Il ragazzo alla pari (Ombrerosa) (Italian Edition)

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New York and London: Barbie I can be a computer engineer. A Short History of Fantasy. Women who Run with the Wolves. Contacting the Power of the Wild Woman. On the Subjection of Women.

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Longmans, Green, Eader and Dyer. From the Beast to the Blonde. On Fairy Tales and their Tellers. Un esercizio, invece, di pura immaginazione, ispi- rato alle regole della poesia. Historically speaking, the Historia Regum Brittaniae is appaling, but as a story it is tremendous stuf […] Stewart, p. Lewis, tale produzione letteraria ha operato un decisivo revival del Medio- evo e di rilesso della letteratura arturiana.

Non stupisce, dunque, che la fantasy arturiana del Novecento ponga prevalentemente come protagonista di quei do- mini immaginiici la igura-simbolo del potere magico, lasciando, invece, sullo sfondo i personaggi legati alle trame e ai temi cortesi. Il prologo dal titolo iabesco, he Prince of Darkness, ripercorre i due nuclei tematici fondamentali consegnati dalla leggenda medievale, le origini e i poteri di Merlino.

It is not my own memory, but later you will understand how I know these things. You would call it, not memory so much as a dream of the past, something in the blood, something recalled from him, it may be, while he still bore me in his body. I believe that such things can be.

Catalogo - Biblioteca Mediateca Gino Baratta

The Crystal Cave di Mary Stewart me right that I should start with him who was before me, and who will be again when I am gone. I saw it, and it is a true tale Stewart, p. When I was only young, about sixteen, and thinking, as girls do, of love, it hap- pened one Martinmas Eve, after I and my women had gone to bed.

The Crystal Cave di Mary Stewart sleep. After a while I rose from my bed and went to the window. It was a clear night, with a moon. When I turn back to my bed-place I saw what I took to be a young man standing there, full in the middle of my bedchamber. I went to bed and told no one. But he came again. Not always at night; not always when I was alone. So I realized it was no dream, but a familiar spirit who desired something from me. I prayed, but still he came. But at these times I did not see him, and nobody heard him but I.

So all through that winter he came to me. And he came at night. I was never alone in my chamber, but he came through doors and windows and walls, and lay with me. I never saw him again, but heard his voice and felt his body. Il signiicato di quel nome, e soprattutto la contraddizione rispetto alla natura della presunta genitura, li coglie Camlach, lo zio principe, tornato a casa dopo essere stato in guerra e al servizio del Sommo re.

Nel giardino del palazzo reale si riscrive in senso inverso la parabola biblica che lascia presagire il movimento agiograico da bambino isolato e prodigio a fu- turo profeta e idato consigliere regale: Merlino non mangia il frutto avvelenato donato dallo zio. What mattered to me — I see it clearly now — was to be alone in the secret dark, where a man is his own master, except for death. It had held magic for me since the day I had looked up at midday and had seen, faint but unmistakable, a star. Full and shining, she stood clear in the centre of the shaft, the light pouring down on my upturned face so white and pure that it seemed I drank it in like water.

I did not move till she had gone, and the little star dogs her Stewart, pp. Umani restano i suoi comportamenti e i suoi afetti, insieme alla necessaria acquisizione di scienza e conoscenza medicina, anatomia animale, geograia, lingue rispetto alla magia ricevuta. I took a step forward to the edge of the platform. I felt empty still, but somehow I would to speak. As I moved, the gust struck the pavilion, sharp as a blow. As we watched, it sagged slowly into a pool, and the water washed over it. Some last faint ray from the sunset bloodied the water.

Look up from the ground, and see where he speaks again! I tell you, King Vortigern, waste no more time here with these ignorant fools who babble of blood sacriice and build a wall of stone for you, a foot a day! What wall will keep out the Dragon? I, Merlin, tell you, send these priests away and gather your captains round you, and get you away from the hills of Wales to your own country. Quando Merlino giunge nel regno di Vortigern ha ormai maturato un altro dei suoi molteplici doni, saper riconoscere un grande re.

