Synergy and

Contradiction:
How Picturebooks and
Picture Books Work
PROGRAMME

SEPTEMBER 6-8
2018
Synergy and Contradiction: How Picturebooks
and Picture Books Work
WELCOME TO CAMBRIDGE AND THE CENTRE FOR RESEARCH IN CHILDREN’S
LITERATURE!

We are proud to host this conference dedicated to international research on a phenomenon so

exciting that we cannot even agree on what we should call it. We are proud to have gathered
scholars, authors, illustrators, publishers, translators – people who are passionate about words
and images and the intricate ways in which they work together to entertain and to educate.

The aesthetic aspects of storytelling through word and image have been studied extensively in
the past thirty-odd years. We are particularly happy to see among our delegates the Swedish
scholar Kristin Hallberg, who in 1982 launched the concept of iconotext, a concept that has
been widely employed in discussion of image and text interaction, as some of the papers at
this conference will demonstrate.

Our distinguished keynote speaker Perry Nodelman's Words about Pictures (1988) is a
landmark text that placed the subject firmly within children's literature research. It is still one
of the most significant publications for any scholar interested in books with words and
images, and this conference appropriately celebrates thirty years since its publication.

Since 1988, international picturebook research has grown exponentially, resulting in

numerous book-length publications and edited collections, conferences and workshops,
academic networks and Facebook groups. The first international conference wholly devoted
to this specific art form was held in Stockholm in 1998, featuring, among others, Jane Doonan
and William Moebius. An international network was established in 2007, running biennial
conferences and workshops. Dozens of monographs and edited volumes have been published,
the most recent More Words about Pictures (2017), edited by Perry Nodelman, Naomi Hamer
and Mavis Reimer, and The Routledge Companion to Picturebooks (2017), edited by Bettina
Kümmerling-Meibauer. It is now fully legitimate to do a PhD on picturebooks, which a
student even twenty years ago would be told was ridiculous.
And yet there is no universal consensus about the object of inquiry, starting with the contro-
versy of spelling. Despite a robust body of work about picturebooks, the critical conversation
continues to offer pointed disagreement about the difference between illustrated books and pic-
ture books/picturebooks, on the differences and similarities between picture books/picture-
books and comics, and on the relationship between printed and digital texts. The conference
will address some of these issues, and many more. Can a picturebook be 300 pages long? Can
a barcode on the back cover be part of the story? What happens when picturebooks are trans-
lated? Is visual language universal? How do authors and illustrators think when they create
picturebooks, and what is the publishers’ view? How has picturebook theory influenced adja-
cent areas of research: comics, animation, video games? How has picturebook theory benefited
from these areas? And not least, how do children make sense of such complex stories?

We hope that some of these questions will be answered and many others asked. We wish you
all, whether you present a paper, participate in a panel, chair a session, or just sit in the
audience, a very fruitful conference.

ORGANISING COMMITTEE

Prof. Maria Nikolajeva, Dr. Joe Sutliff Sanders, Breanna McDaniel, Madeleine Hunter and
Maya Zakrzewska-Pim

We would like to acknowledge the Faculty of Education and Homerton College for
supporting the conference in various ways.

We invite delegates to engage with us online during the conference and help

us in disseminating our discussions here to the wider academic community.

Use the hashtags #howpbswork2018, #Homerton250 and #Camedfac, and tag

us @CRCLC_Cambridge on Facebook, Twitter and Instagram

Synergy and Contradiction: How Picturebooks
and Picture Books Work
PROGRAMME

THURSDAY SEPTEMBER 6

ARRIVALS AND REGISTRATION

11:00-1:00
Bookstore opens in G10; Exhibitions open in G05 and the Homerton College
Library

HOUSEKEEPING AND WELCOME – BOULIND

1:00-1:15
Geoff Ward – Principal of Homerton College
Conference Opening

KEYNOTE LECTURE
1:15-2:15
Perry Nodelman
Fish is people: What posthumanism can teach us about children's picture books,
and what children's picture books can teach us about posthumanism.
Moderator: Morag Styles

BREAK

2:30-4:00 PAPER SESSION 1

1A BOULIND 1B 117 1C 118

COMING TO TERMS PICTUREBOOKS AND BEYOND WORDS AND
ILLUSTRATED BOOKS IMAGES
Moderator: Nathalie op de
Beeck Moderator: Naomi Hamer Moderator: Elise Seip
Tønnessen

Kristin Hallberg Jen Aggleton Mirjam Haas

Iconotext reclaimed, or 30 Pictures and possibilities Show me how to read:
years after when reading illustrated Iconic meaning-making
novels between visual art, word and
sound in picture books
 Christophe Meunier Maria Lassén-Seger & Anne Fiona Maine,
Skaret,
From the iconotext to the Exploring the diegetic
iconobook: how the spatial Exploring differences world: Children’s
text works in picturebooks between illustrated books engagement with visual
and picturebooks storyworlds

Magdalena Sikorska Miki Yamamoto Emma Reay

Understanding Wordless picturebooks Words about video games:
picturebooks: David retelling a famous story: Applying picturebook
Perkins revisited Strategies for expression theory to children’s video
without words games

BREAK – REFRESHMENTS IN AUDITORIUM

4:30-6:00 PAPER SESSION 2

2A BOULIND 2B 117 2C 118

PICTUREBOOKS IN NONFICTION/NON- OUTSIDE IN
CONTEXT FICTION
Moderator: Kai Mikkonen
Moderator: Bettina Moderator: Joe Sutliff
Kümmerling-Meibauer Sanders

Farriba Schulz Clémentine Beauvais Liu Zixian

Imagery and ideology: How do picturebooks Bookscapes and visual
Political strategies in the represent whole existences? penetration: Reading the
imagery of German picture surfaces of picture books
books over course of the
20th century

Elina Druker Nina Goga Sandie Mourão & Gabriela

Sotto Mayor
Picture-text relationships in How nonfiction
a historic context picturebooks work – the Title pages: A typology and
conceptualising art of a discussion around cross-
children’s picturebooks national differences

Alicja Fidowicz Anna Skyggebjerg Teresa Fleta

Picture book in translation: Non-fiction picture books Exploring the art
Perspective of Poland and with aesthetic ambitions – surrounding barcodes on
Slovenia after 1990 how to understand and picturebooks
describe them?
 FRIDAY SEPTEMBER 7
9:00-10:30 PAPER SESSION 3
3A BOULIND 3B 117 3C 118
WORDS, IMAGES AND PICTUREBOOKS AND INSIDE OUT
OBJECTS BOOKS WITH
Moderator: Sandie Mourão
PICTURES
Moderator: Elina Druker
Moderator: Kristin Hallberg

Sarah Hoem Iversen Katherina Manolessou & Masako Nagai

Becky Palmer
Selection and presentation An analysis of peritext in
of knowledge in picture The use of frames in Japanese “Imagination
dictionaries illustration practice: picture books” by
picturebooks and comics Shinsuke Yoshitake

Marie-Pierre Litaudon Kai Mikkonen Ana Margarida Ramos

ABC picturebooks: a Reading picture books and The picturebook format:
playground for literacy comics: Points of contact beyond the relationship
and divergences between words and
pictures

Sara Reis da Silva Jade Dillon Emily Midkiff

Some thoughts concerning The artistic lens of the It's Bigger on the Inside:
concept books: rising the picturebook: Illustrative and Fitting Complex Genres
question of the roles of autonomous depth like Science Fiction into
words and pictures associated with the Picturebook Format
photographic picturebooks

BREAK – REFRESHMENTS IN HOMERTON FELLOW S DINING ROOM

11:00-12:30 PAPER SESSION 4

4A BOULIND 4B 117 4C 118
PANEL: PUBLISHING MATERIALITY PICTUREBOOKS AND
PICTUREBOOKS: SENSES
DESIGN AND Moderator: Anna
EDITORIAL DECISION- Skyggebjerg Moderator: Astrid van der
MAKING FOR A Bossche
GLOBAL INDUSTRY

Moderator: Laura Little

 Laura Little Bettina Kümmerling- Åse Marie Ommundsen
Meibauer & Jörg Meibauer Aesthetics in tactile
Greet Pauwelijn
Materiality matters picturebooks for visually
Holly Tonks impaired children
Sam Arthur Marcela Escovar Anna Purkiss
Young readers' engagement Feeling the text: The added
with word/image dimension of tactile
storytelling: do words and elements in picturebooks
pictures invite different
kinds of relationships
between texts and readers?
Honglan Huang Gretchen Papazian
The narrativity of the Colorful feelings: Making
medium: The architecture of emotion with color in the
book space in picturebooks contemporary American
picturebook

BREAK – LUNCH IN HOMERTON GREAT HALL

2:00-3:30 PAPER SESSION 5

5A BOULIND 5B 117 5C 118
AUTHORS' AND HYBRIDS PICTUREBOOK DESIGN
ILLUSTRATORS' Moderator: Fiona Maine Moderator: Breanna
VOICES McDaniel
Moderator: Helene
Ehriander.
A round-table discussion
will follow in the next
session
Sherryl Clark María del Rosario Neira Cláudia Sousa Pereira
Don’t look! Depicting Piñeiro From movable books to the
horror and hope in When pictures meet poetry. literary design: other legacies
contemporary fairy tale A new form of picturebook on the discussion about
picture books picturebooks
Stella East Karolina Rybicka Lissi Athanasiou-Krikelis
Recognizing picturebook Crocodiles in bathtubs and Metafictional synergy of text
images as language: A impossible railway stations, and illustrations
means to understanding how or can a a picturebook be
word and image work over 300 pages long?
Maggie Chan, Elise Seip Tønnessen Marta Passos Pinheiro &
Picturebook design and the Visual novels – what is Jéssica Mariana Andrade
development of language, new? Tolentino
literacy and social skills of The role of graphic design in
children with special the narrative construction of
educational needs award-winning contemporary
Brazilian picturebooks
 BREAK – REFRESHMENTS IN HOMERTON FELLOWS DINING ROOM

4:00-5:00
PAPER SESSION 6
6A BOULIND 6B 117 6C 118
AUTHOR/ILLUSTRATOR FACTS AND FICTION. PUBLISHING AND
FORUM TRANSLATING
Moderator: Blanka
Moderator: Katherina Grzegorczyk Moderator: Maya
Manolessou Zakrzewska-Pim

Maggie Chan Erin Spring & Eve Tandoi Hui-Ling Huang

Sherryl Clark Exploring the aesthetics of Go beyond borders with
non-fiction picturebooks picture books: A case study
Stella East
through a study of young of a Taiwanese publisher’s
Nahid Kazemi people’s engagement with development
Kris Nauwelaerts the threshold concept of
evolution
Helena Öberg
Vera Veldhuizen, Taking Miki Takeuchi
sides in wordless
How picturebook’s form
picturebooks on war
affects its translation or
adaptation: the case of
English-Japanese translation

5:30-6:30 AUTHOR TALK – AUDITORIUM

DRAWING, PLAYING, MAKING AND EXPLORING - THE ESSENTIAL

INGREDIENTS IN WRITING AND ILLUSTRATING THORNHILL
Pam Smy
The Cambridge Children’s Literature Research Centre is excited to be hosting
author and illustrator Pam Smy, who will discuss aspects of her creative process
working on her illustrated novel, Thornhill. She will also share her inspirations and
show how she has interwoven these into the text and the imagery of Thornhill.
Moderator: Jen Aggleton
*Book signing to follow

7:00 CONFERENCE DINNER

Drinks in the Combination Room before dinner in the Homerton Fellows Dining
Room at 7:30. Prior booking necessary.
SATURDAY SEPTEMBER 8

9:00-10:30 PAPER SESSION 7

7A BOULIND 7B 117 7C 118
PANEL: HEART ART: PICTUREBOOKS AND PLAYING WITH FORM
WHAT MAKES MEDIA
Moderator: Aneesh Barai
ILLUSTRATIONS
Moderator: Madeleine
RESONATE?
Hunter
Moderator: Karen Coats

Karen Coats, Elizabeth Naomi Hamer Amy Nottingham-Martin

Dulemba, Vivian French, And what is the use of a
Transmedia storytelling,
Pam Smy book without - or with -
media genealogies, and
picture book theory pictures or conversation? A
consideration of playing
with form in picturebooks

Nathalie op de Beeck Anette Almgren White

Experiential encounters: Visual poetry in poetical
Revisiting picturebook picturebooks
codes

Douglas Menegazzi, Nahid Kazemi

Stephania Padovani and
To Imagine a Word and to
Cristina Sylla
Verbalize a Picture
Hotspots in picturebook
apps: An investigation of the
perception of readers from
interaction research

BREAK – REFRESHMENTS IN HOMERTON FELLOWS DINING ROOM

11:00-12:00 CONCLUDING PANEL – BOULIND

WHAT HAVE WE LEARNED?

Perry Nodelman and Maria Nikolajeva in conversation with Clémentine Beauvais.

12:00-12:30 CLOSURE

LUNCH IN HOMERTON FELLOWS DINING ROOM

Synergy and Contradiction: How
Picturebooks and Picture Books Work
ABSTRACTS AND BIOS (SESSION NUMBER IN
BRACKETS)

Jen Aggleton (University of Cambridge, UK)

PICTURES AND POSSIBILITIES WHEN READING ILLUSTRATED NOVELS (1B)

The interactions of words and images in the meaning-making process of reading have long
been debated. When discussing picturebooks, Nodelman (1988) claims that illustrations limit
the number of interpretive possibilities offered by writing, and that similarly the writing in-
forms the reader of how to interpret the illustration. In contrast, Nikolajeva and Scott (2000,
2001) suggest that when juxtaposed illustrations and writing provide differing or contradict-
ing information, a multitude of interpretive possibilities may be opened up, encouraging the
reader to consider alternative interpretations.

In this paper I explore this potential of writing and illustrations to limit or open up
interpretive possibilities within the medium of the illustrated novel. I discuss the findings of a
participatory empirical research project I conducted in 2017. This project took the form of a
multiple case study, in which five children (aged 9-10) explored the potential affordances that
three illustrated novels had for them as readers.

The findings of this research suggest that the juxtapositions of words and illustrations in
novels have the potential to both limit and open up interpretive possibilities, based upon a
number of factors. These factors include not only the content of the writing and illustrations,
but also the existing knowledge of the reader, the reader’s ability to mentally picture the
events of the text, and the position of the juxtaposition within the book (whether it comes
earlier or later within the text). In exploring how these factors impact upon the meaning-
making process of reading, I argue that due to the potential of illustrated novels to both limit
and open up interpretive possibilities, the medium of the illustrated novel can encourage
critical and creative responses from readers.

Jen Aggleton is a PhD candidate in Education at the University of Cambridge. She is a

qualified teacher and librarian, and has published research on illustrated novels, children’s
library collections, and digital comics

Anette Almgren White (Jönköping University, Sweden)

VISUAL POETRY IN POETICAL PICTUREBOOKS (7C)

Since modernism picturebook typography and its visual display in cooperation with the image
have been used to produce iconotext (Druker 2008; Beckett 2012). Typographical arrange-
ment can for example create the illusion of movement, time and space and sonorous effects
(Druker 2008). It can also imitate a still image as is the case in artists’ books (Beckett 2012).
The use of picturebook typography has parallels to visual poetry (Druker 2008). The connec-
tion Druker detects between visual poetry and picturebook text has, however, major focus on
the influences on the plot, character and setting, and less on the influences from the poetry-
genre.

During the last decades picturebooks with traits that correspond to those defining the genre of
poetry have emerged. (Rhedin 2004). The poetical picturebook is characterized by Rhedin as
depicting rather than narrating, but her focus is mainly on the picturebook illustration, not on
the poetical traits of the text.

The aim of this paper is therefore to explore the influence of poetry in the text of poetical pic-
turebooks and contribute with knowledge about how the use of visual devices in cooperation
with the picturebook image creates a poetic iconotext. What influences from poetry in the pic-
turebook text, and particularly from visual poetry, can be found in the material? This study
will be carried out by combining findings by Druker and Beckett with Rhedin’s about the po-
etical traits in picturebooks, but also by adding theories/findings concerning visual aspects of
poetry (Olsson 2007; Elleström 2011) and poetry combined with images (Almgren White
2011). Elleström develops a typology for visual iconicity of poetry and distinguishes between
visual and auditive material signs, that also will be tested.The expected result is to show ex-
amples of how the figurative language of poetry about instant moments, atmospheres, emo-
tions and mental states contributes visually to create a poetic iconotext.
Anette Almgren White, is a Senior Lecturer at School of Education and Communication, Jön-
köping University. She holds a Ph. D in Comparative literature since 2011 and has a special
interest in intermedial aspects of literature and children’s literature. She has published arti-
cles about Astrid Lindgren’s works and is now involved in a pilot project about learning
practices inside school, namely “Text Universe and cross-boundary Education” together with
Anette Svensson and Therese Haglind. Website: http://ju.se/en/personinfo.html?sign=almane

Lissi Athanasiou-Krikelis (New York Institute of Technology, USA)

METAFICTIONAL SYNERGY OF TEXT AND ILLUSTRATIONS (5C)

This paper will examine contemporary metafictional picturebooks and will show how textual
and pictorial elements interact to create a metafictional effect. In general, metafiction refers to
self-reflexive narratives that foreground the artificial nature of fiction: stories about storytell-
ing, characters who know they are characters in a book, readers and/or authors appearing in-
side the narrative space are some exemplary cases. This study will concentrate only on those
metafictional texts that underscore their fictionality by synthesizing the visual and the textual,
so the metafictional experience is amplified. There are at least three possible ways in which
language and illustration interact in order to toy with the artificiality of fiction:

Text and illustration reference themselves

Text and illustration reference other texts or illustrations

Text and illustration reference other forms of storytelling/ artwork and their conventions

One prevalent theme of such books is “art-in-the-making.” In this type, the book the reader is
holding appears to be in the process of being made, like the famous case of The Purple
Crayon or David Wiesner’s The Three Pigs, Louise Yates’ Dog Loves Drawing and Dog
Loves Books, and Wait! No Paint! by Bruce Whatley. A similar type is the “revised book,” in
which the book the reader is reading seems to have undergone major editing from another
“unknown” reader or writer. Such examples include: Emily Gravette’s Wolves and Little
Mouse's Big Book of Fears, Lauren Child’s Who’s Afraid of The Big Bad Book. Additional
metafictional picturebooks that play with the narrative and pictorial conventions but do not
fall in the above two categories are books that address the reader directly such as Hervé Tul-
let’s Press Here and Mo Willem’s We Are in a Book. The synergy between text and pictures
in breaking artistic conventions intensifies the blurring of lines between fabrication and real-
ity, the real and the imaginary.

