Presentation is loading. Please wait.

Presentation is loading. Please wait.

EDU 21ACL – Australian Children’s Literature Australian Family Stories

Similar presentations

Presentation on theme: "EDU 21ACL – Australian Children’s Literature Australian Family Stories"— Presentation transcript:

1 EDU 21ACL – Australian Children’s Literature Australian Family Stories
Hitler’s Daughter Jackie French © La Trobe University, David Beagley, 2006

2 Focus – Lecture 2 Jackie French Background to Hitler’s Daughter
Structural and critical aspects Distinctive features of this story as a family story Issues with ‘Talking’ books

3 Jackie French Born Sydney in 1953, grew up in Brisbane, moved to her present home in the bush near Canberra in her early twenties. Is an active campaigner for environmental awareness and attitude change - Burke's Backyard, radio programmes, gardening columns in magazines such as Women's Weekly, Burke's Backyard, Earth-garden. Has written over 100 books in many styles – children’s picture books and novels, gardening and lifestyle, realist, historical, fantasy, mystery, thematic, humour Has won many awards across these genres

4 Jackie French - Awards Flesh and Blood 2004 Aurealis Award: shortlisted for Young Adult novel Ride the Wild Wind 2003 Patricia Wrightson Award: shortlisted Diary of a Wombat 2003 CBCA Picture BotY: Honour book In the Blood ACT BotY Lady Dance Notable Book: CBCA Stamp, Stomp,Whomp 2001 Notable Book: CBCA Missing You, Love Sara Notable Book: CBCA Hitler’s Daughter Winner, CBCA BotY : Younger Readers How to Guzzle Your Garden 2000 Shortlisted, Eve Pownall CBCA BotY Daughter of the Regiment 1999 Shortlisted, CBCA BotY : Younger Readers Somewhere Around the Corner 1995 Honour Book, CBCA BotY : Younger Readers, 1995 Family Therapists Award Walking the Boundaries Notable Book, CBCA BotY : Younger Readers The Roo that Won the Melbourne Cup Notable Book, CBCA BotY : Younger Readers Beyond the World of Light Golden Dagger Mystery Award

5 Background to Hitler’s Daughter
Style Characters Setting

6 Background to Hitler’s Daughter Style
Told in two time frames, one within the other Use of flash back to distinguish historical/present Use of Child’s voice and perspective Non judgemental – analysis is from characters, not authorial voice Problem looking for a Solution Ending left open Principal reference point is the present, with regular return to the past - serial of episodes Still maintains a simple linear chronological sequence in both stories - cf How to make a bird Child’s voice - Mark / Anna - but is Heidi’s story a child’s view of the world, or an adult’s judgement? Lack of overt authorial judgement similar to Asmir Problem looking for a solution - Mark’s questions help define the question for us. Inadequate answers help us appreciate more likely answers Unresolved ending - does Mark get his answer? Who is Heidi? Is she real?

7 Background to Hitler’s Daughter Characters (story 1)
Children : Mark Anna Little Tracey Ben Adults : parents and parent figures Mum & Dad Mrs Latter (bus driver) Mr McDonald (Teacher) Why is Ben left out of much of the story? Too cynical? How effective are parent figures as adult mediators? Mrs Latter - confidence in understanding but aware of limits Mr McDonald - teacher, but no answers Parents - unsure of where questions might lead

8 Background to Hitler’s Daughter Characters (story 2)
Child : Heidi Adults : parent figures Fräulein Gelber Frau Mundt Duffi Frau Lieb It may be a coincidence but … Gelb = yellow, Mund = mouth, Lieb = love Duffi is standard form for familiar name, childish nickname in German

9 Background to Hitler’s Daughter Setting
Story 1 - Country Australia Wallaby Creek – bus stop, bus, home, school Rain, ‘waiting’ time Story 2 - Germany Country house, farmhouse, Berlin War, ‘waiting’ for Duffi Waiting time between life events, deadlines, timetables, the things that are required of a child by an adult Therefore, trying to sort out beliefs, ideas etc. How old are Mark and Anna? Storyline is Passive and Reflective, not Active and Participatory. Key characters are observers.

10 Structural and critical aspects
Voice Plot development Theme/s Story type – sub genres

11 Structural and critical aspects Voice
Omniscient authorial point of view But two stories told: Mark’s story of the Game Anna’s story about Heidi Each story has a questioning voice Mark in story 1 Heidi in story 2 Omniscient, but not omnipotent. There are things that cannot be changed - cf yesterday’s tute discussion about artistic licence Who is talking? Whose questions are being asked? Whose questions are being answered? Mark as questioner - opening pages about wet cows sneezing.

12 Structural and critical aspects Plot development
Little action – i.e. activity and consequence as sequence of events Focus is on situation and on the re-action and inter-action of characters Structure is gradual (guided) discovery and enlightenment Historic aspects may need scaffolding for less experienced reader Scaffolding from author? From adult mediator for reader? From reader’s own background knowledge? Cf Asmir - Is it as necessary? That story is all action with little reflection

13 Structural and critical aspects Theme
Nature vs Nurture ? Are we: the product of our genetics shaped by our environment or do we develop as a combination of many factors. The sins of the fathers Can a person be born ‘evil’? Choices and consequences War and Social Violence – should they be topics for children’s books? Did Hitler have a choice, or was he predestined genetically? Cf homosexuality ,or intelligence, or personality. If there is a genetic element, will that be passed on to future generations? Exodus 20: commandment about graven images “For I, the Lord thy God, am a jealous God ,visiting the iniquity of the fathers upon the children unto the third and fourth generation of them that hate me Evil is necessary to define Good. But are Good and Evil inherent and absolute conditions, or are they value judgements constructed for specific circumstances? Is a child born Good? Did Jesus have a choice? Appeal to children - is this a war story or a philosophical exercise? Who is the audience? Is this reading too much into a simple story of survival?

14 Structural and critical aspects Story type/sub genre
Multiple genres Family story: Domestic adventure Historic realism Story within a story Asks a ‘What If . . .’ question - conjectural Story within a story - a technique often used in fantasy/epic stories though this story does not have other characteristics of fantasy fiction; indeed, the opposite is the case

15 Distinctive features of this story as a family story
Main protagonists in both stories are all the ‘only child’ – relationship with ‘parent’ is key Domestic settings – several, but each is important to its thematic situation Little interaction with parents (and parent figures) who are not ‘all knowing’ Child left to solve problem without adult intervention What do we learn about families? What does it tell us? Typical situation of many children’s stories in relation to absent adults and problem solving

16 Issues with ‘Talking’ books
Advantages and disadvantages of this format Action – talk Immediacy – distance Comparison – confusion Perspective & point of view - what appeal to child reader Place in literature

Download ppt "EDU 21ACL – Australian Children’s Literature Australian Family Stories"

Similar presentations

Ads by Google