Constructing the emotions of childhood: an analysis of Margaret Mahy’s use of emotion in her literary contribution to the School Journal

<p>This qualitative content analysis research study examines how Margaret Mahy used emotion in the School Journal to form insights into reader appeal, reader response and the social construction of childhood. This research study examines Mahy’s contribution to the School Journal. The study explores this body of work in terms of how its author uses emotion to captivate readers by evoking the feelings associated with childhood. The underlying objective of the study was to provide insights into why Mahy’s work is so treasured and memorable; to explain how she uses emotion to captivate readers, and how this contributes to the social construction of childhood. The prose and poetry Mahy contributed to the School Journal prove to be a significant, rich and uncharted resource for the purposes of this research investigation. Analysis of this body of work has allowed for greater insights and understanding into Mahy’s contribution to children’s literature. It has also allowed for a greater appreciation of how Mahy’s use of emotion contributes to the social construction of childhood. This type of content analysis research study proves to be invaluable in the development of reader’s advisory services to young people. The employment of a content analysis methodology, underpinned by a discourse analysis approach, enabled the emotional narratives of Mahy’s text to be explained and understood. The study’s findings, that lightness and aliveness are the most prevalent and persuasive emotions operating within Mahy’s text, was substantiated through analysis of actual reader responses. This investigation is most applicable to school librarians, children’s librarians and educators. The study has broader implications for the improvement of client interaction and collection development in youth library services</p>

Constructing the emotions of childhood: an analysis of Margaret Mahy’s use of emotion in her literary contribution to the School Journal

<p>This qualitative content analysis research study examines how Margaret Mahy used emotion in the School Journal to form insights into reader appeal, reader response and the social construction of childhood. This research study examines Mahy’s contribution to the School Journal. The study explores this body of work in terms of how its author uses emotion to captivate readers by evoking the feelings associated with childhood. The underlying objective of the study was to provide insights into why Mahy’s work is so treasured and memorable; to explain how she uses emotion to captivate readers, and how this contributes to the social construction of childhood. The prose and poetry Mahy contributed to the School Journal prove to be a significant, rich and uncharted resource for the purposes of this research investigation. Analysis of this body of work has allowed for greater insights and understanding into Mahy’s contribution to children’s literature. It has also allowed for a greater appreciation of how Mahy’s use of emotion contributes to the social construction of childhood. This type of content analysis research study proves to be invaluable in the development of reader’s advisory services to young people. The employment of a content analysis methodology, underpinned by a discourse analysis approach, enabled the emotional narratives of Mahy’s text to be explained and understood. The study’s findings, that lightness and aliveness are the most prevalent and persuasive emotions operating within Mahy’s text, was substantiated through analysis of actual reader responses. This investigation is most applicable to school librarians, children’s librarians and educators. The study has broader implications for the improvement of client interaction and collection development in youth library services</p>

Margaret Mahy and the Golden Age of Children's Literature

<p>Margaret Mahy’s novels contain numerous allusions to the classics of Victorian fiction for children. Some of these take the form of passing references; in 24 Hours, for example, protagonist Ellis thinks of himself as “Ellis in Wonderland.” But Mahy also draws on Victorian precedents for some of her settings, taking imaginary islands from Peter and Wendy and Treasure Island, and the secret garden from Frances Hodgson Burnett’s novel of the same name. She also invokes the forest of the fairy tales that (although they were not invented by the Victorians) featured so prominently in the reading of Victorian children. To date, little attention has been paid to what might be described as the “Victorian dimension” of Mahy’s work. In what follows, I examine its function in five novels. It emerges that Mahy’s response to the values embodied by her Victorian texts is critical on at least three counts. Mahy’s heroines (or, rather, female heroes) reject the passivity and silence exhibited by fairytale characters such as Jorinda in the Grimms’ ‘Jorinda and Joringel’, and the lack of emotional growth displayed by Lewis Carroll’s Alice. They are also shown in the process of leaving childhood (nostalgically idealized by Carroll, J.M. Barrie and other Victorian authors) behind. Moreover, this thesis exposes the tension between Mahy’s insistent allusion to quintessential fantasy spaces such as Wonderland on one hand, and the distinct anxiety present in her work about the dangerously isolating nature of fantasy on the other. While for Mahy’s teenage protagonists the domestic “real” wins out more often than not over the fantastic but dangerous “true”, the transformative journey of maturation that each undergoes is figuratively sparked by their belief in the Red Queen’s “six impossible things before breakfast”. Perhaps by the same token, they learn that fantasy worlds (like Barrie’s “Neverland”) can be dangerously isolating.</p>

