Jeunesse: Young People, Texts, Cultures 2021-08-24T09:58:52-05:00 Sarah Olive Open Journal Systems <p><em>Jeunesse: Young People, Texts, Cultures</em> is an interdisciplinary, scholar-led, refereed academic journal whose mandate is to publish research on, and to provide a forum for discussion about cultural productions for, by, and about young people. Our scope is international; while we have a special interest in Canada, we welcome submissions concerning all areas and cultures. We are especially interested in the cultural functions and representations of "the child." This can include children's and young adult literature and media; young people's material culture, including toys; digital culture and young people; historical and contemporary constructions, functions, and roles of "the child" and adolescents; and literature, art, and films by, for, and about children and young adults. We welcome articles in both English and French. <em>Jeunesse</em> was formerly <em><a href="">Canadian Children's Literature/Litterature canadienne pour la jeunesse</a></em>.</p> Masthead 2021-08-19T16:14:32-05:00 Lauren Bosc 2021-08-17T17:38:00-05:00 Copyright (c) 2021 Jeunesse: Young People, Texts, Cultures Table of Contents 2021-08-19T16:14:33-05:00 Lauren Bosc 2021-08-17T17:17:03-05:00 Copyright (c) 2021 Jeunesse: Young People, Texts, Cultures Studying Laughter 2021-08-19T16:14:33-05:00 Heather Snell 2021-08-17T17:39:38-05:00 Copyright (c) 2021 Jeunesse: Young People, Texts, Cultures An Analysis of Humorous Devices in Picture Books: A Pictorial Article 2021-08-19T16:14:33-05:00 Elys Dolan <p><span style="font-family: 'Calibri',sans-serif;">The purpose of this pictorial paper is to demonstrate types of humour found in picture books and how the characteristics of the picture book are deployed in their execution. It was deemed necessary to demonstrate these forms of humour, as opposed to purely analysing existing instances of such humour, to allow the reader the opportunity to experience comic amusement. </span></p> <p><span style="font-family: 'Calibri',sans-serif;">Therefore, this paper is written and illustrated in the manner of a picture book, using the convention of the form, such as characters, setting and word/image interplay. It is imperative that this paper should be read as a picture book would, with the reader considering both words and pictures together simultaneously and extracting meaning from their experience of the two working together. </span></p> <p><span style="font-family: 'Calibri',sans-serif;">Please continue to turn the pages and wait for your lecturer to arrive. </span></p> 2021-08-18T14:27:10-05:00 Copyright (c) 2021 Jeunesse: Young People, Texts, Cultures L’humour dans Les nouveaux contes d’Amadou Koumba de Birago Diop et La belle histoire de Leuk-le-lièvre de Léopold S. Senghor et Abdoulaye Sadji 2021-08-19T16:14:33-05:00 Nene Diop <p><span lang="FR-CA">Au Sénégal, les contes ont une vocation ludique et didactique et constituent un discours collectif avec comme fonction de recueillir, de transmettre et d’assurer la sauvegarde de l’héritage culturel. L’humour dans les contes, objets de notre étude, constitue donc un outil de communication facilement accessible et disponible pour aborder certains thèmes considérés comme difficiles voire trop sérieux pour les enfants. Dans notre analyse nous démontrons que, pour Birago Diop, et Leopold S. Senghor et Abdoulaye Sadji, la satire, l’humour malicieux, les cousinages à plaisanterie et les jeux de mots ne sont que d’importants moyens, parmi d’autres, de raconter et d’illustrer la société et la complexité de ses réalités. De par leurs contes, ils ont su créer des œuvres originales mettant en évidence et en valeur l’importance du mouvement de la Négritude et contribuer pertinemment aux efforts de réhabilitation et de redynamisation des cultures, des us et coutumes sénégalaises. </span><span lang="FR">Face aux défis de notre monde </span><span lang="FR-CA">d’aujourd’hui empreint de tensions liées à des formes d’inégalités et de discriminations sociales à fortes connotations raciales, les messages et leçons de conduite, de morale et d’équité si généreusement légués par nos prolifiques auteurs ne peuvent être qu’appréciés. </span></p> 2021-08-18T14:10:46-05:00 Copyright (c) 2021 Jeunesse: Young People, Texts, Cultures The Anxious Laughter of Silly Songs 2021-08-19T16:14:33-05:00 John Patrick Pazdziora Eric Pazdziora <p>In his 2018 study <em>How to Make Children Laugh</em>, Michael Rosen writes that when he performs silly songs and poems in schools, “I become the channel through which the children can, for a moment, let go of their