Merlino ha conosciuto un altro regno, rainato, col- to e romanizzato, quello di Ambrosius in Bretagna minore. I preparativi per la riconquista della Britannia maggiore troveranno un nuovo vigore e una rinnovata speranza. Teme che Ambrosius non possa credergli: Religion and Women in hree Contemporary Arthurian texts. Rewriting the Women of Camelot. Witches, Druids and King Arthur: Studies in Paganism, Myth and Magic. University of Wales Press. Knowledge and Power through the Ages. A History of Arthurian Scholarship. Contemporary Women Writers of Fantasy. Die Familie in den Picturebooks.

Denn heute gibt es nicht mehr nur eine Art von Familie. Deshalb fragen wir uns: Werfen wir einen Blick darauf. Englisch sind die Verfasser des Aufsatzes. Die erste Geschichte erschien in Frankreich und in Italien. Von Kindern, in diesem Fall von Stefan, lernt man die Andersartigkeit. Die Natur hat sie geboren und sie verbindet sie. Was fehlt noch einem Barbapapa und einer Barbamama? Sieben Barbakinder stammen daraus; jeder hat seine eigene Farbe und seinen eigenen Charakter: Sie mag Schmuck, Kleider und Parfum und versucht immer trendy zu sein.

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Barbahelle ist blau und ist der Wissenschaftler der Familie: Barbabravo ist rot; er ist ein starker Sportler und gewinnt gerne. Barbasophie ist orange; sie ist eine Intellektuelle und eine Aktivistin. Die Geschichten von Barbapapa entwickeln sich in den 70er Jahren und zeigen den Fortschritt der Industrialisierung und der Urbanisierung, die dieses Jahrzehnt gekennzeichnet haben.

Barbapapa sind nicht gegen Industrialisierung, Maschinen und Fortschritt, sondern sie versuchen sogar sich anzupassen. Sicherlich, haben Tison und Taylor diesen Erfolg sich nicht erwartet, vor allem 40 Jahre nach der ersten Erscheinung der Geschichte: Man muss beachten, dass die Barbafamilie in den 70er geschafen wurde, als die sozialen Verwandlungen in den Rollen bzw.

Marzipan Rosa und andere Geschichten geschafen2, die heute von Motta Junior wieder herausgegeben ist. Die Eltern von Camille sind Der Traum ist wie ein Baum mit vielen Zweigen: Wer sind diese Menschen? Maintenant maman a un amoureux, et mon papa aussi. Je weiter man liest, desto wichtiger der Mond wird; er wird zum Protagonist der Geschichte.

Der Mond hat erstaunliche Farben und scheint im Sternenhimmel sowohl auf dem Buchdeckel als auch auf jeden Seite. Die Neugier des Lesers wird erweckt, und so beobachtet er diese Heldentat, die die Liebe der Vaters zu seiner Tochter zeigt. Daher wartet der Vater, bis der Mond kleiner wird, um ihn zu nehmen. V wie Vater , das von dem portugiesischen Verlag Platena Tangerina produziert und herausgegeben wurde.

In Italien wurde das Werk vom Verlag Topipittori herausgegeben. Genau das macht das Buch so zauberhaft. Treten sie auf deine Spiele? Weigern sie sich, dich al- leine zu Hause zu lassen? Zwingen sie dich, in Urlaub zu gehen?

Catalogo - Biblioteca Mediateca Gino Baratta

In der Tat haben wir uns immer gefragt: Was passiert nach der Hochzeit? Das ist ein Alphabet, das benutzt wird, um die Familie durch die Augen eines Kindes zu beschreiben. Das Bilderbuch Alles Familie! Oft denken Eltern bzw. Wie Emy Beseghi behauptet: Literaturkritik Associazione Culturale Hamelin Tessere trame narrare storie. Piccolo capolavoro di colori. Tu, di che genere sei? Storie del maschile e del femminile nei libri per bambini e per ragazzi. Come tu mi vedi. Biblioteca Intercomunale di Vezzano Padergnone e Terlago. Madri sole e nuove famiglie. Campagnaro a cura di , Poche storie… si legge!

Incanto e racconto nel labirinto delle igure. Albi illustrati e relazione educativa. Lessici familiari per piccoli occhi curiosi. Gli albi illustrati su infanzia e famiglia tra storia, graica e narrazione. Contini Herausgegeben von , Dis-alleanze nei contesti educativi. Altre parole e altre immagini. Babalibri, La Margherita, Topipittori. Storia di alcuni libri illustrati militanti fra Italia e Francia, passato e presente, S. Cagnolati Herausgegeben von , Tessere trame narrare storie.