Lissi Athanasiou-Krikelis is an Assistant Professor of English at New York Institute of Tech-

nology, where she teaches academic writing and children’s literature. She holds a Ph.D. in
Comparative Literature from the Graduate Centre, City University of New York. Although
she began exploring metafiction in adult literature with her dissertation “Postmodern Meta-
fiction Revisited,” more recently she has transferred her attention to children’s literature and
picturebooks. She has published articles on adult metafiction and on meta-autobiographies.
She also has an upcoming article on picturebook metafiction in The Lion and the Unicorn
and an article on the Greek children’s author Eugene Trivizas in Bookbird.

Clémentine Beauvais (University of York, UK)

HOW DO PICTUREBOOKS REPRESENT WHOLE EXISTENCES? (2B)

I am interested in the ways in which contemporary picturebooks, specifically of the (auto)bio-

graphical kinds, have represented whole existences, and in what this may add to picturebook
theory. Recently there has been a recrudescence of (auto)biography both in comics and in pic-
turebooks; while the former allows for comfortably long explorations of individual exist-
ences, the latter remains a puzzling choice of medium for that endeavour: necessarily hyper-
condensed, the picturebook biography stretches the reliance on readerly gap-closing to its ex-
treme, requiring temporal ellipses of decades to be performed at the turn of a page or from
one vignette to the next. Furthermore, that gap-closing is expected of an implied reader unfa-
miliar with the physiological and psychosocial intricacies of whole lives, let alone with the
kind of existential project most frequently depicted. So how do picturebooks represent whole
existences? I focus on two strategies which occur in proximity and tension within the most
interesting contemporary attempts. One is the biographeme, the metonymic representation of
existence, which serves as constant reminder of the wholeness of the person and their project.
The other is a strong reliance on reality effect, a surfeit of details allowing for texture and be-
lievability, which anchors person and project to a concrete backdrop and protects the works
from pure symbolization. Both strategies (Barthesian coinages) work iconotextually, and set
up a (thoroughly artificial) divide between what meaningfully summarizes an existence and
what constitutes its messy everydayness. In their interaction we can appraise more broadly
the way in which picturebooks train their readers to achieve acrobatic flexibility in their
change of focus from the general to the particular, and the iconic to the incidental, within
most sophisticated examples of the medium.

Clémentine Beauvais is a Lecturer in English in Education at the University of York (UK).

She has worked on politically committed picturebooks, on children’s literature theory and
more recently in the field of childhood studies and history of education. She is currently
working on the intersections between translation studies and children’s literature theory.

Mei-kee Maggie Chan (The Chinese University of Hong Kong)

PICTUREBOOK DESIGN AND THE DEVELOPMENT OF EMOTIONAL LITERACY

AND SOCIAL SKILLS OF CHILDREN WITH SPECIAL EDUCATIONAL NEEDS
(5A)

This paper investigates the interaction between children readers of special educational needs
(SEN) and texts and images, and how the design of a multi-modal picturebook can foster their
development of emotional literacy and social skills. According to Nikolajeva (2017), young
readers lack the experience of a full range of human emotions, theory of mind and empathy
skills, which are also essential social skills. However, the researcher argues that the design of
a conventional social story book is not as engaging as that of a ‘make-believe play’ picture-
book. According to Plummer (2016), ‘make-believe play always involves role playing: imag-
ining oneself in the role of another, and exercising the role-taking (or perspective-taking)
skills needed to effect that transformation’ (p.5). To exploit the use of ‘make-believe play’
and encourage co-authorship and engagement of SEN children, a range of interactive tools
such as stickers, drawing activities and a reflective page (a mirror page) are used in the re-
searcher’s charitable picturebook My School Diary: Star Pupils, published in 2018. This book
aims to help children, especially SEN children, and their parents understand school life and
learn how to respond in different situations. The researcher has employed counterpoint in this
book: the pictures of the book reveal mixed emotions of the protagonist while the texts en-
courage emotional regulation, positive thinking and promote appropriate social etiquette.

This empirical study draws on the responses of two groups of SEN children aged 4-6 in Hong
Kong collected during and after a reading workshop based on this book. Since the participants
may be too young to express their views verbally through an interview, the researcher, to-
gether with the class teacher, read aloud the book to elicit responses, and used drawing activi-
ties specially designed to collect views. Views from parents and teachers are also gathered
through interviews for data triangulation. Through investigating the interaction between SEN
children and the picturebook, this study examines how SEN children understand human emo-
tions and make sense of social skills. Arizpe and Styles (2016), argue that most studies with
readers with special needs adopt a more psychological approach, without investigating the
aesthetic nature of picturebooks. This research helps develop the research tool and methodol-
ogy for future studies to understand SEN children’s response to the interaction of verbal texts
and visual images.

In the presentation, the researcher would include the empirical findings about how a multi-
modal playful picturebook can foster the development of emotional literacy and social skills
of SEN children, and advocates a revolution of the approaches to designing picturebooks for
an aesthetic yet educational experience.

Mei-kee Maggie Chan is a Lecturer in the English Language Teaching Unit at The Chinese
University of Hong Kong. She earned her M.Phil. in Education from the University of Cam-
bridge and received teacher training in Hong Kong. Her research interests include language
acquisition and the teaching of English as a second language. She has recently initiated a
fund-raising picturebook project in collaboration with a charitable organisation for early ed-
ucation of children with special educational needs (SEN) in Hong Kong, where she has em-
ployed the ‘make-believe play’ theory in the design of a picturebook about school life and the
promotion of diversity in society. She has written two picturebooks: My School Diary: Star
Pupils and My Adventure Diary: A Cool Friend.

Sherryl Clark (Victoria University, Australia)

DON’T LOOK! DEPICTING HORROR AND HOPE IN CONTEMPORARY FAIRY

TALE PICTURE BOOKS (5A)

The tradition and history of fairy tales lies first in oral transmission and then in literary tales
printed in books and chapbooks. Early illustrations of fairy tales were predominantly
complementary, i.e. simply showing the action of the story, but illustrations such as those in
Struwwelpeter were as gruesome as the tales they depicted. Contemporary re-tellings of tales,
however, tend to be accompanied by beautiful or bland illustrations.
Bruno Bettelheim suggests the heart of a fairy tale is about confronting life’s harsh realities
while offering hope, through fantasy, allegory and “once upon a time”, which helps a child to
grow in courage and resilience. Over the past few decades we have seen the developing role
of the illustrator as well as the rise of political correctness and over-protective parenting,
combining to create a new quandary for contemporary fairy tale writers and illustrators.

Can a writer still write resonant-but-confronting fairy tales? How does an illustrator approach
a fairy tale text that needs compelling pictures to support the psychological “truth” of the
story? How might these creators now be constrained in an era of Disney-fication and
conservatism?

This presentation will look at the issues that arise in creating and publishing challenging
contemporary fairy tale picture books, using a variety of published examples, and re-explore
the familiar question, ‘Should fairy tales not be illustrated at all?’

Sherryl Clark has completed a PhD in creative writing at Victoria University, Melbourne,
Australia, on the topic of fairy tales, their resonance and endurance and the creative writing
process. She is the author of more than 70 books for children and young adults, including
four verse novels. She teaches writing at Victoria University Polytechnic, conducts writing
workshops and school visits, and her website is at www.sherrylclark.com.

Karen Coats (Illinois State University, USA), Elizabeth Dulemba (author), Vivian French
(Edinburgh College of Art), Pam Smy (author)

HEART ART: WHAT MAKES ILLUSTRATIONS RESONATE? (7A)

Some illustrations in children’s picturebooks are easily “read” and just as easily dismissed,
doing little more than affirming the expectations of their text. Others generate cognitive
dissonance or challenge, eliciting surprise that resolves into a more complex understanding.
Still others are arrows straight to the heart, evoking emotions that pull us beyond mere
curiosity or understanding into the realm of complex and deeply felt affects, some too deep,
in fact, for words alone. In this panel, an author, two illustrator/authors, and a literary critic
will approach the question of our title from the perspectives of creation and response. Using
particularly evocative illustrations provided by the illustrators from their work, our focused
discussion will consider how and why certain visual images (and not others) inspire stories
and trigger emotional response, with an emphasis on current research on the neuroscience and
psychodynamic processes that enable and condition affective responses to aesthetic
experience.

Karen Coats is a literary critic whose recent research focuses on children’s affective-cogni-
tive responses to aesthetic experience. She publishes widely on the intersections between
youth literature and critical theory. Her most recent book is The Bloomsbury Introduction to
Children’s and Young Adult Literature.

Elizabeth Dulemba is an award-winning children's book author, illustrator, teacher, speaker,

and blogger with over two dozen titles to her credit, including her most recent picture book,
Crow Not

Crow written by Jane Yolen and Adam Stemple (Fall 2018, Cornell Lab Publishing Group).
She is a current PhD Children’s Literature Researcher at the University of Glasgow, holds an
MFA in Illustration from the University of Edinburgh and a BFA in Graphic Design from the
University of Georgia, and teaches at Hollins University (USA) in the MFA in Children’s
Book Writing and Illustrating program. Learn more at: www.dulemba.com.

Vivian French is the co-founder of Picture Hooks, a mentoring scheme for emerging illustra-
tors; she is also a part-time tutor in the illustration department of Edinburgh College of Art.
She has published nearly 300 illustrated books, and in 2016 was awarded an MBE for ser-
vices to literature, literacy, illustration and the arts. www.vivianfrench.com

Pam Smy has a love of observational drawing and an enthusiasm for creating spaces and
places in her illustration for chapter books and YA fiction. She is a founding member of Or-
ange Beak Studio, a tutorial service for emerging illustrators, and she lectures part-time on
the MA in Children’s Book Illustration at Cambridge School of Art. Pam’s first novel, Thorn-
hill, was published by David Fickling Books in August 2017.

Jade Dillon (Mary Immaculate College, Ireland):

THE ARTISTIC LENS OF THE PICTUREBOOK: ILLUSTRATIVE AND

AUTONOMOUS DEPTH ASSOCIATED WITH PHOTOGRAPHIC PICTUREBOOKS
(3B)

Throughout this paper, imaginative photography as a form of picturebook will be investi-

gated. The fundamental aim of captivating imagery is to encompass the mood of the original
text in an alternative medium, and through photographic art, such expression can be found.
This paper will focus on the form of photography-based picturebooks, using examples from
the Wonderland series by Kirsty Mitchell (a series which uses Lewis Carroll’s 1865 publica-
tion, Alice’s Adventures in Wonderland, as an aesthetic foreword). The illustrative medium of
art and photography juxtaposes the traditional idea of a ‘picturebook’; it moves beyond ac-
companying a story, and instead creates an independent narrative with undertones of the rep-
licated text. While examining the art of photography and the picturebook, this paper will also
illustrate the dynamic shift in perception of visual and written narratives.

The duality of visual art is subjective in terms of the characters’ agency, the self-actualisation
of their Self, and subsequently, their narrative; the cinematic elements are captured through
the use of shadows, location and aesthetic representations. Analysing photography in relation
to textual analysis can be defined as a ‘mirror with a memory’, a form of expression that
exceeds words and limitations. John and Malcolm Collier argue that ‘the camera is another
instrumental extension of our senses, one that can record on a low scale of abstraction. The
camera, by its optical character, has whole visual’. The visual form of narrative is, perhaps, an
irrevocable tangent of literary texts as the image within the mind’s eye is externalised. The
relationship between internal and external, and between imaginary and real, expresses the
need for the cinematic gaze alongside the written word.

Jade Dillon is a Doctoral Research Student and English Tutor within the Department of
English Language and Literature in Mary Immaculate College, Ireland. Jade’s Ph.D. thesis
is entitled ‘Voicing Gender: Gender Identity, Ideology, and Intertextuality associated with
Victorian Children’s Literature’. She has an active publication record and has presented her
research at numerous national and international conferences. Jade’s most recent publication
is to feature in The Companion to Victorian Popular Fiction (2018) with McFarland & Co.
She is also a Fiction Reviewer with the Fantastika Journal, and actively publishes in areas of
cinematography and critical literary analysis. Jade’s research interests include: Children’s
Literature, Gender Theory, Psychoanalysis, Adaptation and Intertextuality, Film Studies,
Young Adult Fiction, Illustrated Texts, and Popular Culture.
Elina Druker (Stockholm University, Sweden)

PICTURE-TEXT RELATIONSHIPS IN A HISTORIC CONTEXT (2A)

With the aim to establish picturebooks as a literary and aesthetic category, with its specific
qualities, terminology and theory, scholars in the field have, since the 1980s, gradually
established the idea of the text-image relationship as significant for the picturebook. In my
paper, I would like to discuss implications of this consensus. Is the image-text relationship

something that is constant and predictable despite historic or artistic context or does our
perception of this synergistic relationship between words and images change over time? As a
point of departure for a theoretical discussion, I will use the Swedish Einar Nerman's
picturebooks and wooden toys, representing different characters in his books and exhibited
and sold in Sweden and the UK during the 1920s. When studying historic material (and in
this case, what we could consider early examples of children's merchandizing), it is
problematic to disregard the context and ideology surrounding the text, or the changes that
have taken place concerning the ideas of the child as reader/consumer. In fact, I would like to
discuss whether the text-image relationship remains the same, despite the material studied, or
if implied readership, explicit or implicit ideology and historical and cultural context should
be considered as something that is constantly changing and shifting? Nerman's books and toys
demonstrate interaction between children’s literature and other areas of literature, media,
consumerism and art, but point also at connections between high arts, avant-garde and mass
culture. While this kind of interplay between picturebooks and different forms of art and
media is essential for the picturebook medium in general, it can hardly be considered as a
constant. This raises fundamental theoretical and methodological questions about the study of
picturebooks at large and about picture-text relationships specifically.

Elina Druker is Professor of Comparative Literature at Stockholm University, Sweden. Her

research area covers picturebooks, illustration history and intermedia studies. In her
dissertation The Images of Modernism (2008), she studied modernist aesthetics in Nordic
picturebooks in the 1950's. Druker has published and edited several publications dealing with
children's literature. She is co-editor for Children's literature and the Avant-Garde (2015)
and co-edits the John Benjamin series “Children's Literature, Culture and Cognition". She is
a jury member of The Astrid Lindgren Memorial Award and The Phoenix Picture Book
Award.

Stella East (illustrator)

RECOGNIZING PICTUREBOOK IMAGES AS LANGUAGE: A MEANS TO

UNDERSTANDING HOW WORD AND IMAGE WORK (5A)

I am a picturebook illustrator. Though the picturebook writer may be the creator of the story,
the writer and I share the storytelling role in different, yet equally valuable, ways. According
to Gunther Kress and Theo van Leeuwen though, visual representations are often defined as
“uncoded replicas of reality or as a means of individual expression.” The narrative may then
be assigned to the verbal text, masking the illustration’s role as decorative and subservient to
that of the written word. I claim that only when picturebook images are recognized as
“language”, can the combined roles of these two sign systems, the arbitrary words and the
motivated pictures, be understood - as they articulate and modify meaning by being situated
within the same picturebook or syntax.

In my paper I will argue that picturebook illustration is a semiotic system of structured,

human representation and that which I choose to call “visual language”. To do this I will
deploy common conceptualizations from verbal language such as vocabulary, syntax,
grammar and parts of speech such as nouns and verbs and their modifiers and discuss how
these can be applied to a visual language. Furthermore I will draw upon the descriptors that
participate in Ferdinand De Saussure’s definition of “the linguistic sign,” as well as theories
of Charles S. Peirce. As all language can be both art and information, the language of
picturebooks can then be discussed as art and information. Picturebook illustrations, which
contain both communicative and aesthetic properties, can be seen as belonging to a genre
similar to pictures with narrative structures conventionally considered fine art. In turn, fine art
has a long tradition of visual storytelling, including tapestries, church frescoes, Rembrandt
paintings and so forth.

