Perry Nodelman
Biographic Data
| ID | 1014052 |
|---|---|
| NAME | Perry Nodelman |
| GIVEN NAMES | Perry |
| FAMILY NAME | Nodelman |
| SIGNATURE | NODELMAN P |
| AFFILIATIONS | University of Winnipeg |
| VERIFIED | No |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 2 |
| AUTHOR COUNT | 7 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1979 |
| LATEST PUBLICATION YEAR | 2017 |
| H-INDEX | 1 |
More Words about Pictures
CONTENTS Preface: Naomi Hamer and Mavis Reimer Figure Credits List of Contributors Introduction: Why We Need More Words Perry Nodelman Chapter 1: Chewing on Baby Books as a Form of Infant Literacy: Books are for Biting Lian Beveridge Chapter 2: Six Degrees of Closeness in the Picture Book Experience: Getting Closer William Moebius Chapter 3: Art, Adaptation, and the Antipodean in Shaun Tan's The Lost Thing Erica Hateley Chapter 4: The Design and …
David A. Carter, Alexander Calder, and the Childlikeness of the Moveable Book
David A. Carter’s abstract pop-up books, identified as being “for children of all ages,” share qualities with the art of Alexander Calder, whose mobiles are often called “childlike.” In particular, both artists diverge from the conventions of their crafts by introducing moveable elements and by implying how they should be moved, and discussions of each of them often connect their mobility with ideas about childlikeness. As well as exploring the r…
The Mirror Staged
This essay focuses on the many “baby books” currently available that consist mainly of photographs of of other images of babies, and considers how these images might represent replications or restagings of the mirror stage and function as versions of the Ideal-I for their implied baby viewers. As images of actual children, the photographs in these books represent what most adult viewers take to be the most realistic representations of babyhood po…
The Hidden Adult
Reinventing the Past
Reinventing the Past:Gender in Ursula K. Le Guin's Tehanu and the Earthsea "Trilogy" Perry Nodelman (bio) The publication of an unexpected sequel to a novel or series of novels, always disconcerting, is especially so when it occurs some years after the appearance of the original. What seemed complete for so long turns out not to be, and, inevitably, the events of the new story change the meaning of what went before.1 So it is with Ursula K. Le Gu…
The Perils of Generalizing About Children’s Science Fiction
Out There in Children’s Science Fiction
A surprising number of SF novels for young readers are set in enclosed cities: the young protagonists of these books almost always escape the sterile, artificial environment that is their home, and discover a world outside it that is both closer to nature and much like our own world. In allowing youngsters who live in a strangely exotic place to discover and admire a place which is strange and exotic to them but quite familiar to us, the writers …
Progressive Utopia
PROGRESSIVE UTOPIA: OR, HOW TO GROW UP WITHOUT GROWING UP A solitary young girl is traveling -- in an old stage coach on a dusty road, or an open buggy on a pretty street, or another buggy on a road "fringed with blooming wild cherry-trees and slim white birches." Maybe she is in a railway carriage, or just on a footpath where "the air is fragrant with the scent of mountain flowers."1 The girl may be five or nine, but is most likely eleven. She p…
Reinventing the Past
Reinventing the Past:Gender in Ursula K. Le Guin's Tehanu and the Earthsea "Trilogy" Perry Nodelman (bio) The publication of an unexpected sequel to a novel or series of novels, always disconcerting, is especially so when it occurs some years after the appearance of the original. What seemed complete for so long turns out not to be, and, inevitably, the events of the new story change the meaning of what went before.1 So it is with Ursula K. Le Gu…
Progressive Utopia
PROGRESSIVE UTOPIA: OR, HOW TO GROW UP WITHOUT GROWING UP A solitary young girl is traveling -- in an old stage coach on a dusty road, or an open buggy on a pretty street, or another buggy on a road "fringed with blooming wild cherry-trees and slim white birches." Maybe she is in a railway carriage, or just on a footpath where "the air is fragrant with the scent of mountain flowers."1 The girl may be five or nine, but is most likely eleven. She p…
Out There in Children’s Science Fiction
A surprising number of SF novels for young readers are set in enclosed cities: the young protagonists of these books almost always escape the sterile, artificial environment that is their home, and discover a world outside it that is both closer to nature and much like our own world. In allowing youngsters who live in a strangely exotic place to discover and admire a place which is strange and exotic to them but quite familiar to us, the writers …
The Perils of Generalizing About Children’s Science Fiction
Reinventing the Past
Reinventing the Past:Gender in Ursula K. Le Guin's Tehanu and the Earthsea "Trilogy" Perry Nodelman (bio) The publication of an unexpected sequel to a novel or series of novels, always disconcerting, is especially so when it occurs some years after the appearance of the original. What seemed complete for so long turns out not to be, and, inevitably, the events of the new story change the meaning of what went before.1 So it is with Ursula K. Le Gu…
The Hidden Adult
The Mirror Staged
This essay focuses on the many “baby books” currently available that consist mainly of photographs of of other images of babies, and considers how these images might represent replications or restagings of the mirror stage and function as versions of the Ideal-I for their implied baby viewers. As images of actual children, the photographs in these books represent what most adult viewers take to be the most realistic representations of babyhood po…
More Words about Pictures
CONTENTS Preface: Naomi Hamer and Mavis Reimer Figure Credits List of Contributors Introduction: Why We Need More Words Perry Nodelman Chapter 1: Chewing on Baby Books as a Form of Infant Literacy: Books are for Biting Lian Beveridge Chapter 2: Six Degrees of Closeness in the Picture Book Experience: Getting Closer William Moebius Chapter 3: Art, Adaptation, and the Antipodean in Shaun Tan's The Lost Thing Erica Hateley Chapter 4: The Design and …
David A. Carter, Alexander Calder, and the Childlikeness of the Moveable Book
David A. Carter’s abstract pop-up books, identified as being “for children of all ages,” share qualities with the art of Alexander Calder, whose mobiles are often called “childlike.” In particular, both artists diverge from the conventions of their crafts by introducing moveable elements and by implying how they should be moved, and discussions of each of them often connect their mobility with ideas about childlikeness. As well as exploring the r…
Art (6 works) · Themes in Literature Analysis (5 works) · Psychology (4 works) · Digital Games and Media (3 works) · History (3 works) · Philosophy (3 works) · Art history (2 works) · books and reading (2 works) · Child Development and Digital Technology (2 works) · Children (2 works)