Roderick McGillis – författare

The close of a century invites both retrospection and prognostication. As a period of transition, it also brings a sense of uncertainty, finality, and apocalypticism. These feelings stem from various events, such as political turmoil, scientific advancements, and social change. As might be expected, literature reflects such changes and the feelings they engender. But perhaps more surprisingly, children's literature is especially sensitive to such matters, and fiction for children often struggles with dark and unpleasant issues. This book examines fin de siècle tensions in 19th- and 20th-century children's literature from around the world.Each chapter is written by an expert contributor, and the volume ranges over a disparate variety of topics. These include poetry, series books, pacifist fiction, gender issues, religion and literature, eco-criticism, minority experiences, humor and the Holocaust, fantasy and science fiction, and computer culture. In exploring these issues in relation to children's literature, the contributors reveal the shifting nature of our values and the world in which we live. Global in nature, the chapters look at children's literature from such places as Germany, Holland, the United Kingdom, Australia, and the United States.

This book offers a variety of approaches to children's literature from a postcolonial perspective that includes discussions of cultural appropriation, race theory, pedagogy as a colonialist activity, and multiculturalism.The eighteen essays divide into three sections: Theory, Colonialism, Postcolonialism. The first section sets the theoretical framework for postcolonial studies; essays here deal with issues of "otherness" and cultural difference, as well as the colonialist implications of pedagogic practice. These essays confront our relationships with the child and childhood as sites for the exertion of our authority and control. Section 2 presents discussions of the colonialist mind-set in children's and young adult texts from the turn of the century. Here works by writers of animal stories in Canada, the U.S. and Britain, works of early Australian colonialist literature, and Frances Hodgson Burnett's A Little Princess come under the scrutiny of our postmodern reading practices. Section 3 deals directly with contemporary texts for children that manifest both a postcolonial and a neo-colonial content. In this section, the longest in the book, we have studies of children's literature from Canada, Australia, Africa, the Caribbean, and the United States.

From creepy picture books to Harry Potter, Lemony Snicket, the Spiderwick Chronicles, and countless vampire series for young adult readers, fear has become a dominant mode of entertainment for young readers. The last two decades have seen an enormous growth in the critical study of two very different genres, the Gothic and children’s literature.The Gothic, concerned with the perverse and the forbidden, with adult sexuality and religious or metaphysical doubts and heresies, seems to represent everything that children’s literature, as a genre, was designed to keep out. Indeed, this does seem to be very much the way that children’s literature was marketed in the late eighteenth century, at exactly the same time that the Gothic was really taking off, written by the same women novelists who were responsible for the promotion of a safe and segregated children’s literature.This collection examines the early intersection of the Gothic and children’s literature and the contemporary manifestations of the gothic impulse, revealing that Gothic elements can, in fact, be traced in children’s literature for as long as children have been reading.

From creepy picture books to Harry Potter, Lemony Snicket, the Spiderwick Chronicles, and countless vampire series for young adult readers, fear has become a dominant mode of entertainment for young readers. The last two decades have seen an enormous growth in the critical study of two very different genres, the Gothic and children’s literature.The Gothic, concerned with the perverse and the forbidden, with adult sexuality and religious or metaphysical doubts and heresies, seems to represent everything that children’s literature, as a genre, was designed to keep out. Indeed, this does seem to be very much the way that children’s literature was marketed in the late eighteenth century, at exactly the same time that the Gothic was really taking off, written by the same women novelists who were responsible for the promotion of a safe and segregated children’s literature.This collection examines the early intersection of the Gothic and children’s literature and the contemporary manifestations of the gothic impulse, revealing that Gothic elements can, in fact, be traced in children’s literature for as long as children have been reading.

George MacDonald (1824-1905) is one of the great Victorians, friend to John Ruskin, Lewis Carroll, and Arthur Hughes, among others. He wrote in virtually all the genres—fiction, drama, sermons, poetry, criticism, fantasy—but is perhaps best remembered as one of the greatest and most enduringly influential of the Victorian writers for children. Sixteen essays—five reprints and eleven original—analyze MacDonald's work for children. All the full-length fantasies—At the Back of the North Wind, The Princess and the Goblin, The Princess and Curdie, The Lost Princess—and the major short pieces—"The Light Princess," "The Golden Key," "Cross Purposes," "The Giant's Heart" receive extended commentary. Contributors: Celia Anderson, Melba Battin, A. Waller Hastings, Cynthia Marshall, Rod McGillis, Michael Mendelson, Nancy-Lou Patterson, Stephen Prickett, William Raeper, Frank Riga, Cordelia Sherman, Joseph Sigman, Lesley Smith, and Nancy Willard.

This book offers a variety of approaches to children's literature from a postcolonial perspective that includes discussions of cultural appropriation, race theory, pedagogy as a colonialist activity, and multiculturalism. The eighteen essays divide into three sections: Theory, Colonialism, and Postcolonialism. The first section sets the theoretical framework for postcolonial studies; essays here deal with issues of "otherness" and cultural difference, as well as the colonialist implications of pedagogic practice. These essays confront our relationships with the child and childhood as sites for the exertion of our authority and control. The second section presents discussions of the colonialist mindset in children's and young-adult texts from the turn of the century. Here, works by writers of animal stories in Canada, the U.S., and Britain; works of early Australian colonialist literature; and Frances Hodgson Burnett's A Little Princess come under the scrutiny of our postmodern reading practices. Section Three deals directly with contemporary texts for children that manifest both a postcolonial and a neo-colonial content, and includes studies of children's literature from Canada, Australia, Africa, the Caribbean, and the United States.

He Was Some Kind of a Man: Masculinities in the B Western explores the construction and representation of masculinity in low-budget western movies made from the 1930s to the early 1950s. These films contained some of the mid-twentieth-century's most familiar names, especially for youngsters: cowboys such as Roy Rogers, Hopalong Cassidy, and Red Ryder. The first serious study of a body of films that was central to the youth of two generations, He Was Some Kind of a Man combines the author's childhood fascination with this genre with an interdisciplinary scholarly exploration of the films influence on modern views of masculinity. McGillis argues that the masculinity offered by these films is less one-dimensional than it is plural, perhaps contrary to expectations. Their deeply conservative values are edged with transgressive desire, and they construct a male figure who does not fit into binary categories, such as insider/outsider or masculine/feminine. Particularly relevant is the author's discussion of George W. Bush as a cowboy and how his aspirations to cowboy ideals continue to shape American policy. This engagingly written book will appeal to the general reader interested in film, westerns, and contemporary culture as well as to scholars in film studies, gender studies, children's literature, and auto/biography.

(Re)Imagining the world: Children’s Literature’s Response to Changing Times considers how writers of fiction for children imagine ‘the world’, not one universal world, but different worlds: imaginary, strange, familiar, even monstrous worlds. The chapters in this collection discuss how fiction for children engages with some of the changes brought about by new technologies, information literacy, consumerism, migration, politics, different family structures, cosmopolitanism, new and old monsters.  They also invite us to think about how memory shapes our understanding of the past, and how fiction engages our emotions, our capacity to empathise, and our desire to discover, and what the future may hold. The contributors bring different perspectives from education, postcolonial studies, literary criticism, cultural studies, childhood studies, postmodernism, and the social sciences. With a wide coverage of texts from different countries, and scholarly and lively discussions, this collection is itself a testament to the power of the human imagination and the significance of children’s literature in the education of young people. ​