Stella East has illustrated 10 picturebooks and 6 illustrated books with Norwegian and
Canadian authors. Her work has been published in Norway, Canada, USA, Sweden,
Denmark, Germany, Hungary, Lithuania, Korea, Greece, and China. She made her debut as
a writer with the book Wolf Cub Sim, which is published in Norway and Germany. Her
masters thesis, Picturing Stories, 2008, York University, Toronto, examines the visual story
within picturebooks as an art form and as a language, within a storytelling and fine art
tradition. Ideas from this thesis have been presented in several articles and lectures.

Marcela Escovar (independent, Colombia)

YOUNG READERS' ENGAGEMENT WITH WORD/IMAGE STORYTELLING: DO

WORDS AND PICTURES INVITE DIFFERENT KINDS OF RELATIONSHIPS
BETWEEN TEXTS AND READERS? (4B)

I want to explore the role of interactivity, as an emerging narrative characteristic that has been
recently applied to a selection of printed picturebooks. When we talk about interactivity, we
usually associate it with digital media. Still, this concept has crossed over to the printed media
realm and its use has generated a new trend of interactive printed picturebooks. The aim is to
reflect on how interactivity allows authors and illustrators to play with the idea of the book as
an object. Not only as a world where it is possible to incorporate fiction but also, as a three-
dimensional object that allows other ways of activating the inputs the book has to offer.

Through interaction the reader is invited to follow the given rules and to play an active role
by performing the physical actions proposed by the book: shaking, tapping, blowing or
clapping, among others. This invitation can be given by the words or by the images. The
conversation between object and audience also includes the dialogue between interactivity
and the reader’s role, where interactivity takes into account metafiction and the narrators´
active perspective.

This is a very young topic to touch since this new trend has emerged strongly only since
2010. Nevertheless, its study might help us understand how the picturebook industry can
innovate and challenge themselves to create a bridge between the printed and the digital
media captivating the native digital readers of this century.

Marcela Escovar has a degree in Literature from Los Andes University, Colombia. She
worked for five years supporting literacy workshops that involved children´s literature and
schools in public libraries around Colombia and Latin America. She has experience working
as children´s book editor. In 2012 she started her own reading project Picnic de Palabras
(Word Picnic), where we share picturebooks in non-conventional spaces such parks and
squares. This project has been replicated in ten countries and twenty cities in America and
Europe. In 2017 she received her MEd in Children´s Literature and Literacies at the
University of Glasgow, where she focused her research on interactive picturebooks.

Alicja Fidowicz (Jagiellonian University, Poland)

PICTURE BOOK IN TRANSLATION: PERSPECTIVE OF POLAND AND
SLOVENIA AFTER 1990 (2A)

The post-communist transformation in the Central, Eastern and Southeastern Europe had
brought multiple changes in children's literature. On the one hand, it brought new possibilities
in creating of the picture book as the product. However, in that region of Europe it was the
moment of decline in the area of translations from non-English literatures. Author is focused
on the attempt to present work of picture book in Poland and Slovenia after 1990 and its
translations from both languages in these countries. She tries to define the specific of
translation connected with picture book as the product of concrete culture. The Author is also
focused on the changes in the shape and graphics of picture books in Poland and Slovenia in
the past thirty years, comparing them to these picture book, which were created in the
communist era. She is focused on the influence of the free market, digitalization and social
diversification in these countries on the graphical side of the picture book and its topics.

Alicja Fidowicz is a graduate of Polish Philology at the Jagiellonian University (2014) and
Serbian Philology at the Jagiellonian University (2017). She is PhD candidate of humanities
at the Jagiellonian University. Areas of academic interest: children's and young adults
literature, Polish and Slovenian literature, disability studies. She is the author of many
articles in scientific journals (“Maska”, “Przegląd Pedagogiczny”, “Wielogłos”).

Teresa Fleta (independent, Spain)

EXPLORING THE ART SURROUNDING BARCODES ON PICTUREBOOKS (2C)

There are many layers of meaning to be explored in picturebooks: from peritextual features to
visual elements and verbal text. Every element of a picturebook is meaningful and a great
deal of studies underline the importance of the multimodality of picturebooks.

Barcodes became omnipresent in the 20th century society adorning most commercially
available products. Barcodes are particularly appealing to some picturebooks’ creators, many
of whom have featured them in their picturebooks in today’s international book market.
Several artists have created artwork around barcodes turning the numbers and the black and
white bicolour parallel lines simplicity on the dust jacket or back cover of picturebooks into
fun, colourful and memorable elements.

This presentation delves deeper into the art surrounding barcodes as meaningful peritextual
elements of picturebooks. The current study is framed against the backdrop of the complex
relationship between text and images (Nodelman, 1988; Nikolajeva & Scott, 2000; Arizpe &
Styles, 2016; Kümmerling-Meibauer, 2017). In particular, the framework draws from the
multimodal aspects of picturebooks which come to the fore the aesthetic and narratological
aspects of picturebooks (Kress & Van Leeuwen 2006; Salisbury & Styles, 2012;
Kümmerling-Meibauer, 2014).

The study explores the creative visual experimentation of artists with barcodes as a
contribution to the visual and verbal narrative of picturebooks. After a close observation of
barcodes in picturebooks, the outcomes of the study suggest that barcodes take pride of place
and hold meaning in relation with the main story. Sometimes artists grace barcodes to the
protagonist and/or other characters from the story; other times, with new elements which do
not appear in the inner story. Moreover, sometimes the verbal text makes specific reference to
the artistic barcode. Barcodes are in general hilarious and highly original artistic elements of
the peritextual features of picturebooks that need to be considered “seriously” by readers.

Teresa Fleta (PhD) is a teacher, teacher trainer and researcher based in Madrid. As a
classroom teacher, she taught in pre-school, primary and secondary education. Currently she
teaches in the International University of La Rioja and is Honorary Research Fellow in the
Complutense University of Madrid. Her recent publications include: “The Applicability of
Picturebooks to teach English as a foreign language” (forthcoming); “The sounds of
picturebooks for English language learning” (2017); “Active listening for second language
learning in the early years” (2015); “Raising intercultural awareness through picturebooks”
(2014); “The 'Art' of teaching creative story writing” (2013).
Nina Goga (Western Norway University of Applied Sciences)

HOW NONFICTION PICTUREBOOKS WORK – THE CONCEPTUALISING ART

OF CHILDREN’S PICTUREBOOKS (2B)

Even though the prestigious Bologna Ragazzi Award for nonfiction children’s literature has
been awarded since 1995, nonfiction picturebooks are seldom discussed or referred to as
examples in analyses of the structure, or art, of picturebooks. Based on examinations of the
cover design, format and size of the nonfiction picturebooks that have received the Bologna
Ragazzi Awarded, this paper addresses this issue. Referring to and discussing Nikolajeva and
Scott’s chapter on picturebook paratexts (Nikolajeva & Scott, 2006), Nodelman’s chapter on
format and design (Nodelman 1988), Pantaleo’s chapter on paratexts in picturebooks
(Pantaleo, 2017) and von Merveldt’s chapter on informational picturebooks (Merveldt, 2017),
the aim of this paper is to outline a theoretical basis for analysing the verbal and visual
strategies employed in nonfiction picturebooks to communicate the implied reader of the
book (Larkin-Lieffers, 2010), as well as the topic or concept of the book. One preliminary
hypothesis may be that, while fiction picturebooks tend to address the implied reader through
the depiction of character and setting on the cover and through the format of the book,
nonfiction picturebooks tend to address the implied reader through the choice of subject or
topic and the strategies and styles (i.e. choice of objects, photo/drawing) used to visualise
these.

Nina Goga is Professor in children’s literature at Western Norway University of Applied

Sciences, leader of the research group Nature in Children’s Literature and Culture
(http://blogg.hvl.no/nachilit/), and co-ordinator of the only Norwegian MA program in
children’s and young adult literature. Her most recent books are Maps and Mapping in
Children’s Literature. Landscapes, seascapes and cityscapes (2017, co-edited with Bettina
Kümmerling-Meibauer) and Kart i barnelitteraturen (2015, Maps in Children’s Literature).

Mirjam Haas (Tübingen University, Germany)

SHOW ME HOW TO READ. ICONIC MEANING-MAKING BETWEEN VISUAL ART,

WORD AND SOUND IN PICTURE BOOKS (1C)

In this paper, I argue that there are three (rather than the generally accepted two) levels of
interactive meaning-making that constitute picture book readings: word (semantic input),
visual art (illustrations, graphics, typography), and sound (reading performance). Especially
in such cases where this additional third component is inscribed into the typography (and
sometimes even into the illustrations) of a picture book, sound can function as a linking
device between visual art and word, which cannot only show but also establish iconic
relationships between linguistic forms and their meaning(s) (e.g., but not exclusively, via
onomatopoeia). Thus, Michael Arndt’s Cat Says Meow: And Other An∙i∙mal∙o∙poe∙ia (2014)
draws on established non-arbitrary relationships between sound and meaning in such
imitative expressions as the (English) frog’s “croak”. This iconic sound relationship is then
mirrored in and, indeed, becomes part of the image as the animal is “made up” of the letters –
and, hence, the sounds – of the call it typically utters (note also the use of the suggestive
green frog colour that links call and illustration), identifying the animal with its own voice
rather than with its human-given and arbitrary name. Thus, in reading, seeing and listening to
the picture book, a complex multimodal representation of a “Frog” is created that establishes
ideas of colour, shape, sound and even behavioural patterns of the animal (here in the
suggested interaction with the mosquito).

The paper focuses on this and similar examples in which word, image and sound (especially
as influenced by typography) interact to create non-arbitrary (e.g. in Dr. Seuss et al.’s My
Many Colored Days) as well as diagrammatic (e.g. in Sandra Boynton’s Opposites) iconic
meaning beyond the purely semantic and visual, drawing conclusions about the difference
that the addition of voice(s) can make to our understanding of picture books.

Mirjam Haas completed her MA in English Literatures and Cultures at Tübingen University
in March 2018. In her master’s thesis, “Sound Meanings – Writing for the Ear: Sound of
Voice and Voice of Sound in Poetry, Picture Book, and Drama Readings,” she explored how
meaning is made between written and read-aloud (poetic) performative texts of different
genres. Together with Leonie Kirchhoff, Mirjam Haas took part in the interdisciplinary
workshop “Tiere Wissen – Tiere Erzählen” [‘Animals Know – Animals Narrate’], hosted by
Marion Darilek and PD Dr. Angelika Zirker, at Tübingen University in June 2017 with a talk
called “From Pompey to Flush – Moving into the Real?” She is currently working at
Tübingen University and teaches a seminar on “‘scope for imagination’: Girls in
Wonderland at the Dawn of the Twentieth Century.” Her research interests include sound,
iconicity, multimodality, literary linguistics, (Renaissance) drama, and children’s literature.
Naomi Hamer (Ryerson University, Canada):

TRANSMEDIA STORYTELLING, MEDIA GENEALOGIES, AND PICTURE BOOK

THEORY (7B)

Over the last two decades, digital media technologies and cross-media practices have
significantly changed the design, distribution, and reception of picture books. These texts are
rarely designed as isolated print codices but rather produced in tandem with film adaptations,
video games, mobile apps, and exhibits. Henry Jenkins (2006) defines this phenomenon in
terms of a “transmedia story” that “unfolds across multiple media platforms with each new
text making a distinctive and valuable contribution to the whole”. Within a transmedia story,
the textual design across old and newer media may meaningfully extend, inform, or subvert
the discourses of the narrative. These processes require theoretical approaches that situate the
analysis of picture books as part of transmedia stories. This paper explores the implications
and applications of the key theoretical frames of transmedia storytelling in the analysis of
picture books. Alan Liu (2007) argues that the advent of digital media brings with it a need
for a “genealogy of mediated experience—bookish, online, or otherwise—that shuttles
uncannily between old and new”. Expanding on Liu, Helene Hoyrup (2017) proposes that
“[i]t is important not to think of verbal, visual, and multimodal texts in terms of a linear
history but rather as a mutual “horizontal” questioning of the idea of mediation”. My chapter
in More Words About Pictures: Current Research on Picture Books and Visual/Verbal Texts
for Young People begins to engage with this type of ‘horizontal’ questioning in the
examination of how the picture book app remediates design elements across old and new
media. This paper will build upon the theoretical implications of this work through the
exploration of a collaborative app development project (lead by Mavis Reimer, UWinnipeg)
focused on the Indigenous picture book Piisim Finds Her Miskanow.

Dr. Naomi Hamer is an Assistant Professor in the Department of English at Ryerson

University (Toronto, Canada). Her current research and publications examine the
crossmedia adaptation of children's literature with a focus on picture books, mobile apps,
and children’s museums. She is co-editor of More Words about Pictures: Current Research
on Picture Books and Visual/Verbal Texts for Young People (2017), and The Routledge
Companion to Media and Fairy-Tale Cultures (2018).
Kristin Hallberg (Stockholm University, Sweden):

ICONOTEXT RECLAIMED, OR 30 YEARS AFTER (1A)

This paper concerns and discusses the interrelationship between word/text, picture and book
as media from different perspectives and with account taken of both a narrating/telling and a
reading point of view and all within the frame of ICONOTEXT. The approach includes both
theoretical and aesthetic thoughts on how picture and word interact as an object of art and as
literature.

The paper will if not dwell upon but at least include:

• Picture book/picturebook as an art form and a material object

• Metalanguage for discussing picture books: coming to terms

• Is there a universal language of picture books?

• Looking at words, seeing pictures (e.g. implications of fonts, intraiconic texts, etc)

The paper is threefold and discusses ICONOTEXT starting from a retrospective view and
ending up in how I understand today.

• To coin a term – on how iconotext came about.

• How the relation text and picture was understood at the time and what I included
within in the term

• The conference 1998 and There is always an Iconotext

• When and how has the term been used by scholars during this 35 years

• Reclaiming Iconotext – how I would understand, define, extend ICONOTEXT 35

years after.

Kristin Hallberg is affiliated with department of comparative literature, Stockholm

University. She has published on picture books from different perspective such as theoretical,
historical, gender, themes and genre, as well as on YA literature and girl literature. She has
written on literature didactics, on literature for the very young, and on poetry. At moment
working on a article on the naked child in a 1920s Swedish newspaper comic.
Sarah Hoem Iversen (Western Norway University of Applied Sciences)

SELECTION AND PRESENTATION OF KNOWLEDGE IN PICTURE

DICTIONARIES (3A)

In the fields of picturebook research and lexicography, picture dictionaries occupy the
margins. They are seen as transitional texts, rather than dictionaries proper (Mallett 2010),
and their lack of narrative structure has rendered them peripheral in the field of picturebook
theory. Kümmerling-Meibauer & Meibauer (2005) write that early concept books, where
single words typically refer to everyday objects, have received little interest in picturebook
theory research. Nikolajeva & Scott concentrate on picturebook narratives, leaving aside
picture dictionaries as these ‘demand special attention’ (Nikolajeva & Scott 2006: 26).

When giving attention to these overlooked texts, this paper takes ‘picture dictionary’ to
include ‘exhibit books’ (Scott & Nikolajeva 2006), or ‘early concept books’ (Kümmerling-
Meibauer & Meibauer 2005), e.g. The Baby’s Catalogue, but also dictionaries for older
children where visual and verbal elements are interdependent (e.g. The Oxford Reading Tree
Dictionary). The image-word interplay in picture dictionaries is interrogated to determine
whether the relationship between the signifier and the signified is as straightforward as has
been suggested (Nikolajeva & Scott 2006). In particular, the paper investigates the
presentation of knowledge. Dictionaries are generally expected to represent objective ‘facts’.
However, compiling picture dictionaries involves choices regarding selection of headwords,
wording of definitions, and choice of illustrations. Such choices are influenced by the time,
place, and culture in which the text was created.

Sarah Hoem Iversen (D.Phil, Oxon) is Associate Professor in English Language and
Literature at Western Norway University of Applied Sciences. She lectures on topics related
to English linguistics, children’s literature and ESL/EFL pedagogy, as well being a tutors
and supervisors on the Master’s in Children’s and Young Adult Literature. Her main
publications are on the history of children’s dictionaries in Great Britain. Current research
interests include children’s nonfiction, digital texts and hypertext, language and gender, and
young learner writing.
Hui-Ling Huang (National Yunlin University of Science & Technology,Taiwan):

GO BEYOND BORDERS WITH PICTURE BOOKS: A CASE STUDY OF A

TAIWANESE PUBLISHER’S DEVELOPMENT (6C)

This paper takes the grounded theory approach to explore the factors that influence picture
books’ opportunities to cross the borders by exploring the strategic moves for market
development taken by a Taiwanese publisher who has successfully introduced Taiwanese
picture books to the world. For a small country like Taiwan, in which imported and translated
picture books occupy nearly 80 percent of the market, the strategies to defy market pressures
and cultural cringes so to nurture local talents and successfully introduce them to international
market can provide invaluable insights to exam the factors and maybe establish a theory.
From the aspects of social, cultural (aesthetic), language (translation), and geographical
differences, the publisher’s professional experiences in picture books production were
investigated. As we all know that publishers have influential power to decide what we read,
their preferences in story types and artistic styles decide what are available in the market.
However, little research has been reported from publishers’ perspectives to explore their
perspectives when creating picture books for international market. Through in-depth and
multiple interviews and dialogues with the publisher, who is also the editor-in-chief and a
writer herself, the development of her publishing career spanned twenty years was
documented based on the books published, particularly those with international rights
obtained or sold. From importing English picture books in the late 1990s to publishing
Taiwanese picture books, from books to multimedia production, from the successful cases to
the failed ones, it was found that her previous academic training and international experiences
had been two important strengths that based the rationales for the selection of story types and
artistic styles. Her strategies for international markets were unraveled when she recalled her
professional experiences. Suggestions forthe publishing industry and implications for further
study are made at the end of the paper.