Motta Junior, Giunti Verlag. Willkommen in der Familie! Lill-Zlatan och morbror raring. Lindenbaum , Verlagsgruppe Beltz. Catalogo dei genitori per i bambini che vogliono cambiarli. Aussuchen — Bestellen — Ausprobieren. Una genera- 2 Compositivo lo deine la RAE como lo que forma voces compuestas. Klein del a vivieran en Bratislava y Piestany en el exilio, produjesen literatura e incluso tuvieran la nacionalidad checoslovaca. Se han perdido parte de sus escritos. Entre los pocos reconocimientos a ella y a su obra igura por una parte, el de la BBC con motivo del 60 aniversario de su nacimiento.

Ambas observan que los despliegues militares no aseguran sino un nuevo conlic- to y el enriquecimiento de unos pocos. De todas y todos es conocido que en el pensamiento que va desde el s. Pensar por uno mismo, ponerse en el lugar del otro y ser coheren- te. Es decir, que se empieza a cuestionar en su ideario co- munista el papel de la lucha de clases, como sujeto revolucionario.

Para ella11, al igual que para Longinus Longinus, , p. Son muchos los autores de cuentos que empiezan sus narraciones con erase una vez pero pocos los que dejan el inal al futuro y no al presente. Es en el lector, por tanto, donde se pone la posibilidad de la deseada felici- dad. La autora legitima la esperanza haciendo actores y sujetos de ella a las gene- raciones futuras. Sus cuentos son medios del aprendizaje social desde la toma de conciencia indivi- dual.

La casa de sus abuelos maternos estaba en la calle Richardgasse 5 ahora Jauresgasse Altner Cogiendo posteriormente su puesto de traductora Elias Canetti. Su abuela, la condesa Isabel Luisa Wydenbruck23, con la que pasaba largas tempora- das, es la igura femenina de referente. Posteriormente en libro bajo el titulo de Ende und Anfang ein Lebensbuch — in y principio, un libro de la vida —. Karl Kraus fue uno de los primeros admiradores del libro. Su abuela muere en Una estancia en Meran, obligada por su padre26, le trae dos importantes experiencias: Desde el inicio es una boda sin perspectiva.

El la apoya en su trabajo. A partir del divorcio se ve obligada a trabajar para mantenerse. En entra a formar parte del Par- tido comunista. Estuvo activa de hasta En lo referente a su capacidad de trabajo observamos que en mitad de los 20 su gran actividad la lleva a cabo descuidando su tuberculosis. Obser- va en la escritora la fuerza de la palabra frente a lo irracional de la realidad del momento en la ciudad. Karl Kraus fue uno de los primero admiradores de este libro. Entre consigue una notable fama como escritora. Su obra pasa a la lista de obras censuradas que aparece en Leipzig en El resto de la obra, entre otros, los tradujo Elias Canetti, Paul Baudisch, etc.

Llega el 19 de junio de Los costes del viaje fueron a cargo de la Arden Society La Gestapo le cierra sus cuentas bancarias. Sin que se tuviera un reconocimiento especial de su obra. En el se vuelve a recaer en la escritora en Austria y Alemania, pero solo en la editorial Globus, la editorial del partido comunista.

Vogeler y no Grosz. El se rompe una pierna y tiene que permanecer en cama. Cuenta su solidaridad con el sufrimiento de los pobres. Grundlegung zur Metaphysik der Sitten. Manczyk — Krygiel, M. Es war einmal … und es wird sein. Young Adult Fiction It is almost impossible to draw a precise demarcation line dividing literature for adults from literature targeted to young adults. Surveying the reading practices of American teenagers, Betty Carter points out that although many teenagers and young adult readers read books written speciically for their age group, they are just as often interested in works by established writers of adult works.

YA novels written for adolescent readers tend to be shorter and less com- plicated in their structure than novels written with an adult readership in mind; they usually adopt a straightforward narration with a chronological plot, a single narrator and a limited amount of characters. Nevertheless, there are many YA titles which employ complicated plots, a variety of characters, shifts in time and perspective, and many other complex literary means and techniques one just needs to think of the Harry Potter series with its multitude of characters, and with the later vol- umes reaching some pages.