anxieties about the authority figures in their lives” (23). The laughter mediates between the norms of adulthood and the anxieties of childhood. Although silly songs are perennially popular with children and their caregivers alike, they remain understudied. This article, then, asks how laughter works in the context of English-language silly songs for preschool and early elementary children. Drawing from Rosen’s theorization, it combines the perspectives of literary studies and early childhood music education to analyze well-known silly songs recorded by Sharon, Lois &amp; Bram, Raffi, and others. Grown-up performers invite laughter by acting like goofy big kids who can play along with the children and by inverting the authority relationship between children and adults. Silly songs create deliberately incongruous, cheekily subversive experiences that can help children’s anxieties to be released and rendered nonthreatening.</p> 2021-08-18T14:22:13-05:00 Copyright (c) 2021 Jeunesse: Young People, Texts, Cultures The Social and Historical Effects of Laughter in Revolutionary Ireland: The Case of Our Boys 2021-08-19T16:14:33-05:00 Elena Ogliari <p>This article examines the social and historical effects of laughter as stimulated by and depicted in <em>Our Boys</em> in the crucial years leading up to the Anglo-Irish War. <em>Our Boys </em>was a juvenile periodical edited by the Congregation of Christian Brothers, who aimed to teach Irish youth how to behave and articulate their interests within the terms of reference established by nationalist, Catholic discourse. Laughter was provoked and represented in <em>Our Boys </em>with this objective in mind and thus came to possess a formative and ideological dimension. The investigation focuses on how laughter in the periodical constructed both ideologies and subjectivities.</p> 2021-08-18T14:16:48-05:00 Copyright (c) 2021 Jeunesse: Young People, Texts, Cultures Le rire : formes et fonctions du comique dans la fiction africaine pour la jeunesse 2021-08-24T09:58:52-05:00 Kodjo Attikpoé <p><span lang="FR-CA">Cet article étudie les différentes manifestations du comique ainsi que leurs fonctions dans quatre œuvres fictionnelles pour la jeunesse en Afrique&nbsp;: l’album <em>Tout Rond</em> de Fatou Keïta et les romans <em>Les confidences de Médor</em> de Micheline Coulibaly, <em>Pain sucré</em> de Mary Lee Martin-Koné et <em>Awa la petite marchande</em> de Nafissatou Niang Diallo. Il part de l’idée que l’inscription du rire dans la littérature d’enfance et de jeunesse participe de sa dimension didactique, mais produit également une expérience esthétique. À travers l’analyse des rires moqueurs des personnages, il met particulièrement en évidence des conditions dans lesquelles la dérision apparaît légitime, inévitable, excluant l’Autre ou révélatrice de la profondeur du psychisme humain. </span></p> 2021-08-18T13:43:55-05:00 Copyright (c) 2021 Jeunesse: Young People, Texts, Cultures “Laugh! I Thought I Should’ve Died”: British Music Hall Humour and the Subversion of Childhood on The Muppet Show 2021-08-19T16:14:33-05:00 Liam Maloy <p>Through the abundant use of the bawdy, humorous songs of British music hall, <em>The Muppet Show</em> delivered a potent critique of constructed notions of a protectionist childhood. Paradoxically perhaps, the music hall songs, carnivalesque comedy, and frequent depictions of sex, sexuality, and violence also did much to construct <em>The Muppet Show</em>’s intended “family” audience while simultaneously providing a direct challenge to its normative sanguinuptial (blood and marriage) construction. This intergenerational family audience is crucial to the child’s interpretation of <em>The Muppet Show</em>’s complex and contentious content, subject matter that is rarely included in media made for a solely child audience. While the musical sketches open up an interpretive space for the child to encounter, resist, and subvert the range of fluid identities hinted at onscreen, the process is simultaneously constricted by the musical-visual texts themselves and by <em>The Muppet Show</em>’s family-reception context. As such, this case study reveals the inherent tensions of targeting a family audience through music and television.