Joe Sutliff Sanders – författare

Frances Hodgson Burnett gained famed not only as an author of social fictions and romances but also for writing the immensely popular children's novel Little Lord Fauntleroy. She seemed an unlikely candidate to pen a quiet, realistic, and unsentimental paean to disagreeable children and the natural world, which has the power to heal them. But it is precisely these qualities that have garnered The Secret Garden both a continued audience and a central place in the canon of children's literature for a century.In Frances Hodgson Burnett's The Secret Garden: A Children's Classic at 100, some of the most respected scholars of children's literature consider Burnett's seminal work from modern critical perspectives. Contributors examine the works and authors that influenced Burnett, identify authors who have drawn on The Secret Garden in their writing, and situate the novel in historical and theoretical contexts.These essays push beyond the themes that have tended to occupy the majority of academic scholars who have written about The Secret Garden to date. In doing so, they approach the text from theoretical perspectives that allow new light to illuminate old debates. Scholars and students of children's literature, women's literature, transcontinental literature, and the Victorian/Edwardian period will find in this collection refreshing new looks at a children's classic.

Frances Hodgson Burnett gained famed not only as an author of social fictions and romances but also for writing the immensely popular children''s novel Little Lord Fauntleroy. She seemed an unlikely candidate to pen a quiet, realistic, and unsentimental paean to disagreeable children and the natural world, which has the power to heal them. But it is precisely these qualities that have garnered The Secret Garden both a continued audience and a central place in the canon of children''s literature for a century.In Frances Hodgson Burnett''s The Secret Garden: A Children''s Classic at 100, some of the most respected scholars of children''s literature consider Burnett''s seminal work from modern critical perspectives. Contributors examine the works and authors that influenced Burnett, identify authors who have drawn on The Secret Garden in their writing, and situate the novel in historical and theoretical contexts.These essays push beyond the themes that have tended to occupy the majority of academic scholars who have written about The Secret Garden to date. In doing so, they approach the text from theoretical perspectives that allow new light to illuminate old debates. Scholars and students of children''s literature, women''s literature, transcontinental literature, and the Victorian/Edwardian period will find in this collection refreshing new looks at a children''s classic.

It's possible that no other version of Batman has been more influential than the one that debuted as a children's cartoon in 1992. For millions of fans around the world, the voices of Batman and the Joker introduced in Batman: The Animated Series (BTAS) remain the default. The characters, designs, and major themes of the show went on to shape other cartoons, films, and bestselling video games. In this study, Joe Sutliff Sanders argues that BTAS is not only a milestone of television but a milestone in the public persona of one of the most recognizable characters in the world. The series introduced a new generation to Batman and provided the foundation for a family of cartoons that expanded the superhero universe. It introduced or reinvented major characters including Mr. Freeze, Robin, the Joker, and Harley Quinn. In three chapters, Sanders pursues the intricate arguments that still energize BTAS. Chapter 1 explores the visuals of the show, the artistic histories and tensions that inform its revolutionary style, and what ideas-intentional and otherwise-its aesthetic implies. Chapter 2 turns to the task of defining a "good" wealthy person against a backdrop of "bad," getting to the heart of one of Batman's most problematic characteristics. Lastly, chapter 3 considers Harley Quinn, a character who emblemizes much of what made BTAS successful. From her first appearance, Harley has been both sexy and witty, victor and victim, and this chapter explains the duality that defines her. Since its debut in 1992, BTAS has garnered multiple awards, launched or developed the careers of countless important artists, and created aesthetic styles-in terms of both visuals and voice acting-that continue to resonate. Sanders's book follows an informative and exciting path through the material and is designed to be accessible to aficionados as well as relative newcomers. Batman fans, popular culture enthusiasts, and media studies scholars will find within these pages insights and ironies to provoke endless conversations.

As the creator of Tintin, Hergé (1907-1983) remains one of the most important and influential figures in the history of comics. When Hergé, born Georges Prosper Remi in Belgium, emerged from the controversy surrounding his actions after World War II, his most famous work leapt to international fame and set the standard for European comics. While his style popularized what became known as the ""clear line"" in cartooning, this edited volume shows how his life and art turned out much more complicated than his method.The book opens with Hergé's aesthetic techniques, including analyses of his efforts to comprehend and represent absence and the rhythm of mundaneness between panels of action. Broad views of his career describe how Hergé navigated changing ideas of air travel, while precise accounts of his life during Nazi occupation explain how the demands of the occupied press transformed his understanding of what a comics page could do. The next section considers a subject with which Hergé was himself consumed: the fraught lines between high and low art. By reading the late masterpieces of the Tintin series, these chapters situate his artistic legacy. A final section considers how the clear line style has been reinterpreted around the world, from contemporary Francophone writers to a Chinese American cartoonist and on to Turkey, where Tintin has been reinvented into something meaningful to an audience Hergé probably never anticipated.Despite the attention already devoted to Hergé, no multi-author critical treatment of his work exists in English, the majority of the scholarship being in French. With contributors from five continents drawing on a variety of critical methods, this volume's range will shape the study of Hergé for many years to come.