Dr. Hui-Ling Huang is an associate professor at Yunlin University in Taiwan. She teaches
children’s literature and creative writing for picture books. Her research centers on the
representations of multiculturalism in children’s picture books. In 2008, she took the position
of the chapter advisor of SCBWI (Society of Children’s Books Writers and Illustrators) in
Taiwan and the side-career as children’s writer took off. With the actual writing experiences,
her research topics start to bring creators’ perspectives into academic discussions in hope to
bridge the gap between research and practice.

Honglan Huang (Yale University, USA):

THE NARRATIVITY OF THE MEDIUM: THE ARCHITECTURE OF BOOK SPACE

IN PICTUREBOOKS (4B)

Narrative is generally conceived of in the Structuralist model as composed of two parts, story
and discourse, but increasingly prevalent experimental practices in the realm of picturebooks
necessitate the introduction of the medium as an important constituent of the narrative, which
encompasses both semiotic and material manifestations. Although material aspects of the
book have been examined in fields like media studies and the history of the book, placing
these in the context of narratology allows us to understand features of the book significant to
the narrative. This paper argues that the medium not only supports the transmission of the
narrative but also participates in the construction of narration and has the potential to become
a semiotic code in its own right.

By first modifying and expanding upon Chatman’s four-part division of the narrative, this
paper includes the medium as a plane independent from discourse. By introducing Barthes’s
idea of “simultaneous systems” and Genette’s concept of paratext, this paper elaborates on
the relationship between medium and other narrative components and sees material elements
of the medium not as simple aesthetic statements but venues for the author to imbue the
reader with certain aspects of the narrative in a less obtrusive way. In addition, I take into
account works by contemporary critics: Marie-Laure Ryan’s argument for a media-conscious
narratology allows the medium to take an active part in shaping the reader’s experience of the
narrative and helps locate our examination of the significance of medium in picturebooks
within current discussions in media studies; Maria Nikolajeva’s extension of Genette’s
concept of paratext in the context of picture books allows paratexts to function as more than
an accessory element of the main narrative and paves the way for this paper to explore
paratexts’ influence on the physical performance of reading in picturebooks.
Honglan Huang graduated from Haverford College in 2016 with high honors in Comparative
Literature (French and Japanese), and is currently a second-year PhD student in the
Comparative Literature program at Yale University. He has a longstanding interest in the
material and theatrical aspects of picture books.

Nahid Kazemi (illustrator)

TO IMAGINE A WORD AND TO VERBALIZE A PICTURE (7C)

To all the painters, no doubt, the book illustration seems to be a simple job at first glance.
Yet, if you ask the world's greatest illustrators, most of them confirm that the first experience
was not so simple. Many painters are thrilled to see beautiful picture books and dream of
making their first book. They believe they can create something more engaging and more
creative than they have seen, so they chose a story or a text in accordance with their own
spirit and start the work. But the result is far away from what is being called the art of book
illustration. All the charms suddenly disappear and you realize that you are faced with
something far beyond the world of painting and technique. You need skills way higher than
just painting and writing. This was an experience I had when I was working on my first book.
What inspired me to create my first book was, the images that Květa Pacovská made for the
book Alphabet. Pacovská says something in an interview about how her treatment of image:
What seems to be important to me is not only what you see with your eyes but also what you
can feel, the shape of a number or a letter, it is to be able to use, if possible, the five senses ...
And elsewhere she talks about his own experience of illustration: “A book is for me an
architecture. It is a given space, sealed, in which I compose empty pages, cutout, written or
painted.

I, as an illustrator, initially started with a text, the text I wrote or I chose from my favorite
writers. But the further I went, the further I realized that dealing with the text as an illustrator
was really different from that of a painter. Isabelle Arsenault, a Canadian illustrator, says
about her way of dealing with the text: I approach each of my book in a different way. Each
text invokes a particular universe and I endeavor to grasp it by adapting my techniques, my
rendering and my graphical approach to each project. After passing through the text and
getting to the technique and making the text space, the illustrator can fully feel how to
creatively use all kinds of techniques and medium for her book. Pacovská says about her
experience of importing the art of sculpture into the field of illustration. “I had already made
some books left unfulfilled before publishing "never two without three" It's an order from a
publisher who had seen one of my paper sculpture shows. I first refused, thinking that it
would not sell, I will never have the paper and the impression that I wanted...And finally, it
happened, it was not as easy in reality, it was necessary to make some small concessions.
With hindsight, after a few years of this activity, I can say that I am very happy. I was very
happy to be able to bring some art into the field of children's books, which was a surprise.”

Now, after years of experience and creating more than forty picture books, I, as an illustrator
or maker of picture books, still cannot get what I felt when I saw Alphabet book for the first
time. But I've learned that making an original visual book is like making a melody or original
song. You have to enjoy skills such as character design, graphics, sculpture, layout,
calligraphy, and modern storytelling techniques, to bring to life a unique work as an artist.
The artist who creates the book can even compare herself with a movie director, though
somewhat with the small yet important difference that she does not choose her actors rather
creates them one by one, and by their creation she directs the text to other level of a picture
book. Thus, picture books enable the artist visit other spheres of creativity, such as animation,
and absorb their possibility of each sphere to enrich her final work.

Nahid Kazemi is a visual artist, international author-Illustrator with master's degree in

painting from Tehran's University of Art. She has recieved awards for her illustration in Iran
and Canada. She has been selected for the 2018 Joanne Fitzgerald Illustrator in Residence
Program in Canada. She has published more than sixty children's books and magazines for
children and adults and has collaborated by prominent publishers like Enchanted Lion Book
in NY, Groundwood in Canada, Tiny Owl in London and Sanje in Slovenia . She has Also
thought art and has exhibited her paintings in Iran, Canada, France, Italy, the united
Kingdom,Lebanon, Serbia, China. Nahid lives in Montreal.

Bettina Kümmerling-Meibauer (University of Tübingen, Germany) & Jörg Meibauer

(Johannes Gutenberg University Mainz, Germany)

MATERIALITY MATTERS (4B)

Learning from picturebooks happens in many dimensions, for instance with respect to
multimodality (a sequence of text-picture combinations), with respect to literary characters
(often of a very special kind), and with respect to types of content (for instance, narrative or
descriptive). To these dimensions, we would like to add another source of learning, namely
materiality. Since we assume that picturebook theory should explain the fact that
picturebooks are accommodated to the cognitive development of the child and intended to
trigger such development, we have to show that the inherent materiality of picturebooks is not
accidental, but functionally related to the cognitive development of the child. This will be
undertaken with respect to three dimensions: The first dimension concerns the materials the
picturebooks is composed of, e.g., paper or cardboard, wood, plastics, cloth, etc. These
materials allow certain actions, e.g., to draw on them or to take them into the bathwater.
Obviously, the materials are connected to the dimension of integrity or destructibility that is
important in child development. The second dimension refers to the type of book, e.g., a
hardback, sets of cardboards, fanfold book, pop-up book, and even hybrid objects such as
books, which are toys at the same time. Again, these different types of picturebooks invite for
different actions of the child that are related to different developmental stages. Finally, we
will analyze the types of actions that are connected to picturebooks as objects: biting,
building, piling up, setting up, painting, collecting, arranging, and last, but not least, reading.
Certainly, these types of actions have to with the materials and the book types previously
mentioned, but also, from a cognitive point of view, with developmental stages of the child.
In sum, we argue that the materiality of picturebooks should be investigated from a cognitive
perspective.

Bettina Kümmerling-Meibauer is Professor in the German Department at the University of

Tübingen, Germany. She has written monographs on fairytales, international children’s
classics, and canon processes in children’s literature, and co-edited several volumes, e.g., on
picturebooks, children’s films, manga, the impact of Avant-garde movements on children’s
literature, and maps in children’s literature. She is the editor of The Routledge Companion to
Picturebooks (Routledge, 2018). Her joint work with Jörg Meibauer aims at developing a
cognitive theory of picturebooks.

Jörg Meibauer is Professor of German Language and Linguistics at the Johannes Gutenberg
University Mainz, Germany. He has written monographs on rhetorical questions, modal
particles, pragmatics, and lying, and co-edited several collections, e.g., on lexical
acquisition, sentence types, constructions, quotation, context, experimental pragmatics, and
pejoration. He is is the editor of the Oxford Handbook of Lying (Oxford University Press,
2018). His joint work with Bettina Kümmerling-Meibauer aims at developing a cognitive
theory of picturebooks.

Maria Lassén-Seger (Åbo Akademi University, Finland) & Anne Skaret (Inland Norway
University of Applied Sciences)

EXPLORING DIFFERENCES BETWEEN ILLUSTRATED BOOKS AND

PICTUREBOOKS (1B)

Children’s literature has a long tradition of joining text and imagery. Already in 1693,
philosopher John Locke recommended that pictures should be included in books for children,
and their presence in children’s books of today is still uncontested. Still, from the 1980s
onwards, research on text-image interaction in children’s literature has mainly focused on
picturebooks. As a result, picturebook research has blossomed and grown into a research area
in its own right and picturebooks are today seen as a distinctive and complex literary medium
(cf. e.g. Nodelman 1988; Sipe 1998; Nikolajeva and Scott 2001). While establishing
picturebook research and theory as a field of its own, however, little interest has been payed
lately to the development of illustrated children’s books. On the contrary, illustrated books
are often compared to picturebooks only in order to show that the latter involves much more
complex text-image interaction.

In this paper, we wish to take a step back from and re-evaluate the over-simplified notion that
illustrated books and picturebooks are fundamentally different mediums. Obviously, there are
differences between the two, mainly in terms of the amount of images included. Most
picturebook scholars agree that a picturebook should include one or several pictures on each
double spread (cf. Hallberg 1982; Nikolajeva and Scott 2001; Birkeland and Mjør 2012),

suggesting that this is not the case of an illustrated book. However, the visual turn has also
had an impact on the form and shape of illustrated books during the last decades. Norwegian
author Håkon Øvreås and illustrator Øyvind Torseter’s children’s book series Brune (2013)
and Svartle (2015) include a multitude of pictures and thereby challenge this commonly
understood divide between illustrated books and picturebooks. Have we – in our eagerness to
explore the picturebook medium – neglected and overlooked the possibilities and
characteristics of text-image interaction in illustrated books? Is it still relevant to uphold a
rigid border between picturebooks and illustrated books?
Maria Lassén-Seger, PhD, is Head of Library Services at Åbo Akademi University Library in
Turku, Finland. She is a children’s literature lecturer and critic, and a member of the Astrid
Lindgren Memorial Award (ALMA) jury. Her publications include Empowering
Transformations: Mrs Pepperpot Revisited (2014, co-edited with Anne Skaret), BY: Finnish
Illustrations for Children (2014), Celebrating a Displaced Hedgehog: A Festschrift for Maria
Nikolajeva (2012, co-edited with Mia Österlund), Adventures into Otherness: Child
Metamorphs in Late Twentieth-Century Children’s Literature (2006), as well as various
articles on topics especially related to picturebooks, fantasy and Nordic children’s literature.
[email protected]

Anne Skaret, PhD, is Associate Professor in Nordic literature at Inland Norway University of
Applied Sciences, where she teaches and conducts research on topics mainly related to
children’s literature. She also holds a part-time position as researcher at The Norwegian
Institute for Children’s Books. Her latest publications include Barnelyrikk: en antologi (ed.,
2015), Alf Prøysen, kunsten og mediene (2015, co-edited with Hans Kristian Rustad),
Empowering Transformations: Mrs Pepperpot Revisited (2014, co-edited with Maria Lassén-
Seger), as well as diverse articles especially on children’s literature and intermediality and
Alf Prøysen’s literature for children. [email protected]

Marie-Pierre Litaudon (Université Rennes 2, France)

ABC PICTUREBOOKS: A PLAYGROUND FOR LITERACY (3A)

This paper will be built upon my Phd thesis Les Abécédaires de l’enfance. Verbe et image
(Childhood’s ABC books. Word and image, Presses Universitaires de Rennes/IMEC, 2014)

which traces the history of the ABC book as a genre, through a comparative approach (French
and Anglo-American) higheliselighting the evolving relationships between text and image in
learning how to read and write. Here, my aim will lie less in tracing the historical
transformations of the relationship between text and image than in its present pedagogical
applications in discovering and managing the language system. My paper will be divided in
three parts:

1. Define what an ABC book is and why pictures were added to provide some help for its
learning ; analogies and differences with two close type of picturebooks : concept
books (imagiers) and dictionaries.
 2. Analyse the typology described in my Phd thesis to classify ABC books according to
their pedagogical strategy, their aim(s) and content, as well as their material character-
istics (see Appendix).

3. Show how the ABC books work as a paradigmatic and phrasal matrix of language.

Marie-Pierre Litaudon has a PhD degree in Comparative Literature and is a member of the
CELLAM laboratory, University Rennes 2, France. She dedicated her thesis to the history of
ABC books and deposited her rich collection of 1,200 English and French rare books at
IMEC. She had been an associated researcher of the French national Library and IMEC,
where she also undertook an archivist training. Her works focuse on children's literature and
cultural studies, book and publishing history along with the text-image relationship.

Laura Little (Bath Spa University, UK), Greet Pauwelijn (Book Island publishing), Holly
Tonks (Tate publishing), & Sam Arthur (Flying Eye Books)

PUBLISHING PICTUREBOOKS: DESIGN AND EDITORIAL DECISION-MAKING

FOR A GLOBAL INDUSTRY (4A)

Picturebooks form a significant part of a vibrant publishing industry and make meaningful
contributions to culture and education. Within children’s literature, the roles played by
authors, illustrators and readers of picturebooks have received considerable academic
attention. Yet the role of the publisher with regard to the creation and distribution of a
picturebook has, arguably, been less thoroughly explored.

UK children’s publishing is an internationally successful sector in terms of revenues and

innovation. Around 10,000 new picturebook titles are published in the UK each year, with
many of these finding their way into multiple translated, foreign language editions. Buying
and selling international rights form a significant aspect of the global children’s publishing
market. The market for picturebooks differs across countries in terms of the content and style
of the books, providing the publisher with complex and nuanced decisions to make when
buying rights.

This panel discussion will explore the creative and business decisions a publisher makes
when buying rights or commissioning for different markets. Speakers such as Greet
Pauwelijn, Director, Book Island; Holly Tonks, Commissioning Editor, Tate Publishing and
Sam Arthur, Director, Flying Eye Books will offer perspectives from their experiences as
publishers and discuss a selection of the titles that they have commissioned or bought and
published.

By discussing these titles, the decisions that publishers make on choosing, translating and
adapting picturebooks for different markets will be explored. This panel will offer insights
into the role of the publisher in the creation and distribution of picturebooks in an
international market and question the wider cultural and educational benefits of this.

Laura Little is a Senior Lecturer in Publishing at Bath Spa University, where she leads the
children’s publishing strand. She worked in publishing for a decade in both editorial and
design roles. Her research interests include artists' books and children's picturebooks.

Greet Pauwelijn is Director of independent Bristol-based publisher Book Island that

specialises in publishing books in translation. In 2016, Book Island won the Bologna award
for Best Children’s Publisher of Oceania.

Holly Tonks is Commissioning Editor at Tate Publishing and leads the children’s list there.
The Museum of Me (2016) by Emma Lewis was the Bologna Opera Prima award winner in
2017.

Sam Arthur is Director of Flying Eye Books, an independent children’s book publisher.
Flying Eye Books has won numerous awards, including the Bologna non-fiction award for
The Wolves of Currumpaw (2016) by William Grill.

Fiona Maine (University of Cambridge, UK)

EXPLORING THE DIEGETIC WORLD: CHILDREN’S ENGAGEMENT WITH

VISUAL STORYWORLDS (1C)

This paper explores empirical research that illuminates children’s engagement and immersion
in visual storyworlds (animated film, picturebooks, pictures and a mobile game). It examines
how primary-aged children respond to stories by entering and extending the diegetic worlds
that they offer, and how the children collaborate together to build these worlds. Entering the
storyworld might involve speaking directly to or as characters, extending the world includes
creating narratives beyond the frame of the text to explain character actions and motivations.
Research data from a series of studies over ten years will be shared to examine closely
children’s engagement with visual texts through their language and verbal responses.
Additionally, the children’s physical embodiment of meaning-making is considered, whether
this is through actions and sound-effects to become involved in the diegetic world, or more
simply huddling closer to the screen of a mobile game. Iser’s (1978) notion of ‘entanglement’
highlights the fluid and messy nature of this engagement in which the children ‘flicker’ (Fleer
2014) between the real and diegetic worlds.