</p> 2021-08-18T14:39:02-05:00 Copyright (c) 2021 Jeunesse: Young People, Texts, Cultures Des procédés humoristiques au cœur des albums 2021-08-19T16:14:34-05:00 Isabelle Montésinos-Gelet Rachel DeRoy-Ringuette Marie Dupin de Saint-André <p>Notre contribution à ce numéro spécial sur le rire relève de la didactique de la littérature jeunesse. Notre objectif vise à présenter une grille détaillée des procédés humoristiques adoptés par divers auteurs illustrateurs en l’exemplifiant par des extraits tirés des textes et des illustrations de plusieurs albums. Ce qui nous a conduits à développer cette grille, c’est la constatation lors d’observations ethnographiques dans des classes du primaire&nbsp;de l’attrait des élèves envers les procédés humoristiques (Montésinos-Gelet), mais également du peu de mots dont ils disposent pour les décrire avec précision et ainsi mieux les apprécier. Nous avons donc recensé plusieurs catégorisations et nous sommes appuyées sur les six attraits du livre proposés par Joyce G. Saricks pour organiser notre grille. Nous avons ajouté deux attraits pour tenir compte des illustrations. Nous avons ainsi dégagé et catégorisé quatre registres dans lesquels se déploient onze types d’humour ainsi que douze variétés de comique auxquelles sont associés quarante-sept procédés.</p> 2021-08-18T14:42:29-05:00 Copyright (c) 2021 Jeunesse: Young People, Texts, Cultures Young Banyumasan Street Traders as Shapeshifters of Modernity: Refreshment, Production, and the Pursuit of Pranks and Jokes in Jakarta 2021-08-19T17:08:58-05:00 Traci Marie Sudana <p>Banyumasan Javanese people of Indonesia are often revered as funnier than other Javanese. Ethnographic accounts herein illuminate how young, Banyumasan street traders in Jakarta perform and participate in laughing, joking, and pranking at work. Intersectional analysis reveals the utility of joking and pranking as heuristics to understand the affective dimensions of status, stigmatization, migrating for work, and growing up in Indonesia. The polysemic nature of jokes and pranks reference camaraderie and othering, incongruities and expectations, agency and oppression, as well as intersubjective relations between young men at work. This view of Banyumasan street traders as urban jokers and jesters, producing and consuming humour “from below” for and about each other, departs from previous scholarship on humour in Java, which has focused on how clown characters in staged shadow puppet (<em>wayang kulit</em>) performances have asserted and perpetuated inequalities through a refined-unrefined (<em>halus-kasar</em>) binary whereby those deemed <em>kasar</em> are seen as lacking something. This article, in contrast, asserts the utility of jokes and pranks to refreshing and regenerating understandings of <em>kasar</em>, what it is to be human, and the temporalities, spatialities, and intersubjectivities of boys growing up and working in Indonesia’s street economy.</p> 2021-08-18T14:25:41-05:00 Copyright (c) 2021 Jeunesse: Young People, Texts, Cultures “Which One of You Is the Twelve-Year-Old Boy?”: Children’s Humour, Wittgensteinian Jokes, and the Sack Lunch Bunch 2021-08-19T16:14:34-05:00 Michael G. Dalebout <p>This article reads the comedic after-school special<em> John Mulaney &amp; the Sack Lunch Bunch</em> (Netflix 2019) alongside philosophical accounts of humour, comedy, and laughter—collectively, Humour—and elaborates upon how <em>Sack Lunch</em>repurposes the conceptual binary of adult and child, neither reinforcing nor denying its formative role in the relationship between people of diverse ages. Interpreted as what Ludwig Wittgenstein called a grammatical investigation (or a study of how language is used), <em>Sack Lunch</em> inhabits the ambiguous and artificial boundary between child and adult to trouble an overly familiar picture of growing up. In showing how children’s and adults’ Humour is alike in showing what is funny, or off, in our world, <em>Sack Lunch </em>is a non-instrumental example of Humour as a pedagogical resource. Because it exposes the sedimented conceptions underlying how intergenerational social relationships perpetuate socio-political injustices, children’s Humour in particular warrants further attention by philosophers of humour.</p> 2021-08-18T13:45:16-05:00 Copyright (c) 2021 Jeunesse: Young People, Texts, Cultures The Pop-Up against Coronavirus Project: Child-Made Movable Books Evoking Smiles, Tears, and Hope 2021-08-19T16:14:34-05:00 Jacqueline Reid-Walsh <p><span lang="EN-US">In this essay I discuss the Pop-up against Coronavirus Project, initiated by the Fondazione Tancredi di Barolo based in Turin Italy. It is a research, conservation and educational foundation devoted to movable books, especially pop-up books. Their work with children is in conjunction with their museum of School and Children’s books (Museo della Scuola e del Libro per l’Infanzia). When the outbreak of the coronavirus in Italy in late February 2020 prevented the academic conference they had organized from occurring, the foundation immediately turned their attention to working cross culturally with and for children, engaging Italian, Chinese and later Dutch artists and paper engineers to devise working models of different types of pop-ups. I give an account of the inception of the project, discuss the materials provided on their site, and examine some of the images of the homemade artifacts made by children and their families in Italy and China.