture Books for Adults in Taiwan
|
|
Section
Two: Crossing the Boundaries -Yesterday, Today and
Tomorrow
|
|
Peter
Bramwell
|
Border
Crossing in Historical Fiction
|
|
Rachel
Falconer
|
Tolkien,
Dante, and Crossover Epic
|
|
Natasha
Baker
|
The
Hero in Crossover Narrative throughout the Ages.
|
|
Maiko
Miyoshi
|
Boundaries
between Fact and Fiction: Autobiographical Narratives
|
| Katharn
Turner |
Artemis
Fowl and the Poisoned Chalice: The Perils of Popularity |
|
Clare
Walsh
|
Troubling
the Boundary between Fiction for Adults and Fiction for
Children: A Study of Melvin Burgess
|
|
Jenny
Kendrick
|
On
the Borders of Adult Knowledge: Children Growing Up in William
Mayne’s A
Game of Dark, Midnight Fair &
Cradlefasts
|
|
Section
Three: Crossing
Over – The International Dimension
|
|
Belen
Gonzalez Cascallana
|
Crossing
Over: The Reception of ‘Kiddult’ Fiction in Spain
|
|
Gaby
Thomson-Wohlgemuth
|
The
Case of East German Children’s Literature: Crossover and
Dual Address in a Socialist Society
|
|
Sue
Neale
|
Daniel
Pennac: A Storyteller in Search of an Audience
|
|
Sophie
Mackay
|
Jostein
Gaarder’s Sophie’s
World:
Where there’s no Room for Sitting Comfortably
|
|
Conclusion
|
Market
Forces at Work: Julia Eccleshare, Gillie Russell, Brenda
Gardner, Marilyn Brocklehurst & James Naughtie
|