Rowling, which are also YA Bildungsromane1. Young Adult Fiction and the Bildungsroman Most literary historians agree that the tradition of the genre of Bildungsro- man can be traced back to the end of the eighteenth century and relects an important paradigmatic shift both in the understanding of the importance of childhood and youth for the formation of the individual as well as in the under- standing of time and history.

With the dramatic changes of industrialization and urbanization that began changing the world drastically from one generation to the next, it was no longer possible to grow up simply by replicating the norms, roles, modes of behavior of a previous generation within a localized community. A new kind of protagonist then enters literature — a young hero depicted in an often painful and diicult stage of transition from childhood to adulthood. Gunilla heander Kester explains how in this emergence the Bildung involves a double process — that of inner development Anbildung through which indi- viduals emerge as unique beings with their own characteristics, qualities, talents, and shortcomings, along with the process of outer enveloping Ausbildung in which a society accepts and embraces the individual as part of itself Kester, , p.

Although Bildungsroman as a literary form came into existence at a speciic time of paradigmatic shift and the irst works written in the genre were German novels, the form itself enabled the expression of new concepts and concerns that were far more universal, and the form was soon adopted into other literatures.

Here she deines the genre as having a straightforward sequencing, a generally optimistic form of development and informal educa- tional objectives achieved by selected mentors, through a narrative mapping of the process from inexperience to experience. Scott Fitzgerald, Ernest Hem- ingway, J. On the other hand, there has been another long tradition of the female Bil- dungsroman that was not fully recognized until the second wave of feminist criti- cism.

Eve Ta- vor Bannet sees the emergence of the female tradition of the Bildungsroman as closely connected with the rise of the novel itself. Published in , both novels were advertised as young adult novels and were well received by readers and critics alike2. Both novels are set in a distinct historical era which they relect realistically and both evolve around themes of marginality and marginalization, responsibility and politi- cal involvement.

Finch teams him up with two boys he never associates with: But with the help of enlightened adults such as his teacher Mr. In this way, Ma- gorian presents the post-war period as a time of a signiicant generational clash of values. However, being a child of a war deserter and an illegitimate child are not the only examples of marginalized characters in the novel. However, it is eventually discovered that she is exceptionally smart, her school failures caused by dyslexia. Unlike traditional fairies, Mrs. Beaumont does not work through spells and magic, but with lots of money and connections.

Just Henry teaches tolerance and challenges prejudice from the point of view of a maturing teenager who is learning to recognize and overcome it. In terms of its readership, it can be labeled as a single target audience book. However, there are three major aspects of his life which make his coming-of-age both very complicated and unique — his brother Joye has been incarcerated in the Maze Prison the H-bloc for his activities in the IRA and has joined a prison hunger strike demanding that the IRA detainees be given a special status of political prisoners a demand that Margaret hatcher repeatedly refused to grant.

At home, Mam was white and drawn, her own appetite gone. He kept saying, like a broken record, how Joey was a grown man and this strike was his right and he for one was proud of him. He may as well have punched Mam in the belly. And although Fergus was not successful in persuading his brother not to continue in the hunger strike, he now presents a powerful argument to his father: Unlike his peers who either voluntarily join the Provos or decide to stay uninvolved, Fergus is forced into involvement for the sake of his brother.

When he is asked to carry packages of unrevealed content across the border during his running sessions, Fergus is faced with a dilemma — on the one hand, he disagrees with the violent ways of the IRA, on the other he hopes that by doing them a favor he might get Joye ordered of the hunger strike. While running across the border with the packages, Fergus makes a personal connection with Owain, one of the guards stationed at the border checkpoint. Refusing to see Owain as an enemy, he regards him as a fellow human being. Had they met under dif- ferent circumstances, Fergus and Owain could become friends.

He turns himself in to Owain but when the soldier unpacks the package, he inds no material for bomb making, only contraception pills. What seems to start as a crime story soon turns into an exciting but troubling archaeological research, as the body is dated back to the Iron Age. Although Bog Child was marketed as young adult novel, the complexity of its themes, its multilevel plot line and absence of easy solutions make the novel interesting for adult experienced readers as well.