Fiona Maine has been a member of the Faculty of Education at the University of Cambridge
since 2012. She investigates the dialogic interactions of children as they make meaning
together from a variety of text modes, and she explores the language of children’s critical and
creative thinking as they collaborate together. She embraces a broad notion of literacy that
incorporates visual, moving image and digital texts, highlighting the possibilities afforded by
working with non-verbal and ambiguous narratives. Her monograph Dialogic Readers:
Children talking and thinking together about texts was published in 2015 and she has
published widely in international peer-reviewed journals.

Katherina Manolessou & Becky Palmer (Anglia Ruskin University, UK)

THE USE OF FRAMES IN ILLUSTRATION PRACTICE: PICTUREBOOKS AND

COMICS (3B)

Taking Carole Scott’s analysis of pictorial framing in ‘Frame-Making and Frame-Breaking in

Picturebooks’ (2010) as its starting point, this paper focuses attention on the use of frames in

illustration practice and their significance for creators of picturebooks and comics. Building
on Perry Nodelman’s analysis, Scott identifies two kinds of framing: perceptual and
architectural, arguing that each has a distinct impact on the meaning a narrative image
communicates. Her discussion refers to visual sequences in published picturebooks,
approaching the issue of framing in illustration as a reader and literary theorist. By contrast,
the proposed paper considers framing from the point of view of the illustrator, for whom
frames are a tool for organising the picture space and by extension, organising meaning. It
explores how and why frames are used in the development of ideas in sketchbooks, layouts
and dummy books; it addresses decision-making concerning what a frame contains, and what
view it offers the reader, and it asks what informs the inclusion or omission of conspicuous or
subtle framing devices in a visual sequence. Furthermore, it discusses framing in
developmental stages where the framed images might be very different to the final published
book –hand therefore never seen by the public.
The paper is informed by its authors’ practice as illustrators and educators, one approaching
the question as a picturebook maker, the other as a creator of comics. Since their respective
research interests stem from their practice, their discussion compares theoretical work on
frames and framing by scholars of comics and of picturebooks (e.g. Bang 2016; Nodelman
2012; Groensteen 2007, 2013; Chavanne 2010). The paper therefore furthers the exchange
between comics studies and picturebook research as well contributing to the dialogue
between scholarship and practice, extending interdisciplinary discourses that have begun to
develop in the years since Nodelman’s Words About Pictures was first published.

Katherina Manolessou is an illustrator and senior lecturer in Children’s Book Illustration at

Anglia Ruskin University. She originally studied chemistry before moving into animation and
going on to study at the Royal College of Art in London. Her practice-based doctorate
focused on animal characterisation in picturebooks. The book that she developed during her
PhD, Zoom Zoom Zoom, was published in 2014 by Macmillan. It was followed by T-Veg
(illustrator, Frances Lincoln, 2015), Mummy and Me (Macmillan 2017), and Look for
Ladybird in Plant City (Frances Lincoln 2017). Katherina’s picturebooks have been
published in 13 countries.

Becky Palmer is an illustrator, graphic novelist and lecturer on the Children’s Book

Illustration MA at Anglia Ruskin University. Her first book, La Soupière Magique, was
published by Éditions Sarbacane in 2014. Since then, she has worked with Walker Books and
Nobrow on Ellie and Lump’s Very Busy Day and A Castle in England. In 2016, she gained
her doctorate with a practice-based study into the relationship between comics and
picturebooks, and articles based on that research have been published in The Journal of
Graphic Novels and Comics and Interjuli.

Douglas Menegazzi (Federal University of Santa Catarina, Brazil), Cristina Sylla

(independent, Brazil) & Stephania Padovani (Federal University of Paraná, Brazil)

HOTSPOTS IN PICTUREBOOK APPLICATIONS: AN INVESTIGATION ON THE

READERS’ PERCEPTION FROM THE PERSPECTIVE OF INTERACTION DESIGN
(7B)

In the present context of the popularization of mobile interactive devices (MIDs), such as
tablets and smartphones, the publication of picturebooks in the form of applicative (apps)
stands out in relation to other e-book formats. A picturebook app is a software designed to
take advantage of the multimedia and multimodality of MIDs, allowing for a rich and
complex interaction of user-readers through video, audio, sound effects, digital games, etc. As
objects of literature for children, apps must also prioritize design due to a specific reading
system. However, by means of a bibliographical review we have verified that the poorly
planned or careless design of the interaction areas (hotspots) in apps is one of the main factors
responsible for diverting attention span, compromising comprehension of the storyline and
hindering the learning process in children. This is even more serious in the context of
mediated reading between parents and children, since parents can interact erroneously with
the hotspots or even feel that their presence is superfluous due to the digital resources of apps.
Outgoing from this situation, we have investigated the positive and negative impact of
hotspots in picturebook apps according to the perspective of the users-readers, considering
parents and children in mediated reading. For this purpose, we have carried out a user study
with a representative sample of readers, using three selected applications that have different
interaction properties. The theoretical framework of the analyses is given by Hunt’s and
Colomer’s literary theory; by Nikolajeva & Scott’s; Linden’s; Salisbury & Styles’ analyses of
contemporary picture books; and by the studies of Morgan; Frederico; Kao and colleagues, as

well as Smeet & Bus’ studies on children´s digital books. Our analyses revealed that the
majority of hotspots in applicatives has no narrative goal and bureaucratizes the activity of
mediated reading and are generally perceived as entertainment of low educational value.
Conversely, hotspots that reveal extratextual explicative contents lead to digital solutions that
improve the reading of children´s books.

Douglas Menegazzi is an assistant professor at the Federal University of Santa Catarina, in

Brazil, where he teaches Digital Illustration and Drawing. He is a member of the Research
Group on Digital Design and Information (Capes/CNPq). In the scope of his collaboration
with the Research Center of the Community Library Barca dos Livros he participates in
curation process of the Brazilian National Foundation of Children and Youth Literature
(FNLIJ). Currently he is also a Design PhD student at the Federal University of Paraná,
Brazil. His research focus on the analyses of interaction design of digital picturebooks. He is
a research fellow from the Brazilian National Council for Science and Technology (CNPq -
Brazil).
Cristina Sylla has a PhD in Educational Technology, a Master degree in Technology and
Digital Art and a Master degree in Literary Studies. Her work is regularly published in
international journals and conferences. She is part of the program committee from several
international conferences. Her work has been distinguished with several awards, such as the
Golden Award for Best Demo at the International Conference on Advances in Computer
Entertainment Technology 2012, and the World Technology Award Category Entertainment
in 2013. She is a Fellow of the World Technology Network and Corporate Member and a
member of the ACM Association for Computer Machinery.

Stephania Padovani has a degree in Industrial Design from the University of the State of Rio
de Janeiro, a Master degree in Design from the Pontifical Catholic University of Rio de
Janeiro and a PhD in Cognitive Ergonomics from the Loughborough University. She is
currently a professor and researcher at the Design Department of the Federal University of
Paraná, where she teaches at the undergraduate, master and doctoral levels. She has
experience in the areas of Human-Computer Interaction and Usability, working mainly on
hypermedia, navigation systems, usability evaluation and interface design.

Christophe Meunier (University of Orleans, France)

FROM THE ICONOTEXT TO THE ICONOBOOK: HOW THE SPATIAL TEXT

WORKS IN PICTUREBOOKS? (1A)

Many writers have tried to define picturebooks/picture books by studying the mechanisms
that explained how they worked. According to Perry Nodelman, for example, “books
intended for young children (...) communicate information or tell stories through a series of
many pictures combined with relatively brief texts or no text at all” (Nodelman, 1988). The
vast majority of researchers agree on the interdependence, the entanglement, the synergy
between the verbal and the visual texts inside that is called by Kristin Hallberg, in 1982,
iconotext.

When Lawrence R. Sipe, in 1998, quotes the English Oxford Dictionary, he explains what he
means by synergy between verbal and visual texts, that is to say: “the production of two or
more agents (…) of a combined effect greater than the sum of their separate effects”.
However, there seems to be another agent with which words and pictures synergize. In 1976,
Barbara Bader, in her definition of picturebook added a third agent. She wrote: “A
picturebook is text, illustrations, total design” (Bader, 1976). Sophie Van Der Linden, many
years later, speaks about a «coherent three-dimensional system: text, picture and support»
(Van der Linden, 2003). Isabelle Nieres-Chevrel evokes a medium in which “artists have
gradually discovered the richness of the intercourse between text and picture in the multi-
surface space of the book”.

In this paper, I focus on the hypothetic third dimension of the picturebook and that is the book
object itself. I would like to show there exists a spatial text that contributes to the synergy of
the picturebook and that is based on choices of layout, page turns, size and format of the
book. From examples taken in different countries and different authors, I will demonstrate
that artists play with different opportunities offered by the book object to satisfy children’s
ludic mind.

Christophe Meunier graduated from the PhD in Geography at Ecole Normale Supérieure de
Lyon. He teaches history and geography in Ecole Superieure du Professorat et de
l’Education of the University of Orleans. His dissertation, Quand les albums pour enfants
parlent d’espace, (When Children’s Picturebooks speak about space) was published by
Presses Universitaires de Rennes in 2016 and entitled Space in Children’s Books. His
researches in cultural geography lead him to work about representations of space and
spatiality in iconotexts (bande dessinée, children’s picturebooks). Since 2010, he is the
webmaster of a blog: Les Territoires de l’album (lta.hypotheses.org).

Emily Midkiff (University of Minnesota, USA)

IT'S BIGGER ON THE INSIDE: FITTING COMPLEX GENRES LIKE SCIENCE

FICTION INTO THE PICTUREBOOK FORMAT (3C)

In a 2016 interview with picturebook author/illustrator Peter Brown, he told me

“Picturebooks are great for bigger ideas. If you really want to get into science fiction and start
thinking seriously about some of these complicated issues, I think you need time and words.
You can’t cram it into a short picturebook.” This statement implies that the picturebook
format can be confining, and forces some content to be simplified. The idea is not unusual.
According to scholars like Perry Nodelman and A. Waller Hastings, generic differences
already stand between children’s literature and science fiction, and these differences become
exponentially more challenging in picturebooks. However, a moment later in that same
interview, Brown added: “I’m sure someone will now prove me wrong.” There is my cue. I
contend that the physical space of picturebooks is a perfect habitat for science fiction stories.
The picturebook format works best when treated as a toolbox for achieving content, not a
cage.

This presentation demonstrates how the qualities and strengths of picturebooks offer tools to
overcome their apparent challenges of space and size. Farah Mendelsohn once noted that the
paratextual spaces of picturebooks can hold impressive information density for science fiction
stories. I would add that the use of comic panel formatting and visual diversity cues in the
illustrations further enable science fiction picturebooks to succeed. Additionally, the interplay
of text and words that has been the crux of picturebook theory for decades offers a unique
scaffolding for science concepts that may be unfamiliar to younger readers. Using a pool of
145 picturebooks, describe the successes and challenges of current science fiction
picturebooks and pick out key examples to demonstrate how picturebooks can deliver science
fiction effectively through the format’s unique strengths.

Emily Midkiff, PhD, integrates research methods from the fields of literature and education in
order to conduct interdisciplinary studies on children’s and YA literature, visual narratives,
and speculative fiction. Her most recent publication offers background theory and concrete
suggestions for elementary teachers who wish to use children’s science fiction picturebooks
in science/STEAM classrooms. In 2018, her first picturebook will be released from Storysuits
publishing. She is currently working on an academic monograph examining diverse, girl-
friendly science fiction for children under twelve years old. Her doctorate was awarded by
the University of Minnesota and her master’s degree by Kansas State University.

Kai Mikkonen (University of Helsinki, Finland):

READING PICTURE BOOKS AND COMICS: POINTS OF CONTACT AND

DIVERGENCES (3B)

There is considerable overlap between the adjacent areas of picture book studies and comics
research, for instance, in terms of the study of image and text interaction, multimodal
narrative, the collaboration between author and illustrator, visual style and representation, and
the materiality of the book. In the past thirty years, picture book theory has made important
advances in conceptualizing word/image-driven multimodal narratives and art in ways that
should be relevant to Comics Studies. At the same time, Comics Studies has developed,
among other things, approaches to picture sequence and page layout that have potential to
benefit the study of picture books. Nevertheless, despite the many points of contact between
these two fields, they have been surprisingly rarely connected. Some significant recent
exceptions in this regard include the thematic numbers of Journal of Graphic Novels and
Comics (5.3/2014) and Children's Literature Association Quarterly (37.4/Winter 2012) that
encourage academic conversation across boundaries, but also try to come to terms with the
main differences between the two media.

This paper looks at some points of contact between picture book theory and comics theory
and hopes to enhance a dialogue between these fields of research. In particular, this paper will
focus on conceptions of reading, including notions of order, rhythm, and alternation between
words and pictures, in these respective areas of research. The examples will be drawn from
representative picture books, such as those discussed in Perry Nodelman’s Words about
Pictures (chapter 9) and Nikolajeva and Scott’s How Picturebooks Work (chapter 5), and
comics in longer formats. The empirical dimension of the paper is grounded on a recent eye-
tracking study conducted at the University of Helsinki on readers’ reading patterns and states
of attention while reading isolated double-page spreads in comics.

Kai Mikkonen is Senior Lecturer of Comparative Literature at the University of Helsinki,

Finland, and a life member of Clare Hall College, University of Cambridge. He earned his
M.A. at the University of Iowa, USA, and Ph.D. at the University of Tampere, Finland. His
main research and teaching interests include 19th and 20th century French and British
literature, travel writing, graphic narratives and comics, multimodality, and theories of
narrative and fiction. He is the author of The Narratology of Comic Art (Routledge, 2017),
Narrative Paths: African Travel in Modern Fiction and Nonfiction (The Ohio State UP,
2015), Kuva ja sana [Image and Word in Interaction] (Gaudeamus, 2005), and The Plot
Machine: the French Novel and the Bachelor Machines in the Electric Years 1880-1914
(Rodopi, 2001), as well as various articles in periodicals such as Style, Partial Answers,
Narrative, Word & Image, Image & Narrative, Studies in Travel Writing and Journal of
Literary Semantics. In 2014-2015 he attended the research seminar at the Cambridge-
Homerton Research and Teaching Centre for Children’s Literature.
Sandie Mourão (Nova University Lisbon, Portugal) & Gabriela Sotto Mayor (University
of Minho, Portugal)

TITLE PAGES: A TYPOLOGY AND A DISCUSSION AROUND CROSS NATIONAL

DIFFERENCES (2C)

According to Genette, the publisher’s peritext is the spatial and material zone of paratext
(1987) and it is increasingly more frequent in picturebooks to see this peritext being used
beyond simple beautification – often the result of an illustrator working sensitively with a
designer or being one and the same. The peritextual elements of a picturebook have been
discussed and analysed extensively and are commonly recognized for their contribution to the
visual narrative and thus a reader’s construction of meaning.

Recently, Sotto Mayor (2016) presented a typology of title pages based on a corpus of
Portuguese illustrated books, suggesting that title pages were either merely informative, or
visually significant - this latter category included seven sub-categories of semantic relevance.
Upon analysing award-winning illustrated books from the United Kingdom between 2000 and
2014 the typology was expanded to include eleven sub-categories (Sotto Mayor & Mourão,
2017). The focus of this paper is to discuss and present the typology of title pages which has
been validated through further analysis of a corpus of books from award-winning collections
in at least five other countries. Discussion will also suggest that the employment of
peritextual features for significant semantic relevance reflects the development of illustration
in these different countries and is the consequence of their distinct histories and traditions in
the field of children’s literature.

Sandie Mourão has a PhD in Didactics and Teacher Education. She is a teacher educator,
author and educational consultant specializing in early years language education. As a part-
time assistant professor at Nova University, she lectures on the MA ‘Teaching English in
primary education’. Her research interests include early childhood language learning,
picturebooks in foreign language education, picturebook design and classroom-based
research. Sandie is co-editor of the e-journal Children’s Literature in English Language
Education; Fractures and Disruptions in Children’s Literature (Cambridge Scholars Press,
2017) and Early Years Second Language Education: International perspectives on theories
and practice (Routledge, 2015).
Gabriela Sotto Mayor is an illustrator of children’s literature. She has a PhD in Child
Studies in the specialized area of Visual Communication and Artistic Expression (Institute of
Education, University of Minho, 2015); and an MA in Practice and Theory of Drawing
(Faculty of Fine Arts, University of Porto, 2008). She is a member of the Research Centre for
Child Studies (CIEC-UM) and author of several articles, which have been presented at
international conferences and / or published in scientific journals. Her current research
interests include picturebooks, reader response and visual literacy.

