Stian Holes Garmann-trilogi er oversatt til en rekke språk og har mottatt norske, nordiske og internasjonale priser. Den er også blitt en forskningsgjenstand. Men Holes eget utsagn om at han må hensette seg i en spesiell sanseposisjon for å skape Garmanns drømmeliknende virkelighet gjennom photoshop-programmet, er ikke blitt lyttet til. Artikkelen argumenterer for at Garmann-trilogien utvikler en lesepakt som er i samsvar med performativ estetikk. Det hypermedierte preget får leseren til å bli bevisst at hun inntar en sanseposisjon, åpen for nye muligheter og med oppmerksomhet på sin egen deltakelse på terskelen mellom den aktuelle, frembringende og den virtuelle, frembrakte virkeligheten. Artikkelen har et eklektisk teoretisk grunnlag som består av litteraturteori, kultur- og medieteori, samt performativ estetikk.
Stian Hole's trilogy on Garmann has been translated into at least sixteen languages and rewarded with several Norwegian, Nordic and international prizes. It has also become a research topic; however, Hole's statement about the special sense position that conditions the creation of Garmann's dreamlike reality through photoshop software has not yet been taken into account. This article argues that the Garmann thrilogy develops a reading pact in accordance with performative aesthetics. The trilogy's hypermediated character makes the reader aware that she takes up a sense position open to new possibilities on a threshold between the real and the virtual world, conscious about her own participation in the generation of the latter. Literary theory, cultural media theory and performative aesthetics make up the article's eclectic theoretical framework.
Book apps are positioned halfway between the children's literature sector, in which producers look for works to adapt, and new formats belonging to the electronic medium. This unstable location calls for an interdisciplinary approach in order to analyse different aspects of these products. The effectiveness of literary theories, particularly poststructuralist perspectives, for studying digital literature has been highly questioned over the past decades by Games Studies scholars such as Aarseth. However, the special nature of book apps, which is different from any other kind of electronic literature, requires a reassessment of these ideas. This article explores postmodernist tracks into three book apps, two of them adapted from two postmodern picturebooks, and the other published both as an app and a printed book at the same time. Possible changes of the metafictional variations due to the medium shift are studied, as well as the role of interactivity in the fictional design of the apps. Results show that both literary theories and media-related theories are necessary for a complete analysis of book apps.
In a relatively short time, apps have become highly popular as a platform for children's fiction. The majority of media attention to these apps has focused on their technical features. There has been less focus on their aesthetic aspects, such as how interactive elements, visual-verbal arrangements and narration are interrelated. This article investigates how a reading of a «picturebook app» may differ from readings of the narratives found in printed books and movies. The discussion will be anchored in an analysis of the iPad app The Fantastic Flying Books of Mr. Morris Lessmore. This app, which is an adaptation of an animated short film, relates the story of a book lover who becomes the proprietor of a magical library.
Children's books were one of the scenes where ‘progressive’ professionals - mostly teachers, psychologists and artists - around WWII fought the battle to change society through changed educational thinking. Especially after WWII it was acknowledged that children's books could contribute to the forming and education of the child, mobilising the child's potential to secure the future and promote peace and international understanding. This article examines so far unexamined sources, i.e., 89 assessments of children's book manuscripts from the private archives of Torben Gregersen (1911–1994): a teacher and prominent ‘progressivist’ hired by different publishers in the period 1942–1954. Using a descriptive and sociological approach, the article identifies the educational way of thinking imbedded in these assessments, which predominantly represents elements of developmental psychology, moral development and national culture, and literary and aesthetic-artistic elements to a lesser extent. Thus, the article shows that the emergence of ‘progressive’ elements which in research on children's literature normally are dated to the late 1960s, are not only present in the 1940s and 1950s in the assessments of Torben Gregersen; they are present with noteworthy nuance.
With the rise of smartphones and tablet pcs, children's book apps have emerged as a new type of children's media. While some of them are based on popular children's books such as Mo Willems’ Pigeon books or Beatrix Potter's Peter Rabbit, others were specifically designed as apps. This paper focuses on examining book apps under the aspects of implied user strategies and narrative structure. Using a narratological framework that also takes into account the unique characteristics of the medium, a terminology for the analysis of book apps will be sketched out. Furthermore, an exemplary analysis of iOS books apps for pre- and grade school children comes to the conclusion that, far from offering the child users room for individual creativity, a large number of apps rather train their users in following prescribed paths of reading.