As such, Bog Child represents a ine example of the contemporary phenomenon of the crossover novel, i. Suspended between childhood and adulthood, adolescence is a threshold, liminal state and therefore it may be appealing to adult readers who feel they are themselves living in a volatile world of constant transition, never reaching a point of stability. Another reason might just as well be the high literary quality of current YA novels, which provide a complex, exciting reading experience to even practiced and demanding readers.

In recent decades, many female ethnic Bil- dungsromane have been published, i. Most of the following novels were not necessarily written for young adults, yet in portraying a teenage or adolescent protagonist they have also eventually come to appeal to YA audiences. Most can now be found in vari- ous internet lists of recommended YA reading as well as in college reading lists. In the segregated world, even the most casual situations such as a high school date, a visit to the movie theater, shopping for a hat, or meeting Santa Claus in a toy shop can suddenly turn into yet another painful moment of denigration.

Maud Martha somehow always manages to contain her anger from both spilling out at her white insulters as well as from damaging her own family. Concluding that she remains a passive victim of social prejudices would be, however, quite of the mark. However, her struggle is ambivalent because although Annie might in fact be alienated from her native culture by the imposing Victorian ideology, she does not seek her ethnic roots in order to ind herself and her position in the world, but inally runs away to England which, paradoxically, can ofer her education and career.

Similarly, Un arranged Marriage by Bali Rai, while describing the formative years in the life of a second-generation Panjabi-British boy Manny, contains implicit discussions of what constitutes Britishness at the turn of the millennium, proposing — contrary to a national identity deined in terms of common ethnicity and language, a shared history, religion and culture — a new version of a nation, Habermasian6 in its stress on the voluntary and desired membership in a community, and postna- tionalistic7 in its discussion of identity formed on the basis of democratic citizen- ship.

Conclusion — he Possibilities of the YA Bildungsroman While the ethnic Bildungsroman written in realistic mode is a very potent literary form which appeals to both YA and adult readers, it is not the only currently popular form. A diferent category beyond the scope of this discussion is represented by non-realistic YA Bildungsromane, such as the already-mentioned J. Political Essays, edited and translated by M. For its thematic lexibility, the genre of Bildung- sroman seems to be among the central forms employed by writers of YA iction, and although the current paper has focused mainly on the realistic Bildungsro- man, the form is probably equally frequent in fantasy and dystopic kind of YA literature.

Should the YA Bildungsroman retain its high literary quality, its bald focus on threshold issues, it will certainly continue to attract a wide readership in almost any age category. A House with Two Doors? Creole Nationalism and Nomad- ism in Multicultural London. University of Texas Press. Apprenticeship of the Novel: Comparative Literature Studies, 45 3 , Growing Up and the Quest for Identity. Maud Martha and the tradition of ethnic female Bildung- sroman. Adult Books for Young Adults.

English Journal, 86 3 , David Fickling Books, Young adult iction and the crossover phenomenon. In Da- vid Rudd Ed. London and New York: Domestic Epic Warfare in Maud Martha. African American Review, 39 , British Women Novelist and the Novel of Development. Bildung and the African American Text. Ten Is the Age of Darkness: University of Missouri Press. Accessed March 19, Margaret Atwood and the Female Bildungsroman. Form and Focus in the Neo-Feminist Novel.

In Susan Koppelman Cornillon, Ed. Bowling Green Univer- sity Popular Press. University of Washington Press. Power and Repression in Adolescent Literature. Ostrava Journal of English Philology, 1, How to Use a Bookworm: Rethinking Race, Sex, and Gender. Adolescent Girlhood in American Fic- tion. Before the hurricane arrived from Sweden there were very few girls, in books, who were truly protagonists of their own lives, strong, pursuing their own spiritual and physical desires, with the reins in their hands, as was the case for boys.

In fact, with only a few splendid exceptions, if girls did appear in a novel they had to be silent, without stain. In short they were beautiful statues. In , a few years after the essay Dalla parte delle bambine Gianini Belotti, , Elena Gianini Belotti published Ses- sismo nei libri per bambini We mistakenly believe stories for children to be much more innocuous than they truly are. In actuality, they are a means by which the cultural values of the society in which we live are transmitted.

And it is through their capacity to identify with the characters and events in the stories they experience that children internalize these values and make them their own. In particular, regarding gender identity, the stories propose models of masculinity-femininity and implicitly ask their readers to support these roles by identifying with the characters belonging to their own genders.

