Tímarit Máls og menningar - 01.12.2016, Qupperneq 77

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Global Perspectives on Death in Children’s Literature. 2016. Ed. Lesley D. Clement og Leyli Jamali.
Taylor & Francis. New York.
Georgieva, Margarita. 2016. „A Deathly Underworld. Bulgarian Literature for Children of the
Early Twentieth Century.“ Birt í: Global Perspectives on Death in Childrens Literature. 2016. Ed.
Lesley D. Clement og Leyli Jamali. Taylor & Francis. New York.
Guðmundur Guðni Guðmundsson. 2004. Saga Fjalla-Eyvindar. Vestfirska forlagið. Hrafnseyri.
Gunnar Theodór Eggertsson. 2015. Drauga-Dísa. Mál og menning. Reykjavík.
Harpa Hreinsdóttir. 1992 „Bókmenntakennsla í framhaldsskóla – hugleiðing“. TMM 2.
Íslenskar þjóðsögur og ævintýri I–VI, safnað hefur Jón Árnason. 1961. Reykjavík. Bókaútgáfan
Þjóðsaga, Prentsmiðjan Hólar.
Kristín Helga Gunnarsdóttir. 2007. Draugaslóð. Mál og menning. Reykjavík.
Kristján Jóhann Jónsson. 2013. Skapandi lestur, skilningur og túlkun. Skíma. 1. tbl. 36. árg.
Seelinger Trites, Roberta. 2000. Disturbing the Universe. University of Iowa Press. U.S.A.
Tómas Guðmundsson. 1972. Leyndarmál öræfanna, frásögn af Reynistaðamönnum. Birtist í Fýkur
í sporin. Sverrir Kristjánsson og Tómas Guðmundsson. Reykjavík. Forni.
Tilvísanir
1 … skjønnlitteratur formidler erfaringer av hva det vil si å være menneske. Vekten er lagt på
forståelsen av andre mennesker, på innlevelse og empati i skildringen av mennesker som er
forskjellige fra en selv. Oppmerksomheten dreies fra identitetssøking til forståelse for andre.
Møtet med Den Andre i litteraturen kan stimulere utviklingen av empati hos leserne. (Anne-
Kari Skardhamar 2005: 208.)
2 • Linguistically, literary texts offer a range of genuine texts in a variety of registers, styles, and
text-types at many levels of difficulty. This presents learners with an unrivalled richness of
input which can feed into vocabulary acquisition, extending the range of syntactic patterns,
developing a feel for textual cohesion and coherence, and a sense of linguistic appropriacy.
• Literary texts are in a very real sense the vehicle for culture. This is not to say that we can
„learn“ the culture (or cultures) of a language through its literature. Indeed, the very nature
of culture is so complex and problematical that it defies simple categorization.However, the
settings, characterizations, situations, and assumptions which literary texts embody offer
manifold opportunities for raising awareness of „difference“ and for developing tolerance
and understanding.
• Literature involves affect and emotion. It is therefore the perfect medium for involving stud-
ents personally in their learning. Literary texts are not trivial, and in order to process them
we have to embark on a process of making imaginative interpretations of the reality they
represent. Interaction with a literary text usually involves a deeper level of mental processing,
a greater personal involvement and response, and hence a greater chance of leaving traces in
the memory. Such texts are therefore generally more motivating, and more enjoyable, than
many of the referential texts which students often have to process. A student who has worked
with literary texts has usually learnt a lot about reading critically, empathetically, and creati-
vely. (Duff & Maley 2007: 5–6)
3 Harpa Hreinsdóttir 1992:2: 23–28.
4 Sami. 1992: 23
5 Dagný Kristjánsdóttir 2010: 266
6 Kristján Jóhann Jónsson 2013:
7 Gaarder 1993/Gaarder 2001 (ísl)
8 Global Perspectives on Death in Children’s Literature.
9 „This volume visits death in children’s literature from around the world, making a substantial
contribution to the dialogue between the expanding fields of Childhood Studies, Children’s Lite-
rature, and Death Studies. Considering both textual and pictorial representations of death, cont-
ributors focus on the topic of death in children’s literature as a physical reality, a philosophical
concept, a psychologically challenging adjustment, and/or a social construct.“ (Global Perspectives
on Death in Childrens Literature, Ed. Lesley D. Clement and Leyli Jamali. New York 2016.)