Contributions by Jônathas Miranda de Araújo, Guillaume de Syon, Hugo Frey, Kenan Koçak, Andrei Molotiu, Annick Pellegrin, Benjamin Picado, Vanessa Meikle Schulman, Matthew Screech, and Gwen Athene Tarbox As the creator of Tintin, Hergé (1907–1983) remains one of the most important and influential figures in the history of comics. When Hergé, born Georges Prosper Remi in Belgium, emerged from the controversy surrounding his actions after World War II, his most famous work leapt to international fame and set the standard for European comics. While his style popularized what became known as the “clear line” in cartooning, this edited volume shows how his life and art turned out much more complicated than his method. The book opens with Hergé’s aesthetic techniques, including analyses of his efforts to comprehend and represent absence and the rhythm of mundaneness between panels of action. Broad views of his career describe how Hergé navigated changing ideas of air travel, while precise accounts of his life during Nazi occupation explain how the demands of the occupied press transformed his understanding of what a comics page could do. The next section considers a subject with which Hergé was himself consumed: the fraught lines between high and low art. By reading the late masterpieces of the Tintin series, these chapters situate his artistic legacy. A final section considers how the clear line style has been reinterpreted around the world, from contemporary Francophone writers to a Chinese American cartoonist and on to Turkey, where Tintin has been reinvented into something meaningful to an audience Hergé probably never anticipated. Despite the attention already devoted to Hergé, no multi-author critical treatment of his work exists in English, the majority of the scholarship being in French. With contributors from five continents drawing on a variety of critical methods, this volume’s range will shape the study of Hergé for many years to come.

Contributions by Jônathas Miranda de Araújo, Guillaume de Syon, Hugo Frey, Kenan Koçak, Andrei Molotiu, Annick Pellegrin, Benjamin Picado, Vanessa Meikle Schulman, Matthew Screech, and Gwen Athene Tarbox As the creator of Tintin, Hergé (1907–1983) remains one of the most important and influential figures in the history of comics. When Hergé, born Georges Prosper Remi in Belgium, emerged from the controversy surrounding his actions after World War II, his most famous work leapt to international fame and set the standard for European comics. While his style popularized what became known as the “clear line” in cartooning, this edited volume shows how his life and art turned out much more complicated than his method. The book opens with Hergé’s aesthetic techniques, including analyses of his efforts to comprehend and represent absence and the rhythm of mundaneness between panels of action. Broad views of his career describe how Hergé navigated changing ideas of air travel, while precise accounts of his life during Nazi occupation explain how the demands of the occupied press transformed his understanding of what a comics page could do. The next section considers a subject with which Hergé was himself consumed: the fraught lines between high and low art. By reading the late masterpieces of the Tintin series, these chapters situate his artistic legacy. A final section considers how the clear line style has been reinterpreted around the world, from contemporary Francophone writers to a Chinese American cartoonist and on to Turkey, where Tintin has been reinvented into something meaningful to an audience Hergé probably never anticipated. Despite the attention already devoted to Hergé, no multi-author critical treatment of his work exists in English, the majority of the scholarship being in French. With contributors from five continents drawing on a variety of critical methods, this volume’s range will shape the study of Hergé for many years to come.

As the creator of Tintin, Hergé (1907-1983) remains one of the most important and influential figures in the history of comics. When Hergé, born Georges Prosper Remi in Belgium, emerged from the controversy surrounding his actions after World War II, his most famous work leapt to international fame and set the standard for European comics. While his style popularized what became known as the ""clear line"" in cartooning, this edited volume shows how his life and art turned out much more complicated than his method.The book opens with Hergé's aesthetic techniques, including analyses of his efforts to comprehend and represent absence and the rhythm of mundaneness between panels of action. Broad views of his career describe how Hergé navigated changing ideas of air travel, while precise accounts of his life during Nazi occupation explain how the demands of the occupied press transformed his understanding of what a comics page could do. The next section considers a subject with which Hergé was himself consumed: the fraught lines between high and low art. By reading the late masterpieces of the Tintin series, these chapters situate his artistic legacy. A final section considers how the clear line style has been reinterpreted around the world, from contemporary Francophone writers to a Chinese American cartoonist and on to Turkey, where Tintin has been reinvented into something meaningful to an audience Hergé probably never anticipated.Despite the attention already devoted to Hergé, no multi-author critical treatment of his work exists in English, the majority of the scholarship being in French. With contributors from five continents drawing on a variety of critical methods, this volume's range will shape the study of Hergé for many years to come.