Such role models are extremely rigid, stereotyped, and even anachronistic: Firstly, both in the text and in the illustrations, there is a clear predominance of male protagonists. In the ti- tles, in the main roles, in the illustrations and in the stories … female characters are represented to a decidedly lesser extent. Most of the illustrations show men, alone or in groups. Even when a woman is present in these books, she most often has an insigniicant role and remains without a face and without a name Weitzman et al.

Another important observation concerns the diferences between activities reserved for boy protagonists and those reserved for girl protagonists. In short, there is a sharp distinction: Boys are presented as spirited and adventurous. Girls are depicted as more passive and sedentary and are often portrayed in the home.

While the boys play outside in the real world, the girls sit and watch them, separated from the real world by windows, porches, and fences. By observing adult men and women, boys and girls learn what people expect from them. When they become adults, they will tend to identify with adults of the same gender and want to be like them. In other words, the role models not only pro- vide the child with an image of his or her future self, they also inluence his or her aspirations and goals Weitzman et al. In almost all of the stories women are represented by their role in the family, as wives and mothers.

In the preface edited by Adela Turin, we read: At the age of three or four, when children start going to nursery school, boys and girls already identify with gender roles. Nevertheless, picture books, an important teaching aid in nursery classes, complete this process of identiication. According to the pictures, men are creative, heroic, loyal, and capable of friendship without ulterior motivations.

On the other hand, women are less intel- ligent and less educated than men. Actually, symmetry implies that the characteristics and behavior ascribed to one gender are simultaneously denied to the other. So, in response to the reassuring schema of complementarity, active and brave boys will coexist with shy and passive girls. If the girls are sensitive and afectionate, the boys must be violent Turin, , p. When discussing the need to eliminate gender stereotypes in early childhood education and socialization processes, one usually sides with the girls, assuming that they are more damaged by a sexist education2.

In truth, one needs to realize both boys and girls are victims of the premature adoption of gender roles and that they are all deprived of the freedom to behave, play, think, get dressed, and dream without gendered conditioning. One should instead ofer a wider range of role models to both boys and girls, which they can use to develop their our own identities in the most unrestricted and forthright way possible.

It is not by chance that in Italy there is a lurry in the ield of publishing for children and adolescents. Towards New Gender Images: Results of a Study In the last few years from to many publishing houses Settenove3, Lo Stampatello4 and series of books Sottosopra, edizioni EDT-Giralangolo5 have appeared which are entirely focused on overcoming sexist stereotypes, promoting equality, eradicating the cultural roots of gender violence, and presenting repre- sentations of the family and couples.

Progressive stories can be found, not only in publishing houses and series dedicated to this subject but scattered here and there in the catalogues of other Italian publishers. While reading these books, young boys and girls interact with characters that de- viate from the norm and, precisely for this reason, appear as more true. How do you recognize girls from boys? It consists in disproving the rule through counter-examples: It is in this moment, through the nakedness of their bodies, that the only real diference between boys and girls emerges.

It is the diference upon which society constructed, over the years, another series of diferences that go be- yond biological factors and are a clear cultural byproduct. Federica e Federico is about this early education Biemmi, How gender image changes in Italian picture books of the proposal. Federica and Federico can share toys and colors in a room that will have all the colors of the rainbow. Gender identity and diferences between males and females are also ad- dressed, with great clarity, in another text.

At the beginning Max, the young protagonist of the novel, has very clear ideas about the diferences between boys and girls. She draws mammoths, climbs up trees, ights with boys and wins! He really cannot understand how such a girl can exist until, inally, he is struck by a thought: Max plans to investigate and inally one day, with no swimming suits, he inds out the truth: He is forced to revise his initial theory: Young boys and young girls are anatomically diferent but this diference has no relevance to any hierarchical plan.

Males have something more compared to females but this means a real equality. Stereotypes and prejudices are socially useful because, simplifying and clas- sifying reality allows for an enormous savings of cognitive function. In other books the stereotypes are debunked by the story itself. Lastly, Nei panni di Zaf Salvi, tells the story of a child who, against everything and everyone, cultivates a very atypical desire for a boy: She wants to become the goalkeeper of a football team.