</span></p> 2021-08-18T14:05:32-05:00 Copyright (c) 2021 Jeunesse: Young People, Texts, Cultures diversiSMILES: Forever a work in progress 2021-08-19T16:14:34-05:00 George F. Simons <p>This article is a description of and a reflection upon the development of a gamification project on humour. Its creation was originally undertaken in collaboration with three students in the Intercultural Management (ICM) program at the University of Burgundy in Dijon, France: Keizo Suzuki from Japan, Aigerim Daribayeva from Kazakhstan, and Stephan van de Ven from the Netherlands. This diverse team, in a for-credit project as part of their ICM master’s program, worked under the direction of David Bousquet, who, with his colleague Alex Frame, had already supervised student teams on similar projects developing other games that have been published and are now being used for both organizational training and academic courses. These projects were accomplished in collaboration with George Simons International, a sole proprietorship that initiated the <em>diversophy</em><em><sup>®</sup></em> game series and which provided coaching, editing, and final production. After concluding this project, and in preparation for writing this article, Suzuki, Daribayeva, Van de Ven, and Bousquet were asked to provide a brief report of their insights and learning as well as to describe some of their experiences in conceiving, planning, and implementing the humour project. These reflections are interspersed throughout the article.</p> 2021-08-18T14:08:10-05:00 Copyright (c) 2021 Jeunesse: Young People, Texts, Cultures Exploring Authenticity through Laughter and Performance in Young Adult Literature 2021-08-19T16:14:34-05:00 Stephanie Brown <p>Review of:</p> <p>Dugan, Jennifer. <em>Hot Dog Girl</em>. Penguin Young Readers Group, 2020.</p> <p>Rosen, L.C. <em>Camp</em>. Little, Brown Books for Young Reader, 2020.</p> <p>Rubin, Lance. <em>Crying Laughing</em>. Random House Children’s Books, 2019.</p> 2021-08-18T13:47:49-05:00 Copyright (c) 2021 Jeunesse: Young People, Texts, Cultures Creative Agency and Play in Design-Based Games 2021-08-19T16:14:34-05:00 Christina Fawcett <p>Review of:</p> <p><em>Dreams</em>. Media Molecule, 2020.</p> <p><em>Super Mario Maker 2</em>. Nintendo, 2019.</p> 2021-08-18T13:48:44-05:00 Copyright (c) 2021 Jeunesse: Young People, Texts, Cultures Children’s Books and Colour Ecstasy: Humans’ Disconnection from Nature and What We Should Do About It 2021-08-19T16:14:34-05:00 Wanderley Anchieta <p>Review of:</p> <p>Gamblin, Kate Moss. <em>Lake: A See to Learn Book</em>. Illustrated by Karen Patkau, Groundwood, 2020.&nbsp;</p> <p>Lebeuf, Darren. <em>My Forest Is Green</em>. Illustrated by Ashley Barron, Kids, 2019.</p> <p>Lebeuf, Darren. <em>My Ocean Is Blue. </em>Illustrated by Ashley Barron, Kids, 2020.&nbsp;</p> <p>Ryan, Candace. <em>Red Light, Green Lion</em>. Illustrated by Jennifer Yerkes, Kids, 2019.</p> <p>Weisman, Kay. <em>If You Want to Visit a Sea Garden</em>. Illustrated by Roy Henry Vickers, Groundwood, 2020.</p> 2021-08-18T13:46:08-05:00 Copyright (c) 2021 Jeunesse: Young People, Texts, Cultures The Consumption of Laughter in Everyday Life 2021-08-19T16:14:34-05:00 Kristine Dizon <p>Review of:</p> <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Arnaldo, Monica.<em> Time for Bed’s Story</em>. Kids, 2020.&nbsp;</p> <p>Forsythe, Matthew. <em>Pokko and the Drum</em>. Simon and Schuster/ Wiseman, 2019.&nbsp;</p> </div> <div class="column"> <p>Rex, Adam. <em>Why?</em> Illustrated by Claire Keane, Chronicle, 2019.&nbsp;</p> <p>Yoshitake, Shinsuke. <em>The Boring Book</em>. Chronicle, 2019.</p> </div> </div> </div> 2021-08-18T13:42:49-05:00 Copyright (c) 2021 Jeunesse: Young People, Texts, Cultures Teaching Resources for the Apocalypse 2021-08-19T16:14:34-05:00 Richard Gooding <p>Review of:</p> <p>Cadden, Mike, Karen Coats, and Roberta Seelinger Trites, eds. <em>Teaching Young Adult Literature. </em>Modern Language Association of America, 2020.</p> 2021-08-18T13:49:46-05:00 Copyright (c) 2021 Jeunesse: Young People, Texts, Cultures About <em> Jeunesse </em> 2021-08-19T16:14:34-05:00 Lauren Bosc 2021-08-17T00:00:00-05:00 Copyright (c) 2021 Jeunesse: Young People, Texts, Cultures