Contributions by Yoshiko Akamatsu, Carol L. Beran, Rita Bode, Lesley D. Clement, Allison McBain Hudson, Kate Lawson, Jessica Wen Hui Lim, Lindsey McMaster, E. Holly Pike, Katharine Slater, Margaret Steffler, and Anastasia UlanowiczLucy Maud Montgomery (1874–1942) was a Canadian author best known for writing the wildly popular Anne of Green Gables. At the time of its publication in 1908, it was an immediate bestseller and launched Montgomery to fame. Less known than the dreamy and accidentally mischievous Anne Shirley is Emily Byrd Starr, the title character in the trilogy that followed much later in Montgomery’s professional career, Emily of New Moon. Published in 1923, Emily of New Moon is the first in a series of novels about an orphan girl growing up on Prince Edward Island, a story that mirrors Anne’s but intentionally resists many of the defining qualities of Montgomery's most famous creation. Despite being overshadowed by the immense popularity of Anne of Green Gables, the Emily of New Moon trilogy has become a subject of endless fascination to fans and scholars around the world. The trilogy was conceived during an important phase in Montgomery’s career during which she turned from Anne and plunged into more intricate aspects of gender, adolescence, nature, and authorship. While the novels have attracted rich critical attention since their publication, book-length studies proved surprisingly scarce. L. M. Montgomery’s "Emily of New Moon": A Children’s Classic at 100 is the first scholarly volume exclusively dedicated to the trilogy, coalescing different research perspectives. It offers a fresh point of entrance into a well-loved classic at its one-hundredth anniversary.

Contributions by Yoshiko Akamatsu, Carol L. Beran, Rita Bode, Lesley D. Clement, Allison McBain Hudson, Kate Lawson, Jessica Wen Hui Lim, Lindsey McMaster, E. Holly Pike, Katharine Slater, Margaret Steffler, and Anastasia UlanowiczLucy Maud Montgomery (1874–1942) was a Canadian author best known for writing the wildly popular Anne of Green Gables. At the time of its publication in 1908, it was an immediate bestseller and launched Montgomery to fame. Less known than the dreamy and accidentally mischievous Anne Shirley is Emily Byrd Starr, the title character in the trilogy that followed much later in Montgomery’s professional career, Emily of New Moon. Published in 1923, Emily of New Moon is the first in a series of novels about an orphan girl growing up on Prince Edward Island, a story that mirrors Anne’s but intentionally resists many of the defining qualities of Montgomery's most famous creation. Despite being overshadowed by the immense popularity of Anne of Green Gables, the Emily of New Moon trilogy has become a subject of endless fascination to fans and scholars around the world. The trilogy was conceived during an important phase in Montgomery’s career during which she turned from Anne and plunged into more intricate aspects of gender, adolescence, nature, and authorship. While the novels have attracted rich critical attention since their publication, book-length studies proved surprisingly scarce. L. M. Montgomery’s "Emily of New Moon": A Children’s Classic at 100 is the first scholarly volume exclusively dedicated to the trilogy, coalescing different research perspectives. It offers a fresh point of entrance into a well-loved classic at its one-hundredth anniversary.

Contributions by Yoshiko Akamatsu, Carol L. Beran, Rita Bode, Lesley D. Clement, Allison McBain Hudson, Kate Lawson, Jessica Wen Hui Lim, Lindsey McMaster, E. Holly Pike, Katharine Slater, Margaret Steffler, and Anastasia Ulanowicz Lucy Maud Montgomery (1874–1942) was a Canadian author best known for writing the wildly popular Anne of Green Gables. At the time of its publication in 1908, it was an immediate bestseller and launched Montgomery to fame. Less known than the dreamy and accidentally mischievous Anne Shirley is Emily Byrd Starr, the title character in the trilogy that followed much later in Montgomery’s professional career, Emily of New Moon. Published in 1923, Emily of New Moon is the first in a series of novels about an orphan girl growing up on Prince Edward Island, a story that mirrors Anne’s but intentionally resists many of the defining qualities of Montgomery''s most famous creation. Despite being overshadowed by the immense popularity of Anne of Green Gables, the Emily of New Moon trilogy has become a subject of endless fascination to fans and scholars around the world. The trilogy was conceived during an important phase in Montgomery’s career during which she turned from Anne and plunged into more intricate aspects of gender, adolescence, nature, and authorship. While the novels have attracted rich critical attention since their publication, book-length studies proved surprisingly scarce. L. M. Montgomery’s "Emily of New Moon": A Children’s Classic at 100 is the first scholarly volume exclusively dedicated to the trilogy, coalescing different research perspectives. It offers a fresh point of entrance into a well-loved classic at its one-hundredth anniversary.