New Role Models for Young Girls: Is there anything more boring than being a pink princess? Elizabeth, the intelligent main character of La principessa e il drago Munsch, , slyly de- feats a dragon to save her intended husband but later inds out that she is happier without him. Moreover, and perhaps most inter- estingly, the lives of these princesses do not involve dreaming and waiting for Prince Charming and marriage.

As we know, the professional world is full of gender stereotypes. We are used to thinking that there are professions which are more suitable for men and others for women and this belief is corroborated by reality, where men can choose between a very wide range of professions and women are employed in a more limited number of ields, mainly in education and the service industry.

How gender image changes in Italian picture books gender operates on two levels. Conirmation of this prejudice can also be found in the schools. In school- books for primary school, for instance, there is a clear message to young boys and young girls about which opportunities are reserved for one gender and which are reserved for the other.

Fifty diferent professions are assigned to the male pro- tagonists in the stories; among these are king, knight, teacher, railwayman, sailor, wizard, writer, doctor, poet, journalist, engineer, geologist, explorer, sculptor, ar- chitect, librarian, scientist, doctor, conductor, and more. It is evident that these texts do not ofer equal opportunities to all readers for shaping their professional aspirations.

Males have a wide range of professions from which to choose. Some of them are particularly attractive and prestigious doctor, scientist, explorer, ge- ologist , while females have a very small number of opportunities, most of which are not very socially prestigious Biemmi, Recent publications for children have brought a breath of fresh air to this demoralizing and impoverished landscape, with stories that open new horizons for girls. Soia la mucca musicista Soia the Cow Musician Pennart, decides to go to the city to try her luck audition- ing for an orchestra.

Young Juanita, combative heroine of Se io fossi sindaco Kim, decides to write a letter to the new mayoral candidate of her city, Brasilia, to give him wise suggestions. Together they dream of their future. In this way, young male and female read- ers have equal opportunity to imagine themselves in a wide and varied number of roles, identifying with the main characters, boys or girls, of the story. Adult woman are still usu- ally portrayed as mothers — even if, as we will see, these mothers are sometimes portrayed in a new light —.

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At the same time, little to no attention is given to the new social and professional roles of women. An obvious inconsistency in the message given to young female readers becomes evident. As we noticed, on the one hand young girls are encouraged to lead a free and autonomous life and to cultivate professional goals that are equal to those of boys. On the other hand, the role model of girl or adult woman who is focused on her maternal home-centered role is still repeated without ofering meaningful representations of professional women.

Feminine names that are equivalent to the masculine names used to label positions, professions, jobs, and titles, are still missing from the Italian language or are yet to be accepted into common usage. If there is an update, it is within this framework that is reassuring and faithful to tradition. Because the gallinella rossa red young hen can not count on the help of an idle dog, a sleepy- headed cat and a fun-loving duck, she plants the corn, harvests the crops, brings the grain to the mill to grind, and inally bakes the bread for her three chicks all alone.

And lastly there is La gatta vagabonda Pervik, a traveling cat who decides to stop to ind a house for her soon to be born little kittens. Play- ing a maternal role necessitates a change in the life of the cat: You can go around carefree with one lower behind your ear or a garland on your head. In this way the text criticizes, though ironically, working mothers. Everyday she goes to the oice, even on Saturdays. At home, when I come back from school, I ind the lunch ready and a note that always has the same message: So the child accepts his real mother back even though she works.

How the Male Role Model Evolves: In new representations of male role models we ind the opposite situation to that of female characters: More often they concern adult men and, in particular, the reevaluation of the paternal role.



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While with young girls we see a proliferation of heroines who overturn tra- ditional stereotypes, stories about young boys who go against the current are much more rare. Tito Lupotti Judes, would like to become a lorist but his father lies into a rage. You have to follow family tradition!

His father tries to dissuade him and buys him a basketball and, later, a lit- tle train. She solves the problem with extreme simplicity. What does he need a doll for? So that when he will be a father, like you, he will know how to take care of his child, feed him, love him, and give him the things he really desires.

Like a doll for instance, to train him to be a good father. How gender image changes in Italian picture books of many new fathers, the heroes of many stories such as A letto, piccolo mos- tro! Ramos, , Buona notte, Nilo! In all these books there is at least one image of a father who holds, rocks, cuddles, kisses, caresses, smiles, reads a book, or tuck his child in bed.