Masako Nagai (Ferris University, Japan):

AN ANALYSIS OF PERITEXT IN JAPANESE “IMAGINATION PICTURE BOOKS”

BY SHINSUKE YOSHITAKE (3C)

This paper explores peritext in Japanese three “Imagination Picture Books Series” by
Shinsuke Yoshitake. Picturebooks do not consist merely of the words of the story and the
accompanying illustrations; the format of the picturebooks also includes the dust jacket, front

and back covers, front and back endpapers, title and dedication page. These additional
elements, commonly referred to as the “peritext” (Sipe 2008) which is first used by Gerard
Genette (1997). These elements are, however, still more important in picturebooks than in
novels (Nikolajeva and Scott 2001). Teachers need to be aware of how these features
contribute to the overall text and to students’ reading transactions (Pantaleo 2008, Sipe 2008).
Although the peritext has a greater significance for readers, the paratextual information often
changes from edition to edition and country to country (Beckett 2012). English version of
“Imagination Picture Books” are one of them and they don’t wear dustjackets.

The characteristic of the picture books is that the protagonist, a boy, is always pondering
about subtle philosophical questions which seem difficult for a child with limited life
experience. In IT MIGHT BE AN APPLE (Ringokamo Shirenai, 2013), he asks if an apple on
the table is really an apple and he imagines it as a curled up red fish, or a large red cherry and
so on. Similarly, in CAN I BUILD ANOTHER ME? (Bokuno Nisemonowo Tsukuruniwa,
2014) he is pondering about “himself” and “death” in WHAT HAPPENS NEXT? (Konoato
Doshichao, 2016). The protagonist, the first person narrator, is a problem poser as well as a
problem solver in the three books.
The presentation begins by analyzing the dustjacket of IT MIGHT BE AN APPLE. The subtle
picture on the dustjacket where the protagonist finds bananas in the cupboard implies that the
story go back to his beginning question. The picture breaks the image of happy ending and
suggests a circular narrative. Dustjackets and other elements of peritext in the other two
books are also examined. The peritext shows hidden plot of CAN I BUILD ANOTHER ME?
In his last work of this series, WHAT HAPPENS NEXT?, the peritext contributes to time and
plot of the story through the front page to the back page under the dustjacket.

I will argue how “peritext” provokes the urge to extend and expand the story and changes the
interpretation of philosophical themes. I also demonstrate that, this aspect is overlooked in the
English versions.

Masako Nagai is a lecturer at Ferris University in Japan and she is teaching “How to Teach
English to Children”. She is responsible for teacher training at two public elementary
schools and also teaches English there. Her interest is in experimental research of children’s
reading picturebooks and the usage of picture books in English language teaching. Published
papers include “Picturebooks for Teaching Materials” in A New Guide to Picture Book
(Kyoto: Minerva, 2013).

Amy Nottingham-Martin (Lawrence University, USA)

AND WHAT IS THE USE OF A BOOK WITHOUT - OR WITH - PICTURES OR

CONVERSATION? A CONSIDERATION OF PLAYING WITH FORM IN
PICTUREBOOKS (7C)

One reason I love picturebooks is that they push boundaries in both form and content,
offering possibilities for play and subversion. Particular attention has been given to how these

possibilities develop in postemodern metaficitional picturebooks through the reader’s

negotiation of gaps between text and image, made all the more complex through the presence
of techniques such as pastiche, allusion, creation of improbable spaces, parody,
intertextuality, and selfreferentiality. To layer consideration of the form of the book itself
onto this mix, in this presentation I focus on a specific kind of metafictional picturebook:
those that not only draw attention to their fictional nature, but point to their form as a book;
where, indeed, the idea of the book as an object with usually predictable qualities and the
reader’s interaction with that object play a pivotal role in how the action of the story unfolds,
sometimes literally. Playing with the form that the book takes in turn invites the reader to play
with the book, both concretely as an object and more abstractly by reconsidering what a book
does and offers. I argue, however, that this type of play depends on the reader’s recognition
and negotiation of yet another gap: the distance between the reader’s expectations about the
typical features of a picturebook and the particular qualities that the book at issue possesses.
My examination of a selection of picturebooks will develop in two stages:

1. Develop a taxonomy of various qualities and mechanisms through which picturebooks

point to their own “bookishness”

2. Analysis of particular examples, specifically drawing on performance theory (which

focuses on questions of how objects invite people to perform particular roles or actions)
in order to examine how the selected picturebooks invite the reader to play with idea of
the book as an object.

Amy Nottingham-Martin currently works as a lecturer at Lawrence University (Wisconsin,

US) and as a freelance book designer and typesetter. Her research interests include
intersections of picturebooks and performance, paratexts and other margins, making
picturebooks, and gender in children’s and young adult literature. Amy has been fortunate
enough to spend time working with children’s literature on both sides of the Atlantic.

Åse Marie Ommundsen (Oslo and Akershus University College of Applied Sciences,
Norway)

AESTHETICS IN TACTILE PICTUREBOOKS FOR VISUALLY IMPAIRED

CHILDREN (4C)

Tactile picturebooks are books containing tactile pictures and text, in which the pictures can
be explored and perceived through touch. Tactile elements allow blind readers to feel, stroke,
pull, lift, shake, rattle and squeak their way through the story. The tactile features may also be
enjoyed by readers with some sight, as well as readers with other learning difficulties. The
point of departure in this paper is to investigate the tactile picturebook’s distinctive qualities
and potential to give the reader an aesthetic experience. The tactile picturebook as an
aesthetic experience is partly investigated in a few studies (Kent 2008, Öjmyr 1995), and
there exists guidelines for how the tactile pictures ought to be shaped (Edman 1992). Still,
there is a need for more studies on tactile picturebooks as an art form.
No matter what senses the tactile picturebook is perceived through, the reading will always
demand an active mental process in which the tactile expressions are interpreted. The tactile
books may be created specifically for blind readers, or be tactile adaptations of already
existing picturebooks. As with other picturebooks for children, also tactile books for visually
impaired children can be originally written in the native language (in this case Norwegian), or
translated from other languages. But maybe some tactile signs are harder to translate than
others? The different types of techniques used and tactile pictures to be found in tactile
picturebooks will be presented and discussed within a theoretical framework consisting of
picturebook theory, multimodal theory and narratology. In what ways can tactile picturebooks
relate to Kristin Hallberg’s (1982) concept of iconotext, and recent picturebook theories on
the interaction of words and pictures? (Nodelman 1988, Nikolajeva and Scott 2001,
Kümmerling-Meibauer 2018) To what extent do tactile picturebooks represent both a material
object and an art form that opens up for an aesthetic reading experience? Do we in order to
fully understand tactile picturebooks need to extend the picturebook definition to include
tactile modes in addition to the verbal and the visual? To what extent is it meaningful to
define tactile picturebooks within the picturebook medium, and to what extent do the tactile
picturebooks move towards other mediums, like for instance toy books?

Åse Marie Ommundsen is Professor at the Faculty of Education and International Studies,
Oslo and Akershus University College of Applied Sciences, and a part-time Professor at Nord
University, Norway. Her current interest is in crossover picturebooks and picturebooks for
adults, on which she has published articles in Norwegian, Danish, English, French and Dutch
and lectured as a guest lecturer and keynote speaker. In 2013, she edited Looking Out and
Looking In: National Identity in Picturebooks of the New Millennium (Novus). Her current
research project is “Challenging Picturebooks in Education: Rethinking Language and
Literature Learning”. In 2013, Ommundsen was awarded the “Kari Skjønsberg Award” for
her research on children’s literature.

Nathalie op de Beeck (Pacific Lutheran University, USA):

“EXPERIENTIAL ENCOUNTERS” (7B)

My paper aligns with the CFP question “How trustworthy are the semiotic generalizations of
books like Words about Pictures or How Picturebooks Work in relationship to picture
books/picturebooks produced in different times, places, cultures? Is there a universal
language of picture books/picturebooks?” I engaged with these questions when writing for
Bettina Kümmerling-Meibauer’s The Routledge Companion to Picturebooks on the topic of
picture-text relationships. No matter how I tried to draft a straightforward report on
materiality, imagery, and literary content, my argument detoured into the thorny question of
“whether the picture-text relationship … is stable or predictable over time, even as we accept
structural and aesthetic analyses as useful” in parsing picturebook codes. I speculated that
picturebooks—from the archival to the contemporary—“demonstrate generational codes” that
are not necessarily legible, or are legible in unpredictable ways, as generations change. For
example, I brought in Joe Sutliff Sanders’ 2013 theory of “Chaperoning Words” to argue that
diverse chaperones and twenty-first century global subjectivities may demand different
picture book codes—not negating previous codes, but introducing alternative and equally
valid systems.

My presentation builds upon this line of inquiry, with research into perception, design, and
technology/digital media. In addition to children’s literature criticism, I examine research on
sensory perception (e.g., Crary’s Techniques of the Observer and Suspensions of Perception)
and research on recollection/remembrance (e.g., Hirsch’s The Generation of Postmemory) to
suggest how—even if our physical traits are not much changed from a century ago—our
physiological abilities, wearable technologies, and subjective self-awareness result in ways of
coding and decoding that seem quite ordinary to children today. My title, “Experiential
Encounters,” draws attention to the ideological and context-specific manners in which we
perceive, decode, and respond to picture books.

Nathalie op de Beeck is the author of Suspended Animation: Children’s Picture Books and
the Fairy Tale of Modernity (2010) and a proud contributor to The Routledge Companion to
Picturebooks (2017) and More Words About Pictures (2017). She serves as Associate
Professor and Chair of English at Pacific Lutheran University, in Tacoma, WA. Although she
used to feel defensive about writing picture book as a compound word, she has become more
open-minded in recent years and now can type picturebook without flinching (much).
Gretchen Papazian (Central Michigan University, USA)

COLORFUL FEELINGS: MAKING EMOTION WITH COLOR IN THE

CONTEMPORARY AMERICAN PICTUREBOOK (4C)

In the popular imagination, picturebooks are over-sized books with bright, colorful pictures.
Deeper, scholarly consideration also identifies color as a defining feature of the picturebook.
Yet, within the endeavors to theorize the format, there has been very little direct attention to
how color works, what it says, what it does, how it creates meaning, or what ideas it conveys.
“Colorful Feelings” is part of my effort to consider deeply what the contemporary
picturebook has to say about color through how it uses color. In other words, while the
interaction of words and images is essential to theorizing the picturebook as an art form, my
presentation aims to dig into a single aspect of the visual: color. Broadly, the purpose is to
theorize picturebooks’ efforts to encode an aesthetic of color meaning.

More specifically, “Colorful Feelings” looks to the most typical explanation of color’s role in
the format—namely, to express emotion. Here, the essay situates its arguments in relation to
the recent cognitive approaches to texts that aim to understand how textual features and
operations activate emotional structures in the brain. Its goal is to supplement and expand the
focus of that work by considering how contemporary British and American picturebooks
script associations between color and emotion (in addition to activating innate scripts and
schema). In other words, the essay adds to the insights generated by recent scholarship by
pinpointing a place where nurture and nature converge. The essay accepts that affective
experiences, capacities, and abilities may be built-in architectural brain circuitry (i.e., nature)
that function by referencing innate, biological schema and scripts. However, it also finds that
contemporary British and American picturebook’s efforts to colorize emotion and
emotionalize color reveal intensely—and often intentionally—ideological nurturing. That is,
the contemporary picturebook’s efforts to colorize emotion and emotionalize color
underscore the fact that our descriptions and ways of characterizing emotional experiences—
that is, of naming them, of visualizing them, of understanding and making meaning of them—
are learned and thus are political.

Working with Gunther Kress and Theo van Leeuwen’s socially-oriented postsemiotic theories
of visual communication, the essay teases out the regularities of the contemporary
picturebook’s uses of color and emotion, while also drawing attention to ways that specific
texts disrupt the format’s color-emotion conventions. Such disruptions not only expose the
color-emotion semiotic connection as highly constructed and ideological, but they suggest
how the ideological scripts constructed in those semiotic enmeshments might be revised and
re-envisioned. The conference presentation will attend most directly to the contexts and
theorizing of these claims, rather than offering extended textual readings and analysis, for it
sees that as the first step “if we are to understand the way in which vital text producing
institutions like the media, education, and children’s literature make sense of the world and
participate in the development of new forms of social stratification” (Kress and van Leeuwen
179).

Gretchen Papazian is a professor of English at Central Michigan University in the United

States. She teaches and researches Children’s and Young Adult Literature. In addition to

other publications, she has two essays on picturebooks: “Picturing Mom: Mythic and Real
Mothers in the Children’s Picture Book” (in Mothers who Deliver, Ed. Pegeen Powell and
Jocelyn Stitt, 2010) and “Color Multiculturally: Twenty-First-Century Multicultural
Picturebooks, Color(ing) Beyond the Lines” (Children’s Literature 46 [2018]).

Cláudia Sousa Pereira (University of Évora, Portugal)

FROM MOVABLE BOOKS TO THE LITERARY DESIGN: OTHER LEGACIES ON

THE DISCUSSION ABOUT PICTUREBOOKS (5C)

Synergy means cooperation and contradiction is the principle according to which something
can’t, at the same time, be and not be. The present proposition lays on these two concept’s
definitions proposed by the conference’s organization and pretends to discuss the
picturebooks’s theme as an art form and a material object, in the perspective of literary
studies. Therefore, we start from book as an object, more precisely from movable book, to
conclude that synergy may be found in the book and reading promotion area, while
contradiction can remain in the fact of those who came from literary studies have it as a
research and teaching object.

We can always legitimize this position in the literary history with the example of Futurism in
the early 20th century in Europe. However, and as the pragmatic way of resolving
contradictions in name of a contemporary coherence matters to us, we will instead take up a
much older oriental concept to correctly define the work with the book as an object through
literary studies. It’s the concept of “literary design”, developed in Wenxin diaolong by Liu Xe
in the 6th century and where among his contributions is its remarkable notion that affections
are literally the medium of literature, and language merely the product. We also won’t ignore
the most recent studies in which ethics, emotions and affections walk into literary studies
through the front door that children’s literature opens (Damásio, 2017; Mallan, 2017;
Nikolajeva, 2017).

We believe we can contribute for the transformation of contradiction in synergy and

demonstrate how the materiality of the support related to the verbal text can be stipulated as
part of the concept of “the” literary, touchstone of literary theory and studies.

Cláudia Sousa Pereira is a graduate in Modern Languages and Literatures - Portuguese and
French, UNLisboa (1989); Master in Comparative Portuguese and French Literature -
medieval period, UNLisboa (1994); PhD in Portuguese Literature, University of Évora
(2000), about a 16th century chivalry book dedicated to the young King Sebastião. Since
1990, professor at the University of Évora, researcher and vice-director of CIDEHUS-UÉ
(Interdisciplinary Center of History, Cultures and Societies of the University of Évora).
Publications in books, conferences, communications and training, national and international,
in the areas of children's and youth literature, reading promotion, literary education and
mass literature and culture.

Anna Purkiss (University of Cambridge, UK)

FEELING THE TEXT: THE ADDED DIMENSION OF TACTILE ELEMENTS IN

PICTUREBOOKS (4C)

Whilst the materiality of children’s literature has recently become a topic of much discussion
(e.g. Do Rozario, 2012; Mackey, 2016), the tactility of children’s texts is surprisingly under
researched, with only a few studies dealing with it (e.g. Mangen & Schilab, 2012; Williams,
2015). The use of hands and touch has been explored in the context of apps and digital texts
(e.g. Mackey, 2002; Merchant, 2017) but as Eve Bearne (2009) argues, not all multimodal
texts are screen based. In this paper, I examine three types of picturebooks with tactile
elements: those intended for very young children, such as the That’s Not My series (2008 –
2017) by Fiona Watt and Rachel Wells, which use different textures to engage and interest
the child; tactile texts intended for children with visual impairments, which are often
handmade by volunteers for charities; and an emerging form of picturebook that uses tactile
elements in complex and sophisticated ways, as can be seen in the The Black Book of Colours
(2010) by Menena Cottin and Rosana Faria as well as the Ology series (2003 - 2013) by
Dugald Steer et al. I examine the different ways that tactile elements are incorporated into
these three categories as well as their intended purposes, and consider the added dimension
that they can bring to the fundamental interaction between words and pictures in
picturebooks. I conclude by questioning why tactile elements are prevalent in books for very
young children but largely peter out in books for school-aged children and above. I argue that
tactile elements have great potential for enriching child readers’ experiences of picturebooks

and as such merit both further research and increased inclusion.

Anna Purkiss is a first-year PhD student at the Faculty of Education, University of

Cambridge. She is researching children’s responses to the representation of disability in
children’s fiction and is supervised by Maria Nikolajeva and Kristine Black-Hawkins. A
former primary school teacher, she has an MPhil in Critical Approaches to Children’s
Literature from the University of Cambridge, and for her Master’s thesis she used theoretical
models of disability to analyse portrayals of disability in two contemporary Young Adult
novels.

Ana Margarida Ramos (University of Aveiro, Portugal)

THE PICTUREBOOK FORMAT: BEYOND THE RELATIONSHIP BETWEEN

WORDS AND PICTURES (3C)

The picturebook genre is mainly characterised by the close relationship between text and
pictures and engages readers through different levels of interaction. Despite all the research
which has been dedicated to this specific form of art, it still struggles to differentiate itself
from other genres, such as the graphic novel, comics or other illustrated books. The centrality
of images in picturebooks, once used to distinguish them from other art forms, is now
common in the publication of traditional folk tales, poetry collections and YA fiction, and
even in non-fictional formats such as Alphabets, Imageries and Activity Books. The hybridity
of some of these publications also helps to explain a certain level of fluidity in the use of the
term “picturebook”.