Contributions by Yoshiko Akamatsu, Carol L. Beran, Rita Bode, Lesley D. Clement, Allison McBain Hudson, Kate Lawson, Jessica Wen Hui Lim, Lindsey McMaster, E. Holly Pike, Katharine Slater, Margaret Steffler, and Anastasia Ulanowicz Lucy Maud Montgomery (1874–1942) was a Canadian author best known for writing the wildly popular Anne of Green Gables. At the time of its publication in 1908, it was an immediate bestseller and launched Montgomery to fame. Less known than the dreamy and accidentally mischievous Anne Shirley is Emily Byrd Starr, the title character in the trilogy that followed much later in Montgomery’s professional career, Emily of New Moon. Published in 1923, Emily of New Moon is the first in a series of novels about an orphan girl growing up on Prince Edward Island, a story that mirrors Anne’s but intentionally resists many of the defining qualities of Montgomery''s most famous creation. Despite being overshadowed by the immense popularity of Anne of Green Gables, the Emily of New Moon trilogy has become a subject of endless fascination to fans and scholars around the world. The trilogy was conceived during an important phase in Montgomery’s career during which she turned from Anne and plunged into more intricate aspects of gender, adolescence, nature, and authorship. While the novels have attracted rich critical attention since their publication, book-length studies proved surprisingly scarce. L. M. Montgomery’s "Emily of New Moon": A Children’s Classic at 100 is the first scholarly volume exclusively dedicated to the trilogy, coalescing different research perspectives. It offers a fresh point of entrance into a well-loved classic at its one-hundredth anniversary.

Nonfiction books for children-from biographies and historical accounts of communities and events to works on science and social justice-have traditionally been most highly valued by educators and parents for their factual accuracy. This approach, however, misses an opportunity for young readers to participate in the generation and testing of information. In A Literature of Questions, Joe Sutliff Sanders offers an innovative theoretical approach to childrens nonfiction that goes beyond an assessment of a works veracity to develop a books equivocation as a basis for interpretation. Addressing how such works are either vulnerable or resistant to critical engagement, Sanders pays special attention to the attributes that nonfiction shares with other forms of literature, including voice and character, and those that play a special role in the genre, such as peritexts and photography. The first book-length work to theorize childrens nonfiction as nonfiction from a literary perspective, A Literature of Questions carefully explains how the genre speaks in unique ways to its young readers and how it invites them to the project of understanding. At the same time, it clearly lays out a series of techniques for analysis, which it then applies and nuances through extensive close readings and case studies of books published over the past half century, including recent award-winning books such as Tanya Lee Stones Almost Astronauts: Thirteen Women Who Dared to Dream and We Are the Ship: The Story of Negro League Baseball by Kadir Nelson. By looking at a texts willingness or reluctance to let children interrogate its information and ideological context, Sanders reveals how nonfiction can make young readers part of the project of learning rather than passive recipients of information.

Nonfiction books for children-from biographies and historical accounts of communities and events to works on science and social justice-have traditionally been most highly valued by educators and parents for their factual accuracy. This approach, however, misses an opportunity for young readers to participate in the generation and testing of information. In A Literature of Questions, Joe Sutliff Sanders offers an innovative theoretical approach to childrens nonfiction that goes beyond an assessment of a works veracity to develop a books equivocation as a basis for interpretation. Addressing how such works are either vulnerable or resistant to critical engagement, Sanders pays special attention to the attributes that nonfiction shares with other forms of literature, including voice and character, and those that play a special role in the genre, such as peritexts and photography. The first book-length work to theorize childrens nonfiction as nonfiction from a literary perspective, A Literature of Questions carefully explains how the genre speaks in unique ways to its young readers and how it invites them to the project of understanding. At the same time, it clearly lays out a series of techniques for analysis, which it then applies and nuances through extensive close readings and case studies of books published over the past half century, including recent award-winning books such as Tanya Lee Stones Almost Astronauts: Thirteen Women Who Dared to Dream and We Are the Ship: The Story of Negro League Baseball by Kadir Nelson. By looking at a texts willingness or reluctance to let children interrogate its information and ideological context, Sanders reveals how nonfiction can make young readers part of the project of learning rather than passive recipients of information.