It does not matter if these fathers sometimes look a bit clumsy and awkward, not yet com- pletely able to naturally perform the caregiving activities that are still unfamiliar to their gender. What is important, for the sons and daughters in the stories, is that they are able to give love, ready to listen, patient and available. In a public-working environment Ettore is known for his physical strength, and it is thanks to this strength that he obtains public approval and social esteem. As soon as we move to his private life, a completely diferent scenario appears.

Ettore is forced to live this double-life because of gender stereotypes that conine him to a model of masculinity that does not correspond to his true self. By way of an example: For further information see: Bourdieu, ; Connell, ; Farrell, ; Mosse, ; Seidler, In recent years interesting studies have also been conducted on this topic in Italy, including: In the stories for children, new models of the family predominate, particularly stories about same sex parents.

Very rarely we talk about transformation of gender roles in relation to a traditional family. In other words, it is more frequent to read of families with two mothers or two fathers than of traditional families where the father sets the table or washes the dishes while the mother comes home late from work or repairs an electrical appliance. It is for this reason that the beginning of La famiglia C Bruno, , with its striking simplicity, provokes the most shocking efect. A similar efect occurs in Il trattore della nonna Roveda, where we ind an interesting mix between gender and generational vari- ables.

Grandmother and grandfather have breakfast together. Later grandmother wears boots, takes the tractor and goes to work the ield while grandpa, at home, does the washing, enjoys dealing with the computer, and later prepares a tasty jam tart with cherries to eat with the grandmother when she comes back from the ields. If the characters described above are peaceful and consenting exam- ples of division of marital roles, the situation described in Il maialibro Browne, b is diferent. Maialozzi, fed up with cleaning and tidying up the house while her husband and sons are sprawled on the sofa, decides to go away for a while, just long enough for the three men to learn about dealing with housework.

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Moving on to the subject of new models of the family, we ind them in several stories. In these books the family with same sex parents appears within a more 11 For a pedagogic and sociological analysis of new familial models see: How gender image changes in Italian picture books wide framework of family models. In other examples it is the unique subject. A Proposed Explanation After this brief overview, it would be useful to try to interpret the data that emerged from the research.

We saw that in the representation of the feminine world the young heroines of the stories become a means for change and role models for young female readers, who see them as intelligent, brave, determined, and conident about the future. Adult woman, on the other hand, remain a bit on the periphery and, when they happen to be in the center of the story, they continue to be represented in the traditional maternal role with little attention paid to their societal and professional roles. It is exactly the opposite for the rep- resentation of the male world. It appears to be more complicated and dangerous to represent a child who plays with dolls or dreams of becoming a lorist than a dad who changes the diaper of his child and who may be a lorist.

Why does this happen? I think at the root is a homophobic attitude that efects boys more than girls and, among males, children more than adult men. Especially if they have given supposed proof of their heterosexuality by becom- ing fathers. A child who plays with a doll is perceived to be socially at risk of homosexuality.

Generally, sissy implies a lack of courage, strength, coordination, testosterone, male libido, and stoicism, which have traditionally been important to the male role. A man might also be considered a sissy for being interested in traditionally feminine hobbies or employment e. As we see from this deinition, the word immediately recalls the subject of homosexuality. It implies that a child or a man is weak, shy, sensitive, fearful, cries easily, and has homosexual tendencies.

Returning to our stories for children, this hypothesis would provide an ex- planation for the lack of representations of efeminate children. Obviously this can be achieved only after these men have shown their virility and heterosexuality: To be a father, a heterosexual father, is a source of great reassurance. Tomboy girls or, if we prefer, Pippi Longstockings, are well accepted because they do not carry the specter of homosexuality, as do their male peers.

Taboos are strongly related to social and professional female roles. In conclusion, I would say that, in the sample of stories that we analyzed, signiicant and positive changes in gender roles have been registered. But also the most capable publishing projects risk falling yet again into the old-new gender cages, which are diicult to recognize because they are transparent, reassuring, and ordered. But real life is the exact opposite of that image. For an in-dept study, Cf. How gender image changes in Italian picture books Beseghi, E.

Le bambine tra libri, fumetti e altri media. Stereotipi di genere nei libri delle elementari. Una storia da scoprire pp.