In the case of the Portuguese theoretical approach to picturebooks, we still discuss what the
adequate translation of the term should be, since we use the French designation (and
ambiguous word) “album”. As there is no solid tradition of publishing picturebooks until the
end of the 20th century in Portugal, the contemporary publication of picturebooks illustrates
the relevance of the book design and peritextual elements in defining the characteristics of
this art form.

Our aim is to present picturebooks as an editorial format instead of a literary genre, due to the
creative investment in peritexts and the attention to the material aspects of the book as an
object. The relevance of the book design in the definition of picturebooks seems now as

important as the relationship between texts and pictures and the process of construction of a
picturebook includes special attention to all its details and elements. This includes not only
the main features, such as covers, back covers, and endpapers, but also others, such the dust
jackets, credits and title page, barcodes, types of paper, lettering, size, format and shape, as
well as forms of binding. Therefore, as the relationship between the book design and the
content of the book seems crucial to the definition of the picturebook format, so is the book
designer, who is being increasingly perceived as an author due to their participation in the
creative process.

Ana Margarida Ramos (PhD) is an Assistant Professor at the Department of Languages and
Cultures at the University of Aveiro, in Portugal, where she teaches Children’s Literature
since 1999. She is a Full Researcher of the Research Centre for Didactics and Technology in
Trainers Education and a collaborator of the Research Centre for Languages, Literatures
and Cultures of the same University. She organised several national and international
conferences, including 2015 The Child and The Book – Fractures and Disruptions in
Children’s Literature. She’s author and co-author of several books, book chapters and
international journal articles (in Portuguese, English and Spanish).

Emma Reay (University of Cambridge, UK):

WORDS ABOUT VIDEO GAMES: APPLYING PICTUREBOOK THEORY TO

CHILDREN’S VIDEO GAMES (1C)
This paper explores the ways in which picturebook theory might shape emerging critical dis-
course surrounding children’s video games. Drawing on ideas of ‘play’, ‘interaction’, and
‘performance’ inherent in picturebook theory, this paper begins by arguing that picturebook
theory could serve as an important meta-critical bridge between video games scholarship and
children’s literature scholarship. It posits that since picturebook criticism emphasises the elo-
quence of images and the articulacy of non-verbal signifiers, it has obvious applications for
the analysis of visual media like children’s video games. It briefly outlines the ways in which
concepts central to picturebook theory such as the child’s-eye-view, non-narrated space, vis-
ual pathways, and environmental storytelling might transcend ‘bookspace’ and enter the para-
digm of gaming. The paper then suggests that the most important intersection between pic-
turebook criticism and video games criticism is the critical frameworks used to analyse the
meaningful synergy between modes. Since the aesthetic experience of playing a video game
is shaped by the interplay between the visual, verbal, auditory, tactile, ludic, and performative
modes, video games studies desperately needs to develop terminology and typologies that de-
scribe the relational systems between semiotic planes. This paper applies the systems of rela-
tion between the visual and the verbal outlined by Scott and Nikolajeva in How Picturebooks
Work (2001) to a selection of children’s video games with a view to determining which criti-
cal terms and concepts might be appropriated for video games analysis.

Emma Reay is a PhD student at the University of Cambridge. Her research intends to fill the
scholarly gap surrounding 'children's videogames' by bringing together games scholarship
and children's literature scholarship. Her research interests include the function of textual
children and constructions of childhood in videogames, the aesthetic and poetic value of vide-
ogames, and research approaches to the study of wordless, multisensory, supralinguistic
texts. Her personal interests include the navigation of immersive, transmedial storyworlds,
textual toys, ecocritical and post-humanist approaches, and feminist fantasy literature. Emma
is the recipient of the Vice-Chancellor’s award, the Pigott award, the Jacqueline Wilson
award, and is funded by the Arts and Humanities research council.

Sara Reis da Silva (University of Minho, Portugal)

SOME THOUGHTS CONCERNING CONCEPT BOOKS: RAISING THE QUESTION

OF THE ROLES OF WORDS AND PICTURES (3A)
Contrary to what happens in other countries, the publication of concept books in Portugal has
been relatively sporadic. However, some obviously innovative and creative examples have
appeared in recent years. For the most part, these are books by young illustrators, most of
whom, however, already have a commendable work in the field of picture book design.

There has not yet been any study that articulates a theoretical reflection concerning the
significance of the interaction between images and words in these books. Accordingly, taking
as a starting point two sets of books by the illustrator André Letria (winner of several awards,
such as the Portuguese Illustration Award, Silver and Bronze medals in the 3×3 Children’s
Books Annual, and an Award of Excellence for Illustration from the Society for News Design
(USA)), this paper aims to conceptualise, as well as question, the kind of literary-didactic

blend that may be observed in concept books. To this end, it will focus on four books in the
«Foxi and Meg» collection (2004), written and illustrated by the above-named artist, as well
as two other books written by Ricardo Henriques: O Mar [The Sea] (2012), which won a
Non-Fiction mention in the 2014 Bologna Ragazzi Awards, and O Teatro [The Theatre]
(2015).

This paper will address the composition of (these) concept books and their different kinds of
picture and word combinations, a composition which results in distinct hybrid objects which
may be identified with either literary formative books or didactic formative books.

Sara Reis da Silva, PhD in Children’s Literature. She is Assistant Professor in the Institute of
Education at the University of Minho (Braga, Portugal) where she teaches: Children’s
Literature; Language, Textuality and Reading Strategies, and Children’s Literature
Didactics. She is a member of: CIEC (Research Centre in Child Studies), the project RED
LIJMI (University of Santiago de Compostela, Spain), Gulbenkian/Casa da Leitura
(www.casadaleitura.org); and ELOS, a Portuguese-Galaic research association. She has
participated in several conferences and has widely published. She has supervised one PhD
student and is now supervising four other PhD students.

María del Rosario Neira Piñeiro (University of Oviedo, Spain)

WHEN PICTURES MEET POETRY. A NEW FORM OF PICTUREBOOK (5B)

The poetry picturebook is a type of book which comes from the meeting of illustration and
poetry. Characterised by the combination of a sequence of illustrations with one or several
lyric poems, the poetry picturebook is usually based on the expression of feelings and
emotions, the description of elements and the expression of a subjective world view. This
new kind of picturebook, different from the narrative one, is attracting the interest of scholars,
and represents an emerging research line on picturebooks.

This work, based on the analysis of current literature about research on poetry picturebooks,
intends to present a theoretical revision of the characteristics, types and internal structure of
this kind of book. After providing a definition, the poetry picturebook is categorised in two
main types, taking into account the inner structure of the book: the single poem picturebook
and the picturebook based on a collection of poems. Whilst in the first type the poem is

fragmented and interwoven with a sequence of illustrations, thus creating a strong artistic
unit, in the second case the book is divided into small units, consisting of a poem plus its
illustration. Straightaway, some issues regarding the analysis of poetry picturebooks are
discussed: the possibilities of organising the sequence of pictures, the use of poetic as well as
narrative procedures in the visual discourse, and the main functions of illustrations, as well as
the ways in which images can transform or reinterpret a previous poem.

Finally, some pedagogical implications are drawn, taking into account the interest of poetry
picturebooks for literary education. As the educational uses of poetry picturebooks have been
scarcely explored, some research lines are suggested, intended to explore new issues related
to its contribution to discover and enjoy poetry with children.

Dr. María del Rosario Neira Piñeiro is a lecturer at the Faculty of Education of the
University of Oviedo (Spain), where she teaches courses in Language and Literature
Teaching Methodology. Her current research interests include children’s literature and
literary education, as well as the use of ICT and audiovisual media in education. She has
published a book on film analysis (2003), whilst her recent work includes papers on poetry
picturebooks, children’s reading habits, digital storytelling and the use of blogs in literary
education. She is also a creative writer and received the Adonais poetry award in 1996.

Karolina Rybicka (Jagiellonian University, Poland)

CROCODILES IN BATHTUBS AND IMPOSSIBLE RAILWAY STATIONS, OR CAN

A PICTUREBOOK BE OVER 300 PAGES LONG? (5B)
Can a novel be a picturebook? If we ask someone to name a picturebook, chances are that the
first work that comes to mind is rather short. Most of the numerable definitions of the genre
focus on the relationship between the verbal and the visual, many note that it contains
“relatively slight texts or no texts at all” (Nodelman 1988). However, if we concentrate on the
“interdependence of words and pictures” (Bader) or look at the picturebook as a “mode of
production” (op de Beeck) or method of reading/experiencing, does the word-count really
matter? In my inquiry I focus on two examples of a wider trend that I call “picturebook
novels”, that came out in Poland in the 1960s and 1970s, particularly Woroszylski’s Cyryl
Gdzie Jesteś? (Cyryl, where art thou?) and Kulmowa’s Stacja nigdy w życiu (Not-in-a-
lifetime station), both illustrated and designed by Bohdan Butenko. Both self-identify as
novels (Cyryl… is subtitled “A novel, albeit short”), yet their narration heavily relies on
blending the verbal and the visual, also when it comes to font size, shape and colour, with
change of storylines being signalled mostly by using different styles of lettering (in
Woroszylski) or the time of day represented by different coloured pages (Kulmowa). Apart
from the condition of brevity (over 300 pages long!), those books exhibit many signs of
“picturebookishness” – including all the characteristics of “postmodern picturebooks” by Sipe
and McGuire (Pantaleo and Sipe 2003). I will look at how the graphic form has shaped the
narrative and vice versa, and wonder if the works had been “translated” by Butenko into a
picturebook(-like?) form or were they picturebooks to begin with. Based on that I strive to
find a more general set of “picturebookishness characteristics” that might help in
distinguishing the picturebook novel from an illustrated book.

Karolina Rybicka is a literary translator and Ph.D. candidate at the Chair for Translation
Studies and Intercultural Communication of the Jagiellonian University. In her research she
deals with the relationship between words and pictures and how it changes in translation.
Her study interests include Children Literature Translation Studies, intersemiotic translation,
cognitive linguistics, and adaptation studies. She is also a practicing translator of American
Classics (Edith Wharton, etc.) into Polish. In her free time she blogs about films and pop
culture.

Marta Passos Pinheiro & Jéssica Mariana Andrade Tolentino (Federal Centre of
Technological Education of Minas Gerais, Brazil)
THE ROLE OF GRAPHIC DESIGN IN THE NARRATIVE CONSTRUCTION OF
AWARD-WINNING CONTEMPORARY BRAZILIAN PICTUREBOOKS (5C)

Contemporary children's literature has been highlighted by the strong dialogue between
written text and illustration and by its creative graphic designs. For this matter, many theorists
consider contemporary picturebooks as a set of interactions between text, image and media.
Considering the importance of the graphic aspects for contemporary children's picturebooks,
we propose an investigation of their role in the narrative construction present in these books.
For the analysis, we selected two books that present fictional narratives for the children's
audience that were awarded in 2016 by two important Brazilian institutions that legitimize the
book production for children and young people. The institutions are: the Brazilian Chamber
of Books (CBL), with the Jabuti prize, category "Children", and the National Foundation for
Children and Youth Book (FNLIJ), the Brazilian section of the International Board on Books
for Young People (IBBY), with the prize "The best for children", category "Children". The
picturebooks chosen were Lá e Aqui (Here and There) by Carolina Moreyra (written text) and
Odilon Moraes (illustration), and Inês by Roger Mello (written text) and Mariana Massarani
(illustration). As a theoretical reference, we used studies on children's picturebooks –
Nikolajeva and Scott (2011), Oliveira (2008), Linden (2011) and Ramos (2013) – and studies
in graphic design – such as Haslam (2007) and Hendel (2003). Based on our analysis, we
assume that the graphic design of children's picturebooks contributes to the successful
dialogue between written text and illustration. Thus, we can consider that the contemporary
children's picturebook is formed by three important elements: written text, illustration and
graphic design.

Marta Passos Pinheiro is Professor of the Language and Technology Department of the
Federal Centre of Technological Education of Minas Gerais (CEFET-MG), Brazil. She has a
master's degree in Brazilian Literature from the State University of Rio de Janeiro (2000) and
a doctorate in Education from the Federal University of Minas Gerais (2006). In 2017, she
developed a postdoctoral research in Education at UFMG on the graphic-editorial project of
the award-winning children’s picturebooks. This research included the analysis of the books’
production and children reception.

Jéssica Mariana Andrade Tolentino is a Masters student in Language Studies (Line IV -

Edition, Language and Technology) by the post-graduate program of the Federal Centre of
Technological Education of Minas Gerais (CEFET-MG), Brazil, and holds a bachelor's
degree in Language – Editing Technologies from the same institution. She is a researcher at
the Research Group on Literary Literacy related to the Literacy, Reading and Writing Center
of the Federal University of Minas Gerais (UFMG). She works as an assistant editor at
Editora Aletria, a Brazilian independent publishing house, which is specialized in literature
for children.

Farriba Schulz (Universität Potsdam, Germany)

IMAGERY AND IDEOLOGY: POLITICAL STRATEGIES IN THE IMAGERY OF

GERMAN PICTURE BOOKS (2A)

Picture books have always contributed political discourses—explicitly and implicitly,

sometimes subversively, and at times deliberately fueling political ideology. Taking
Nodelman’s notion that children’s literature is a matter of dominance, and an approach to
maintain power over children, as a starting point (1992), I understand picture books to be
powerful tools in educating children verbally and particularly visually. Despite significant
research on the critical potential of picture books (Evans 2015), little has been said about the
political potential of picture books in different political systems, periods and places. This talk
examines the political dimensions of picture books as systematic tools to position youth in
their social construction. I connect relevant research areas by pursuing the culturally specific
dimensions of picture books due to the political environment in which they appear, e.g. in
artistic style, narrative form and conditions of publishing. Following Evelyn Arizpe’s
statement, that “an image will always be contingent on a given context and moment in time”
(“Foreword”, 2015), we investigate the ideological and critical imagery of German picture
books during the upheavals of the 20th century and trace a historical line of politically
motivated picture book publications. Consulting critical theory (Frankfurt School), and
scholarship regarding concepts of political and radical children’s literature (Nel/Mickenberg
2005 and 2011; Mickenberg 2006; Reynolds 2007), I will draw on the crucial period at the
end of the 1960s/beginning of the 1970s in German history. Moreover, I will analyze case
studies of proletarian and socialistic aesthetics in picture books, including examples such as
anti-authoritarian picture books from the late sixties onwards (Der große Schrecken Elfriede
1969). Friedrich Karl Waechter may serve as one quintessential example of a radical
children’s writer and illustrator, who became famous for books in which he encourages young
readers to interact and engage critically (Der Anti-Struwwelpeter 1973, Brülle ich zum
Fenster raus 1973). Finally, I will examine to what extent political aesthetics and critical
statements are still visible in contemporary German picture books.

Farriba Schulz, PhD, teaches and researches in the Department of German at the Universität
Potsdam. She teaches Children’s Literature and Media for Bachelor and Master Students.
Farriba is the author of a monograph on childhood in picture books nominated for the
German Children’s Literature Award from 1956 onwards. In 2014 and 2015 she was the
Visiting Professor of Primary Education in the Department of German at the Technische
Universität Dresden. Her research interests range from visual and linguistic narratives to
construction of childhood in children’s literature and second language acquisition with visual
narratives. A current project is concerned with language acquisition through visual
narratives.

Elise Seip Tønnessen (University of Agder, Norway):

VISUAL NOVELS – WHAT IS NEW? (5B)

This paper will address what seems to be a new phenomenon that I will (preliminary) label
“visual novels for children”. In a taxonomy of visual narratives for children, these books
would find their place somewhere between the picturebook and the illustrated novel. They
differ from picturebooks in that they don’t necessarily have images on each spread. But they
also differ from illustrated novels in that images and visual design are more central to the
narration than we see in chapter books where the images fill a more supplementary function
to the mainly written text. Visual novels are characterized by how words and images are
integrated in a holistic visual design, including fonts, and effects like speech bubbles and
visual sound effects from comics. They typically come in series, where the visual design
plays an important role in establishing recognition and identity for regular readers.

Is this a new phenomenon? What role does the visual design play? And how can these books
be distinguished from picturebooks, comics and graphic novels respectively?

These questions will be discussed with examples from the international success series Diary
of a Wimpy Kid (Jeff Kinney 2007 - ) along with some recent Nordic series: Verdens kuleste
gjeng [The world's coolest gang] by Norwegian author Maja Lunde and cartoonist
Tegnehanne (2015 - ); and Kepler62 (2015 - ) produced in cooperation between Norwegian
Author Bjørn Sortland, Finnish author Timo Parvela, and Pasi Pitkänen, known for his visual
work on the computer game Angry Birds.

Elise Seip Tønnessen is Professor, Dr. Philos. at Department of Nordic and Media Studies,
University of Agder, Kristiansand, Norway, and previously Adjunct Professor (leader of
research) at The Norwegian Institute of Children’s books, where she was head of the
research project on the Mediatization of Children’s Literature. She has published on
children’s literature, on children and the media, and on the reception of narratives and
multimodal texts from media and literature. Her current research is concentrated on
multimodal texts in arts as well as in educational contexts; among others a project on picture
book apps read in kindergarten.