Margaret Mahy and the Golden Age of Children's Literature

<p>Margaret Mahy’s novels contain numerous allusions to the classics of Victorian fiction for children. Some of these take the form of passing references; in 24 Hours, for example, protagonist Ellis thinks of himself as “Ellis in Wonderland.” But Mahy also draws on Victorian precedents for some of her settings, taking imaginary islands from Peter and Wendy and Treasure Island, and the secret garden from Frances Hodgson Burnett’s novel of the same name. She also invokes the forest of the fairy tales that (although they were not invented by the Victorians) featured so prominently in the reading of Victorian children. To date, little attention has been paid to what might be described as the “Victorian dimension” of Mahy’s work. In what follows, I examine its function in five novels. It emerges that Mahy’s response to the values embodied by her Victorian texts is critical on at least three counts. Mahy’s heroines (or, rather, female heroes) reject the passivity and silence exhibited by fairytale characters such as Jorinda in the Grimms’ ‘Jorinda and Joringel’, and the lack of emotional growth displayed by Lewis Carroll’s Alice. They are also shown in the process of leaving childhood (nostalgically idealized by Carroll, J.M. Barrie and other Victorian authors) behind. Moreover, this thesis exposes the tension between Mahy’s insistent allusion to quintessential fantasy spaces such as Wonderland on one hand, and the distinct anxiety present in her work about the dangerously isolating nature of fantasy on the other. While for Mahy’s teenage protagonists the domestic “real” wins out more often than not over the fantastic but dangerous “true”, the transformative journey of maturation that each undergoes is figuratively sparked by their belief in the Red Queen’s “six impossible things before breakfast”. Perhaps by the same token, they learn that fantasy worlds (like Barrie’s “Neverland”) can be dangerously isolating.</p>

Classical Myth and Margaret Mahy's Young Adult Fiction

<p>This thesis investigates the importance of classical myth in the young adult fiction of Margaret Mahy. Mahy's novels are full of references to classical myths, both direct and indirect, in names of characters like Dido, Ovid, Ariadne or Hero; in storylines such as Flora's journey to the Underworld-like Viridian to rescue her cousin Anthea, strongly reminiscent of Demeter's rescue of Persephone from Hades, which take their inspiration from classical myth; in seemingly incidental references like the persistent comparisons of Sorry to Charon, the classical ferryman of the dead, in The Changeover. These references point to a deep engagement with the heritage of classical myth. It is an engagement that has not gone unnoticed by scholars of Mahy's work, but it is one that has not enjoyed the dedicated critical attention it deserves. This thesis explores the full importance of classical myth to Mahy's young adult fiction, and shows how an understanding of the classical background of a large selection of Mahy's major novels can both enhance our appreciation of what is already there, as well as open up new avenues for critical engagement with her work.</p>

Classical Myth and Margaret Mahy's Young Adult Fiction

<p>This thesis investigates the importance of classical myth in the young adult fiction of Margaret Mahy. Mahy's novels are full of references to classical myths, both direct and indirect, in names of characters like Dido, Ovid, Ariadne or Hero; in storylines such as Flora's journey to the Underworld-like Viridian to rescue her cousin Anthea, strongly reminiscent of Demeter's rescue of Persephone from Hades, which take their inspiration from classical myth; in seemingly incidental references like the persistent comparisons of Sorry to Charon, the classical ferryman of the dead, in The Changeover. These references point to a deep engagement with the heritage of classical myth. It is an engagement that has not gone unnoticed by scholars of Mahy's work, but it is one that has not enjoyed the dedicated critical attention it deserves. This thesis explores the full importance of classical myth to Mahy's young adult fiction, and shows how an understanding of the classical background of a large selection of Mahy's major novels can both enhance our appreciation of what is already there, as well as open up new avenues for critical engagement with her work.</p>