Magdalena Sikorska (Kazimierz Wielki University, Poland)

UNDERSTANDING PICTUREBOOKS: DAVID PERKINS REVISITED (1A)

Somehow irresistibly researchers look for new ways of researching their material, linking the
adjective ‘new’ with development and progress. In this talk, however, I would take an
opportunity to ‘look back’ and read David Perkins’ classic text “Art as Understanding”
(1988) in the context of picturebook study. Perkins does not mention picturebooks in his
article, but as many picturebooks are ‘art’, I believe such an extension is explainable and
justifiable.Perkins sees the rules of understanding art and the rules of understanding in
general as parallel. Concluding his article, he presents himself as an advocate of a pedagogy
of understanding which “is anchored in the nature of understanding itself” (p. 129). He sees
the following qualities as inherent in understanding:

▪ generativity

▪ coherence (with different standards of coherence taken into consideration)

▪ understanding rests on various webs of relations (both outer and inner relations)

▪ it is open-ended

▪ understanding is an endless quest

I view the above qualities as equally indispensable in picturebook study, regardless of the
theoretical perspective a researcher decides to adopt. They allow both for the study of detail
and uniqueness, without uprooting meaningful generalizations. They let us see the material
within a larger context, but also draw a significant amount of attention to the book’s
intrarelations. Such a perspective restores a healthy balance between the theoretical
perspective and the material selected, positioning any theory as supportive, not dominating, in
the researcher’s quest for understanding the book. Finally, it reminds us that the ultimate goal
of any study is the quest for understanding.
Magdalena Sikorska is Assistant Professor of English at Kazimierz Wielki University in
Bydgoszcz, Poland. She researches visual literature with a focus on affective narratology and
multisensory experience. Her essays on narrative strategies, image interpretation, and the
Holocaust postmemory in visual narratives have appeared in publications in the UK, USA,
Canada, and Poland.

Anna Karlskov Skyggebjerg (University of Aarhus, Denmark)

NON-FICTION PICTURE BOOKS WITH AESTHETIC AMBITIONS – HOW TO UN-

DERSTAND AND DESCRIBE THEM? (2B)

In recent decades, children’s literature researchers have primarily considered fiction as chil-
dren’s literature (Nikolajeva 1998, Weinreich 2004), although for instance Kimberley Reyn-
olds has argued for a broader concept (Reynolds 2011), and in children’s literature research in
general as well as in picture book research, there has been a tendency to write about fiction
and especially books structured as narratives. There are exceptions (Meek 1996, Mallett 2004,
Goga 2008), but a consequence of the focus on fiction is that great many publications for chil-
dren have been overlooked in research and in education. In this paper, I will present a defini-
tion of children’s literature that includes non-fiction, and I argue that non-fiction picture
books are an important part of children’s literature history from Commenius’ Orbis Sensu-
alium Pictus (1658) to the present day. I will focus on non-fiction picture books with aes-
thetic ambitions and draw a line from Johann Basedows Elementarwerk (1774) to Jenny
Broom and Katie Scotts Animalium (2014). Experimental or artificial non-fiction picture
books are characterized by including both didactic and aesthetic purposes. My reflections will
be on how to analyze and categorize this type of books, and therefore, the main questions
asked in the paper are: How is it possible to understand non-fiction picture books with aes-
thetic ambitions? How can we learn from the development of the understandings and the ana-
lytical tools developed in picture book research in general? For example: Is the correspond-
ence between visual and verbal text to be described in the same way - or do we need new cat-
egories and concepts?

A preliminary assumption is that we need a new understanding of the often claimed dichot-
omy between art and pedagogy to understand this kind of books. Therefore, the paper also
seeks inspiration in theory about the aesthetic (Baumgarten [1750] 2013), the aesthetic expe-
rience and its importance for learning.

Anna Karlskov Skyggebjerg is Associate Professor and head of Department of Applied Stud-
ies at the Faculty of Arts at the University of Aarhus, Denmark. She holds a PhD in Genre
Theory and Children’s Literature. Her research interests include children’s literature history,
fantasy, historical novels and non-fiction picture books. She has published several articles in
books and periodicals; her two recent projects have been on non-fiction picture books, ABC’s
and the development of literature teaching in textbooks.

Miki Takeuchi (Toyo University, Japan)

HOW PICTUREBOOK’S FORM AFFECTS ITS TRANSLATION OR ADAPTATION:

THE CASE OF ENGLISH-JAPANESE TRANSLATION (6C)

When we translate texts from English to Japanese, in addition to the translation of the
language itself, we have to convert the text orientation from horizontal to vertical and vice
versa. This change of text orientation also requires the change of reading direction due to the
direction of page. The relationship between the reading direction and the picture direction
affects the reading experience since each picture has its own direction. For example, if the
directions of the text and the picture are synchronized, the narrative is more coherent; on the
contrary, if they contradict each other, reading experience would be disharmonized.

This paper explores two different picturebooks in translation. One is Virginia Lee Burton’s,
The Little House translated by Momoko Ishii from English to Japanese in 1954; and the other
one is Yuichi Kimura (author) and Koji Abe (illustrator)’s The Stormy Night translated by
Lucy North from Japanese to English in 2003. Each book has the aforementioned problem in
the relationship between the text and the pictures that have changed through translation.
Examining these problems will expose the effects of synchronization and contradiction in the
picturebook translation. The change in text orientation has been a historical issue and even
more so now because of the popularization of E-books in the past decade. In digital devices,
the form (size and reading direction) and the method of turning pages (scrolling or tapping)
are different from those of traditional books.
Dr. Miki Takeuchi is associate professor at Toyo University, Tokyo, Japan. Her book based
on her dissertation is Why Momoko Ishii’s Translations Attract Children: The Secret of the
Style of Translating Voices (Kyoto: Minerva, 2014). Her main fields of interest are

translations of children’s literature, comparative study of English and Japanese fantasies

and reader response to picturebooks. Her newest translation is Slated trilogy by Teri Terry
(Tokyo: Shodensha, 2017).

Eve Tandoi (University of Gloucestershire, UK), Erin Spring (University of Calgary,

Canada)

EXPLORING THE AESTHETICS OF NON-FICTION PICTUREBOOKS THROUGH

A STUDY OF YOUNG PEOPLE’S ENGAGEMENT WITH THE THRESHOLD
CONCEPT OF EVOLUTION (6B)

Given the importance of non-fiction in shaping young people’s understanding of the world, it
is striking that, in current picturebook scholarship, there is an absence of research on these
texts. Writing in The Routledge Companion to Picturebooks Nikola von Merveldt (2017)
points to recent trends in publishing that suggest that non-fiction picturebooks are often
‘visually conceived’ and tend to blur boundaries between: fiction and non-fiction; description
and narrative. Given these recent developments in non-fiction picturebooks, it is high time
that they are given the critical attention that is due to them.

This presentation emerges out of a larger project that analyses the manner in which current
non-fiction picturebooks represent ‘threshold concepts’ (Meyer and Land 2003) such as
evolution, chronology and deep time. These are complex ideas that invite young readers to
transform their understanding of the world. Therefore, picturebook creators must push the
boundaries of what is possible and make use of the synergy between words and images as
well as the book’s paratext and materiality. Consequently, non-fiction picturebooks are ideal
texts for examining the aesthetic aspects of storytelling through words and images.

Our presentation will focus on picturebooks that deal with key concepts of evolutionary
thinking (e.g. ‘survival of the fittest’, ‘the tree of life’), and the diverse ways in which these
texts move beyond words and images to represent threshold concepts. We are particularly
interested in how such picturebooks metaphorically represent these concepts and how they
utilise varied story structures. We will analyse the burgeoning market of picturebooks on
evolution and then from this analysis we will select four representative texts to share with two
groups of young people in the UK and Canada. Our talk will analyse the different ways these
non-fiction picturebooks engage the readers and transform their understanding of the
threshold concept of evolution.

Dr Eve Tandoi is Lecturer in Education at the School of Education at the University of

Gloucestershire. Her interests include hybrid novels for children and young adults, children’s
responses to literature in educational settings, and models of dialogic teaching. Eve’s most
recent publication can be found in The Edinburgh Companion to Children’s Literature.

Dr Erin Spring is an Assistant Professor in the Werklund School of Education at the

University of Calgary. She received her PhD in Education from the University of Cambridge
in 2014. Drawing on a range of methodological approaches, Erin’s research seeks to
understand the ways in which young people make sense of their identities through reading,
writing, and art. Her research projects are united thematically by a shared investment in
stories and storytelling as a way of articulating identity development, with a particular focus
on the influence of place. Erin’s most recent publications can be found in Jeunesse: Young
People, Texts, Cultures, and Children’s Literature in Education.

Vera Veldhuizen (University of Cambridge, UK)

TAKING SIDES IN WORDLESS PICTUREBOOKS ON WAR (6B)

The representation of war is not a cultural artefact reserved for adults: it permeates all facets
of children’s media. Even wordless picturebooks, written for the smallest of readers, cannot
escape representations of war. The way through which images represent war have incredible
impact on how this concept is received and understood by readers. For this paper I use
cognitive narratological approaches to compare and examine two recent wordless
picturebooks that discuss war: WHY? (2016) by Nikolai Popov and Green Lizards vs. Red
Rectangles (2015) by Steve Anthony. I explore the ways through which the opposing sides in
each conflict are presented, how this representation pushes the reader to empathising with one
specific side over another, and the possible cognitive impact of the conflict resolution in each
text. I focus on the cause (or lack thereof) of war in the narratives, like the mouse’s jealousy
in WHY?, the portrayal of emotion and suffering on the opposing sides, as well what is
represented as a resolution or simply as an outcome, such as the forced harmony and balance
in Green Lizards vs. Red Rectangles. I argue that the narrative construction of each side in

WHY? successfully creates potential empathy for characters on both sides and manipulates
readers’ emotional responses, allowing a deeper understanding of the conflict, whereas in
Green Lizards vs. Red Rectangles there is more resistance to such empathic engagement. I
conclude by discussing the ethical implications and complications of wordless picturebooks
that discuss war, arguing that this type of narrative potentially offers a unique opportunity for
the reader to empathise with opposing sides and gain insight in the complexities of war, but
that this does come with the risk of pedantic proposals concerning the causes and resolutions
of such complicated conflicts as war.

Vera Veldhuizen is a second-year PhD student at the Faculty of Education, University of

Cambridge. Her current research is on cognitive approaches to empathy, ethics, and justice
in children’s war literature, and is supervised by Maria Nikolajeva.

Miki Yamamoto (University of Tsukuba, Japan):

WORDLESS PICTUREBOOKS RETELLING A FAMOUS STORY: STRATEGIES

FOR EXPRESSION WITHOUT WORDS (1B)

In the genre of wordless picturebooks, one can find many examples of the retelling of famous
stories. This study focuses on the strategies employed in the expression of wordless
picturebooks of "Little Red Riding Hood". To gain an insight into the potential of wordless
picturebooks for such retelling, this research has analyzed 13 wordless versions of “Little Red
Riding Hood”. First, I3 books were analyzed to discover how the books challenge expression
that seems difficult to transmit without words. For example, there are scenes containing: (a)
origin of a thing and explanation of meaning, (b) a character's thinking and thoughts, (c)
things behind or inside something, (d) speech, and (e) sound. The story is originally told by
words; therefore, the content needs to be converted into pictures. Especially, at the climax,
the wolf pretends to be the girl’s grandmother and answers the questions. This means that the
content of speech is very important, however wordless picturebooks never use text. This
paper found that some books make it possible to express the speech content by gestures,
symbolic items, balloons, close ups of features of the wolf, etc.
The paper also examines how these books exploit the fact that the story is well known to the
readers. Based on this premise, some books cut the latter half boldly, or all pages are made up

of geometric shapes. Others add original scenes and make fresh interpretations. This is
possible because people generally understand “Little Red Riding Hood”. Indeed, illustrators
rather accomplish the expression of avant-garde abstractions and new interpretations by
wisely utilizing the knowledge of the readers. Thus, famous stories have been widely
employed for wordless picturebooks, and in this way the possibility of story presentation is
expanding.

Miki Yamamoto, Ph.D., is a scholar of picturebooks and an artist. She received her Ph.D.
from the University of Tsukuba (Japan). Her research field includes mechanism of
picturebooks, especially how images tell a story by themselves. She has taught as an assistant
professor of art and design at the University of Tsukuba, since 2016. She has also published
three graphic novels: How Are You? (2014, Jury Selection of 19th Japan Media Arts
Festival), Sunny Sunny Ann! (2012, New Artist Prize in 17th Tezuka Osamu Cultural Prize,
First prize in 29th Manga Open) and a wordless picturebook Ribbon around a Bomb (2011).

Liu Zixian (independent,UK)

BOOKSCAPES AND VISUAL PENETRATION: READING THE SURFACES OF

PICTURE BOOKS (2C)

The aim of this paper is to propose surface reading (Best and Marcus 2009) as a transferable
critical method for children’s picturebooks and picture books studies. There has been a spate
of interest in peritextual or paratextual elements which are peripheral to the main literary con-
tents of picturebooks and picture books. Since Gérard Genette (1997) indicated that reading
the paratexts also acts as an important pathway to examine the text in mainstream literature,
scholars of children’s literature have begun to devote increasing attention to the paratexts in
picturebooks and picture books. However, there still lacks research evidence theorising par-
atexts reading in children’s literature research. This paper, therefore, will argue for a rela-
tively new framework for the understanding of paratextual elements in children’s picture-
books and picture books, while it also seeks to engage with the current discourse on the mate-
rial turn in children’s literature research. First, this paper will reframe surface reading in the
context of picturebooks and picture books studies and outline its rationales. By viewing chil-
dren’s literature as a form of culturally constructed artefact, this paper will then identify and

define material characteristics of the book as the bookscape, a textually material space, and
demonstrate how a surface reader may contemplate the paratexts in this space. This paper will
end with a brief discussion of the other possible implication of surface reading on other tex-
tual elements of words (such as the font) as visual patterns in a wider context.

Liu Zixian is a 2017 graduate of University of Glasgow with a Masters degree in Children’s
Literature and Literacies. He holds a Bachelor’s degree in Early Childhood Education. His
recent research focusses on material culture studies, queer studies, and cognitive and
evolutionary approaches to children’s literature. His masters dissertation was Collective
Memory, Embodiment and Intersubjectivity of Reminiscences: A Cognitive Surface Reading
on Brian Selznick’s The Marvels.
 Homerton College
Hills Road
Cambridge
CB2 8PH
Conference Reception: 01223 747218
Porters Lodge: 01223 747111

DIRECTIONS
BY PUBLIC TRANSPORT - TRAIN/BUS/WALKING
The Citi 1 bus stops outside Homerton and departs every 10 minutes from the station. There are plenty of taxis
outside the main entrance to the station.
To walk to Homerton:
➢ On exiting the station turn left onto Station Place and walk for a few minutes before turning right on to
Brookgate. Turn left by the Co-op on to Hills Road and walk over the railway bridge, continue walking
along Hills Road and cross over Cherry Hinton Road at the lights.
➢ Homerton College is on the right hand side past Hills Road Sixth Form, behind the black railings. Follow
the signs to the Conference Centre Reception or your specific event signage.

BY CAR
There is a large car park at the rear of Homerton Conference Centre which is free of charge for conference
delegates (this is located at the end of Harrison Drive. Follow the road all the way round the back of Harrison
House. Please see the attached site plan). Space is not guaranteed and is available on a first come first served
basis.

From the M11 THE CAR PARK

• Exit the motorway at junction 11, following signs to city centre. ACCESS CODE FOR
• Continue along the A1309 through Trumpington, past the Green YOUR EVENT
Man pub and turn right at the junction and traffic lights on to Long
Road.
• At the cross road turn left onto Hills Road and continue for approx-
1653
imately ½ a mile. You will see Homerton College SIGNPOSTED YOU WILL BE UNABLE TO
on the left, behind the black railings. This is the PORTERS lodge ACCESS THE CARPARK
location. WITHOUT THIS CODE.
• Just beyond the main College building, turn left into Harrison drive
and follow signs for Homerton Conference Centre car park, the en-
trance for which is at the back of the site. PLEASE NOTE; THIS CODE
IS CHANGED REGULARLY.
• To access the car park, key in the code (shown right) at the barrier.
FROM THE CITY CENTRE
• Follow the A1307 out the city centre, eventually crossing over the railway bridge.
• At the junction go straight across and turn right into Harrison Drive and follow signs for Homerton Con-
ference Centre car park, the entrance for which is at the back of the site.
• To access the car park, key in the code (shown right) at the barrier.

LASTLY PLEASE NOTE THAT HOMERTON COLLEGE AND GROUNDS OPERATE AS A

NO SMOKING SITE; HOWEVER THERE ARE 2 PERMITTED SMOKING LOCATIONS, ONE AT THE REAR
CONFERENCE CAR PARK AND THE SECOND TO THE SOUTH SIDE OF THE MARY ALLEN BUILDING, WITHIN THE
MAB CAR PARK. WE ASK THAT YOU PLEASE DO NOT SMOKE IN ANY OTHER AREAS;
YOUR COOPERATION IS GREATLY APPRECIATED.